Playwriting gets into your blood and you can't stop it. At least not until the producers or the public tell you to.
Playwriting is an oral art; it's not an art of a writer expecting to be read but a writer expecting to be heard.
Anything you put in a play -- any speech -- has got to do one of two things: either define character or push the action of the play along.
I fell into playwriting accidentally, took some classes in it, and also took creative writing classes, but I really didn't expect it to be a career because I didn't believe there was a way to make money as a playwright without being lucky and I didn't feel particularly lucky.
Feydeau's one rule of playwriting: Character A: My life is perfect as long as I don't see Character B. Knock Knock. Enter Character B.
Playwriting is all about empathy, getting inside the head of someone who is not you, to think like they think without judging them.
In playwriting, you've got to be able to write dialogue. And if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. I think the process of writing a play is working back and forth between the moment and the whole. The moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. Letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.
I was a writer. I just wasn't a very good one. I was lucky enough to have a playwriting teacher who told me that I'd be a better actor than I would a playwright.
Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.
When I'm writing a play I hear it like music. I use the same indications that a composer does for duration. There's a difference, I tell my students, between a semi-colon and a period. A difference in duration. And we have all these wonderful things, we use commas and underlining and all the wonderful punctuation things we can use in the same way a composer uses them in music. And we can indicate, as specifically as a composer, the way we want our piece to sound.
I find playwriting to be incredibly difficult compared to screenwriting. Part of it is that I grew up watching movies and not watching plays.
I find playwriting really painful. I love it, or I wouldn't do it, but I don't love the theater as much as I love movies.
There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.
Playwriting isn't a calling so much as it is a hazing process.
For me, playwriting is and has always been like making a chair. Your concerns are balance, form, timing, lights, space, music. If you don't have these essentials, you might as well be writing a theoretical essay, not a play.
I don't have an audience in mind when I write. I'm writing mainly for myself. After a long devotion to playwriting I have a good inner ear. I know pretty well how a thing is going to sound on the stage, and how it will play. I write to satisfy this inner ear and its perceptions. That's the audience I write for.
Writing is like prostitution. First you do it for love, and then for a few close friends, and then for money.
I think that as a playwright, if I detail that environment, then I'm taking away something from them [designers]. I'm taking away their creativity and their ability to have input themselves, not just to follow what the playwright has written. So I do a minimum set description and let the designers create within that.
I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.
My mother was working on her college degree throughout my childhood, and being the youngest in the family, that meant being dragged to a lot of her classes. She majored in playwriting, so I was exposed to theatre from a very young age, and it was just the most magical world to me.
It's no use to go and take courses in playwriting any more than it's much use taking courses in acting. Better play to a bad matinée in Hull, it will teach you much more than a year of careful instruction.
One of the things he liked about playwriting as to any other kind of writing is that a playwright is a w-r-i-g-h-t, not a w-r-i-t-e; in other words, that a playwright is more of a craftsman than an artist of the big novel.
The day the child realizes that all adults are imperfect, he becomes an adolescent; the day he forgives them, he becomes an adult; the day he forgives himself, he becomes wise.
Playwriting, like begging in India, is an honorable but humbling profession.
I believe in the time when we shall be able to create works of art in the Theatre without the use of the written play, without the use of actors.
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