Quotes about playwright

A collection of quotes on the topic of playwright, poet, world, doing.

Quotes about playwright

“Playwrights are like men who have been dining for a month in an Indian restaurant. After eating curry night after night, they deny the existence of asparagus.”

Peter Ustinov (1921–2004) English actor, writer, and dramatist

As quoted in Contemporary Quotations (1988) by James Beasley Simpson

Men, Night

“By increasing the size of the keyhole, today's playwrights are in danger of doing away with the door.”

Peter Ustinov (1921–2004) English actor, writer, and dramatist

As quoted in Contemporary Quotations (1969) by James Beasley Simpson

“A playwright lives in an occupied country… And if you can't live that way you don't stay.”

Arthur Miller (1915–2005) playwright from the United States

The New York Times (9 Feb 1986)

Way, Country

“But as the Roman playwright Terence once wrote, From many a bad beginning great friendships have formed”

Sherrilyn Kenyon (1965) Novelist

Source: Seize the Night

Friendship

“Damn everything but the circus!… The average 'painter' 'sculptor' 'poet' 'composer' 'playwright' is a person who cannot leap through a hoop from the back of a galloping horse, make people laugh with a clown's mouth, orchestrate twenty lions.”

E.E. Cummings (1894–1962) American poet

People, Horse, Personality

““I am enclosing two tickets to the first night of my new play; bring a friend ... if you have one."
— George Bernard Shaw, playwright (to Winston Churchill)
"Cannot possibly attend first night; will attend second, if there is one."
— Churchill's response”

George Bernard Shaw (1856–1950) Irish playwright

Night

“Human beings suffer agonies, and their sad fates become legends; poets write verses about them and playwrights compose dramas, and the remembrance of past grief becomes a source of present pleasure - such is the strange alchemy of the spirit.”

Upton Sinclair book Dragon's Teeth

Source: Dragon's Teeth

Fate, Pleasure, Sadness, Suffering

“As the playwright George Bernard Shaw once put it: “The reasonable man adapts himself to the world: the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man.”

Malcolm Gladwell (1963) journalist and science writer

Source: David and Goliath: Underdogs, Misfits, and the Art of Battling Giants

World, Dependency

“It was Italian playwright and screenwriter Ennio Flaiano who first spoke to Fellini of Fernando Pessoa during their collaboration on I Vitelloni (1953). Fellini claimed, however, that it was not until he lunched with Anthony Burgess in the mid 1970s (when the British writer owned a country house in Bracciano north of Rome) that he began reading the Portuguese poet in earnest. This is not to suggest that Pessoa influenced Fellini in any direct way but simply to note a genial coincidence embedded within two autobiographical masterpieces. The first quotation is from Pessoa’s O Livro do desassossego: ‘These are my Confessions, and if in them I say nothing, it’s because I have nothing to say.’ The second is from Fellini’s Otto e mezzo (1963) during the crucial night scene at the base of the scaffolding when Guido confesses to Rosella, “I have really nothing to say in my film. But I want to say it anyway.” Suddenly, the disparate obsessions of these two great Mediterranean minds seem to fold into one another, if only for an instant, like the sounds of vibrating wires touched simultaneously. Whatever the ultimate significance may be, it amuses me to think that textual coincidences of this nature are proof of the brotherhood of artists.”

Damian Pettigrew Canadian filmmaker

On Fellini and Fernando Pessoa
Federico Fellini: Sou um Grande Mentiroso (2008)

Way, Nature, Thinking, Reading

“The great Norwegian playwright, Henrik Ibsen, wrote, "One of these days, the younger generation will come knocking at my door." The future is knocking at our door right now. Make no mistake, the next generation will ask us one of two questions. Either they will ask: "What were you thinking; why didn't you act?" Or they will ask instead: "How did you find the moral courage to rise and successfully resolve a crisis that so many said was impossible to solve?"”

Al Gore (1948) 45th Vice President of the United States

Nobel Prize lecture http://nobelpeaceprize.org/en_GB/laureates/laureates-2007/gore-lecture/, 10 December 2007.

Courage, Question, Thinking, Future

“As a child, I wanted to become a scientist, a magician, a poet, an architect, an illustrator, a sculptor, an actor, a philosopher, a photographer, a playwright and an animator. So by the time I was 13 or 14, I was convinced that it would be possible to a be of all of these if I made films.”

Anand Gandhi (1980) Indian film director

"One-on-one with Ship of Theseus’ Anand Gandhi" at film army (3 September 2012) http://www.blog.filmarmy.ca/2012/09/11076/

Time, Animals

“But how can the characters in a play guess the plot? We are not the playwright, we are not the producer, we are not even the audience. We are on the stage. To play well the scenes in which we are "on" concerns us much more than to guess about the scenes that follow it.”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

The World's Last Night (1952)

“What Elizabethan playwrights learned from the Greek classics was not theories of insanity, but dramatic practice — that is, madness is a dandy theatrical element. It focuses the audience's attention and increases suspense, since you never know what a mad person may get up to next; and Shakespeare himself makes use of it in many forms. In King Lear, there's a scene in which one man pretending to be mad, another who has really gone mad, and a third who has probably always been a little addled, are brought together for purposes of comparison, irony, pathos, and tour de force acting. In Hamlet, there are two variations — Hamlet himself, who assumes madness, and Ophelia, who really does go winsomely bonkers. In MacBeth, it's Lady MacBeth who snaps.”

Margaret Atwood (1939) Canadian writer

Ophelia Has a Lot to Answer For (1997)

Learning, Personality, Madness

“If a playwright tried to see eye to eye with everybody, he would get the worst case of strabismus since Hannibal lost an eye trying to count his nineteen elephants during a snowstorm while crossing the Alps.”

James Thurber (1894–1961) American cartoonist, author, journalist, playwright

Quoted in The New York Times (21 February 1960)
Letters and interviews

“Sir — As a playgoer of forty years standing, may I say that I heartily agree with Peter Pinnell in his condemnation of 'Entertaining Mr Sloane'.I myself was nauseated by this endless parade of mental and physical perversion. And to be told that such a disgusting piece of filth now passes for humour!Today's young playwrights take it upon themselves to flaunt their contempt for ordinary decent people. I hope that the ordinary decent people of this country will shortly strike back!Yours truly,Edna Welthorpe”

Joe Orton (1933–1967) English playwright and author

Mrs
See above (p. 283 of the Orton Diaries)
The Orton Diaries (1986), The Edna Welthorpe letters

People, Hope, Country

“Novelists, playwrights, painters and others may hold in their heads the expectation of fame, but not poets. Having chosen that road, all one can dream of is the jealousy of one's rivals. Celebrity is unexpected and almost unseemly--it forces one to wear a constant look of chagrin, if that is possible. Unless you are Byron, who was the first poet to become a star. At its worst, fame means being known by strangers--enough to bring on waves of paranoia.”

Billy Collins (1941) American poet

Interview with Kritya: In the Name of Poetry

Jealousy, Dreams, Star

“I don't suppose there is a country in the world where a playwright has such a tremendous field for modesty as Canada.”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

Shakespeare over the Port (1960)

World, Country

“One would have thought that the notion of an impersonal critic was as patently absurd as that of an impersonal person: yet playwrights still cherish it as a sort of holy ideal. Admittedly, we all make mystiques: but this one is particularly wishful. The man who asks for an anonymous, impersonal criticism is trying to elevate criticism to the status of a science; whereas it is, I am afraid, only an art. The critic's business is to write readable English: the playwright's to write speakable English. Beyond that it is every man for himself.”

Kenneth Tynan (1927–1980) English theatre critic and writer

"George Jean Nathan" (1953), p. 61
Profiles (1990)

Art, Business, Science, Personality

“The word "Sanskrit" means "prepared, pure, refined or perfect". It was not for nothing that it was called the "devavani" (language of the Gods). It has an outstanding place in our culture and indeed was recognized as a language of rare sublimity by the whole world. Sanskrit was the language of our philosophers, our scientists, our mathematicians, our poets and playwrights, our grammarians, our jurists, etc. In grammar, Panini and Patanjali (authors of Ashtadhyayi and the Mahabhashya) have no equals in the world; in astronomy and mathematics the works of Aryabhatta, Brahmagupta and Bhaskar opened up new frontiers for mankind, as did the works of Charak and Sushrut in medicine.”

Markandey Katju (1946) Indian judge

On Sanskrit, as quoted in the transcript of a speech, titled "Sanskrit as a Language of Science" http://www.iisc.ernet.in/misc/bang_speech.html and delivered on 13 October 2009, published by Indian Institute of Science, Bangalore

God, World, Mathematics, Perfection

“Just as other information should be available to those who want to learn and understand, program source code is the only means for programmers to learn the art from their predecessors. It would be unthinkable for playwrights not to allow other playwrights to read their plays, but only be present at theater performances where they would be barred even from taking notes. Likewise, any good author is well read, as every child who learns to write will read hundreds of times more than it writes. Programmers, however, are expected to invent the alphabet and learn to write long novels all on their own. Programming cannot grow and learn unless the next generation of programmers have access to the knowledge and information gathered by other programmers before them.”

Erik Naggum (1965–2009) Norwegian computer programmer

" Programming http://naggum.no/erik/programming.html", cited in the preface of Physically Based Rendering (2004) by Matt Pharr and Greg Humphreys.

Art, Understanding, Knowledge, Learning

“A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute.”

Terence Rattigan (1911–1977) playwright, screenwriter

The New York Journal-American, October 29, 1956.

“Kalidasa, the immortal poet and playwright, is a peerless genius whose works have won world-wide fame. The matchless qualities of his work have been lavishly praised both by the ancient Indian critics and modern scholars. (…) In modern times the translations of Kalidasa's works in numerous Indian and foreign languages have spread his fame all over the world and now he ranks among the few topmost poets and playwrights of the world.”

Ram Gopal (1925) Indian author and historian

Kālidāsa: His Art and Culture by Ram Gopal (1984)

World, Time

“Whenever I become discouraged (which is on alternate Tuesdays, between three and four) I lift my spirits by remembering: The artists are on our side! I mean those poets and painters, singers and musicians, novelists and playwrights who speak to the world in a way that is impervious to assault because they wage the battle for justice in a sphere which is unreachable by the dullness of ordinary political discourse.”

Howard Zinn (1922–2010) author and historian

" Artists of Resistance http://books.google.ca/books?id=qMYNNGiHQ0kC&pg=PT52&lpg=PT52#v=onepage&q&f=false", July 2001

World, Justice, Way

“I attacked those Western playwrights who use their influence and affluence to preach to the world the nihilistic doctrine that life is pointless and irrationally destructive, and that there is nothing we can do about it. Until everyone is fed, clothed, housed and taught, until human beings have equal leisure to contemplate the overwhelming fact of mortality, we should not (I argued) indulge in the luxury of "privileged despair."”

Kenneth Tynan (1927–1980) English theatre critic and writer

"Conference at Edinburgh" (1963), p. 146
Tynan Right and Left (1967)

Life, World, Housing, Despair

“If by any chance a playwright wishes to express a political opinion or a moral opinion or a philosophy, he must be a good enough craftsman to do it with so much spice of entertainment in it that the public get the message without being aware of it.”

Noel Coward (1899–1973) English playwright, composer, director, actor and singer

Sheridan Morley, A Talent to Amuse (1985).

Chance

“You know, I used to not understand fashion, a lot of it, but I completely understood being a playwright or a screenwriter and suddenly having an actor say your words and making them come to life. That I can understand. Finally, I'm starting to understand this.”

Reese Witherspoon (1976) American film actress and producer

Interview for Vogue magazine, November 2008.

Life, Fashion, Understanding

“So I humbly accept the honor, keeping in mind the words of a British playwright, John Mortimer it was, "No brilliance is needed in the law. Nothing but common sense and relatively clean fingernails." Well at best I've got one of the two of those.”

Bono (1960) Irish rock musician, singer of U2

PENN Address (2004)

Law, Sense

“William Congreve is the only sophisticated playwright England has produced; and like Shaw, Sheridan, and Wilde, his nearest rivals, he was brought up in Ireland.”

Kenneth Tynan (1927–1980) English theatre critic and writer

Curtains (1961)

“An article on playwrights in the Daily Mail, listed according to Hard Left, Soft Left, Hard Right, Soft Right and Centre. I am not listed. I should probably come under Soft Centre.”

Alan Bennett (1934) English actor, author

Diary entry for November 11, 1981, p. 117.
Writing Home (1994)

“The subject that interests most writers is, of course, themselves and it is easy subject to talk about. But you know it is always easier if you are a poet or a novelist because you are used to talking in your voice. You suspend your whole life talking as writer directly to the audience. The problem is being playwright is that everything that you write is for someone else to say.”

Girish Raghunath Karnad (1938–2019) Indian playwright

Expressed to R.K.Dhavan, quoted here [Sahu, Nandini title=The Post-colonial Space: Writing the Self and the Nation, http://books.google.com/books?id=xs_tj0tDnnwC&pg=PA59, 2007, Atlantic Publishers & Dist, 978-81-269-0777-9, 116]

Life, Problem

“We are all in the habit of censuring the great, as if we were popular playwrights, when in fact ordinary folk are quite as devious and as willful and as desperate to survive (if not prevail) as are thee great; particularly philosophers.”

Gore Vidal (1925–2012) American writer

Source: 1960s, Julian (1964), Chapter 11

“Historians are concerned with events which can be assigned to specific timespace locations, events which are (or were) in principle observable or perceivable, whereas imaginative writers – poets, novelists, playwrights – are concerned with both these kinds of events and imagined, hypothetical, or invented ones.”

Hayden White (1928–2018) American historian

"The fictions of factual representation"

Imagination

“Philip Kaufman's Twisted walks like a thriller and talks like a thriller, but it squawks like a turkey.
But back to deus ex machina. This is a phrase you will want to study and master, not merely to amaze friends during long bus journeys but because it so perfectly describes what otherwise might take you thousands of words. Imagine a play on a stage. The hero is in a fix. The dragon is breathing fire, his sword is broken, his leg is broken, his spirit is broken, and the playwright's imagination is broken. Suddenly there is the offstage noise of the grinding of gears, and invisible machinery lowers a god onto the stage, who slays the dragon, heals the hero, and fires the playwright. He is the "god from the machine."”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/twisted-2004 of Twisted (27 February 2004) <br class="br">Reviews, Two star reviews

God, Imagination, Study

“In my collection, to me at least, the theatre of the past lives again and those long-dead playwrights and actors have in me an enthralled audience of one, and I applaud them across the centuries.”

Robertson Davies (1913–1995) Canadian journalist, playwright, professor, critic, and novelist

How to Be a Collector (1995).

Past, Dead

“One does not go to the theater to see life and nature; one goes to see the particular way in which life and nature happen to look to a cultivated, imaginative and entertaining man who happens, in turn, to be a playwright.”

George Jean Nathan (1882–1958) American drama critic and magazine editor

[Lumley, Frederick, New Trends in 20th Century Drama: A Survey Since Ibsen and Shaw, Barrie and Jenkins, 1972, London, 12, 978-0-19-519680-1]

Life, Way, Imagination, Nature

“To improve man - that's the beginning of all terror. Religion founders, totalitarists, self-righteous playwrights, ideologues, they always want the new man, the better one.”

Rolf Hochhuth (1931) german writer

Den Menschen verbessern - damit fängt aller Terror an, Religionsstifter, Totalitäre, selbstgerechte Stückeschreiber, Ideologen wollen immer den neuen Menschen, den besseren.
Alan Turing

Religion

“The actors feel that the music played before the curtain rises will put the audience in the wrong mood. The playwright suggests that the (purposefully lugubrious) music be played at twice-speed. This peps it up somewhat while retaining its essentially dark and gloomy character. The actors listen carefully, and are pleased.”

Donald Barthelme (1931–1989) American writer, editor, and professor

“Opening", opening
Forty Stories (1987)

Music, Feeling, Mood, Speed

“I’m surprised that multiple personalities are so much less common in reality than in fiction: what a little disorder it would take, a distraction, a sleep, for one of our minor characters to imagine he was the star, to speak out for everyone else. And that’s what it would be, a change of billing, not of authorship. For you do not write your play—you are just the character in it called The Playwright. The real writer, you never meet.”

James Richardson (1950) American poet

#139
Vectors: Aphorisms and Ten Second Essays (2001)

Imagination, Star, Reality, Sleep

“Bringing in a wounded soldier is getting to be rather like waving an American flag at the end of an act. One cannot harbor feelings of unmixed admiration for the playwright who will hide behind either of them. p. 250”

Dorothy Parker (1893–1967) American poet, short story writer, critic and satirist

Dorothy Parker: Complete Broadway, 1918–1923 (2014) https://openlibrary.org/books/OL25758762M/Dorothy_Parker_Complete_Broadway_1918-1923, Chapter 4: 1921

Feeling

“TW: I must ask you, what right does the fact that you are a popular and successful popstar give you to comment on political and…
M: Well, I feel that, if popular singers don’t say these things, who does? We can’t have any faith in playwrights any more, we can’t have any faith in filmstars, young people don’t care about those things, they’re dying arts. And if you say, what ‘right’ do you have, the implication there to me is that popular music is quite a low art, it should be hidden, it can be there but let’s not say anything terribly important, let’s just make disco records or whatever. So I really feel that we do have an obligation and I know that people respect it and they want it and it’s working to great effect.”

Morrissey (1959) English singer

from "Granada Reports", interview by Tony Wilson, Granada TV February 1985
In interviews etc., About politics and society

People, Faith, Art, Music

“The word `Sanskrit' means “prepared, pure, refined or prefect”. It was not for nothing that it was called the `devavani' (language of the Gods). It has an outstanding place in our culture and indeed was recognized as a language of rare sublimity by the whole world. Sanskrit was the language of our philosophers, our scientists, our mathematicians, our poets and playwrights, our grammarians, our jurists, etc. In grammar, Panini and Patanjali (authors of Ashtadhyayi and the Mahabhashya) have no equals in the world; in astronomy and mathematics the works of Aryabhata, Brahmagupta and Bhaskara opened up new frontiers for mankind, as did the works of Charaka and Sushruta in medicine.”

Pāṇini ancient Sanskrit grammarian

Justice Markandey Katju in Speech delivered on 13.10.2009 in the Indian Institute of Science Bangalore in: Sanskrit As A Language Of Science http://www.iisc.ernet.in/misc/bang_speech.html, Indian Institute of Science.

God, World, Mathematics

“A good many playwrights who have been classed under this label, when asked if they belong to the Theatre of the Absurd, will indigniantly reply that they belong to no such movement — and quite rightly so. For each of the playwrights concerned seeks to express no more and no less his own personal vision of the world.”

Martin Esslin (1918–2002) Playwright, theatre critic, scholar

Introduction to Absurd Drama (1965) http://www.samuel-beckett.net/AbsurdEsslin.html <br class="br">Context: The "Theatre of the Absurd" has become a catch-phrase, much used and much abused. What does it stand for? And how can such a label be justified? Perhaps it will be best to attempt to answer the second question first. There is no organised movement, no school of artists, who claim the label for themselves. A good many playwrights who have been classed under this label, when asked if they belong to the Theatre of the Absurd, will indigniantly reply that they belong to no such movement — and quite rightly so. For each of the playwrights concerned seeks to express no more and no less his own personal vision of the world.<br>Yet critical concepts of this kind are useful when new modes of expression, new conventions of art arise.

World, Personality

“Be patient. Our Playwright may show
In some fifth act what this wild Drama means.”

Alfred, Lord Tennyson (1809–1892) British poet laureate

The Play, reported in Bartlett's Familiar Quotations, 10th ed. (1919)

“A playwright is someone who lets his guts hang out on the stage.”

Edward Albee (1928–2016) American playwright

Shoptalk: Conversations About Theater and Film with Twelve Writers, One Producer — and Tennessee Williams' Mother by Dennis Brown (1993), Ch. 6 : A Certain Amount of Spleen, p. 122
Context: Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.

“I was to slowly discover that Savarkar was a bundle of contradictions and a historian’s enigma. He simultaneously means many things to many people. An alleged atheist and a staunch rationalist who strongly opposed orthodox Hindu beliefs and the caste system and dismissed cow worship as mere superstition, Savarkar was also the most vocal political voice for the Hindu community through the entire course of the Indian freedom struggle.... A feted revolutionary who created an intellectual corpus of literature that inspired the revolutionary movement in India for decades, Savarkar was also a passionate and sensitive poet, a prolific writer and playwright, and a fiery orator. ...The social reformer in him strove to dismantle the scourges of untouchability and caste hierarchies, and advocated a unification of Hindu society.”

Vinayak Damodar Savarkar (1883–1966) Indian pro-independence activist,lawyer, politician, poet, writer and playwright

Vikram Sampath - Savarkar, Echoes from a Forgotten Past

Freedom, People, Communication, Literature

“Some writers write every morning, or every day. I don´t tend to do that. I am of the Wendy Wasserstein mind. Going to the movies is research. Walking down Central Park and seeing cute boys in tank tops is research. Going to the Museum of Modern Art is research. Having dinner with my best friends is research. Because research, when it comes to being a playwright, most importantly means living. It means experiencing and engaging with the world…”

Christopher Oscar Peña

On his research process in “"a cautionary tale" part II: Interview with Playwright Christopher Oscar Peña” http://www.theaterspeak.org/2013/07/part-ii-of-cautionary-tale-at-flea.html (Theaterspeak; 2013 Jul 15)

World, Boy, Art

“I am a solo flyer. I go by dramatist or playwright. My brand is original plays that take on aspects of our shared American history that have shaped our culture. I write serious plays, but I use as much humor as possible. I also use a lot of music (original and found), and I’m not afraid to examine my characters’ sexuality…”

Oliver Mayer Mexican American writer

On his writings in “Meet Oliver Mayer” http://voyagela.com/interview/meet-oliver-mayer-playwright-south-los-angelesusc/ in VoyageLA (2019 Jan 8)

Music, History

“If you’re a playwright who doesn’t want to do people-on-a-couch plays, there are not a lot of avenues…You can go and do television, or you can stay and fight with organizations that aren’t really equipped to support work by people of color or experiment with form.”

Kristoffer Diaz American writer

On experimenting as a playwright in “Playwright Kristoffer Diaz steps into the ring” https://www.latimes.com/entertainment/la-xpm-2011-aug-21-la-ca-chad-deity-20110821-story.html in the Los Angeles Times (2011 Aug 21)

Fight, Support, People, Color

“I call myself a citizen artist, because one of the things I do is try to get my playwrights — especially my graduate playwrights — interested in the world. It’s about how you connect art to culture and community here and now, and how we are vital to the expression of our community...”

Luis Alfaro (1963) Chicano performance artist, writer, theater director, and social activist

On calling himself a “citizen artist” in “The Artist as Leader: Luis Alfaro” https://www.uncsa.edu/kenan/artist-as-leader/luis-alfaro.aspx (Thomas S. Kenan Institute for the Arts)

World, Communication, Art

“We go in and try to be completely transparent with them: I am not a journalist, I’m a playwright, and I’m developing a piece that is creative and not going to be solely based on their lives but inspired by conversations that we have.”

Lynn Nottage (1964) American playwright

On how the interview process is different when writing a work of fiction in “An Interview with Lynn Nottage” https://www.theintervalny.com/interviews/2015/10/an-interview-with-lynn-nottage/ in The Interval (2015 Oct 14)

“Theater is a service where the god keeps changing…Sometimes it’s the actor. Sometimes it’s the director. Sometimes it’s the stage manager. Sometimes, but almost never, it’s the playwright.”

María Irene Fornés (1930–2018) American writer

On the fickle nature of theater in “Moment to Moment: with Maria Irene Fornes” https://brooklynrail.org/2002/10/theater/moment-to-moment-with-maria-irene-fornes in The Brooklyn Rail (Autumn 2002)

God, Change

“Garbo is lonely. She always has been and she always will be. She lives in the core of a vast aching aloneness. She is a great artist, but it is both her supreme glory and her supreme tragedy that art is to her the only reality. The figures of living men and women, the events of everyday existence, move about her, shadowy, unsubstantial. It is only when she breathes the breath of life into a part, clothes with her own flesh and blood the concept of a playwright, that she herself is fully awake, fully alive.”

Greta Garbo (1905–1990) Swedish-American actress

Marie Dressler, My Own Story as Told to Mildred Harrington (1934)

Clothes, Art, Reality, Parting

“If a script ‘beeps’ to me, I do it...Audiences may hate these plays, but I believe in them. The only way I can explain my ‘beeps’ is that I’m no intellectual, but my instincts tell me automatically when a playwright has something.”

Ellen Stewart (1919–2011) American theater director and producer

Quoted in "Ellen Stewart, Off Off Broadway Pioneer, Dies at 91" by Mel Gussow and Bruce Weber, The New York Times, (January 13, 2011) https://www.nytimes.com/2011/01/14/theater/14stewart.html.

Way, Hate

“Playwrights are the most gregarious writers—to get our work done, we need actors, directors, set designers. So whenever I have to go back into my writing cocoon, I get a little scared to be alone. But that's when the voices come to you. Silence is the start.”

Katori Hall (1981) American playwright

On needing solitary time to produce works in “5 Ways Katori Hall Gave In to Life, Love and Her Own Creativity” http://www.oprah.com/spirit/katori-hall-playwright-interview-the-mountaintop-play#ixzz65lY0pzMR in O Magazine

Silence

“As a director, I was able to journey into these plays, find myself, and realise the worlds the playwrights have written…I find my inspiration and my passion in other writers and their versions of this country and this world.”

Chay Yew (1975) Singaoprean playwriter

On directing versus playwriting in “Artistic director Chay Yew: ‘Audiences come here wanting a dialogue about America’” https://www.thestage.co.uk/features/interviews/2019/artistic-director-chay-yew-audiences-come-here-wanting-to-have-a-dialogue-about-america/ in The Stage (2019 Aug 5)

Passion, World, Country