Quotes About Plays

Of course it's great to be able to extend plays and know where to go when plays break down. But plays are schemed up for dropbacks and timing and things of that nature. So I feel I do that at a very high level.

I think that's when a good receiver becomes a great receiver. If you know what's going on with the defense, you play faster. If you don't know what's going on, your timing will be off and you're not going to make plays.

I've done a lot of work in Hollywood and theatre, but to be honest, the biggest pleasure I've ever got is from the TV single plays I've written. It's a format where you don't mind saying, 'I want to tackle some important themes head on.'

My education was doing good plays and also stinkers. When you do a stinker, you learn how to act. I like having to audition. It's nice to do rehearsals. But it's with an audience that you get to love it!

Perhaps we would have more sublime plays if we had more tolerance for and interest in imperfect plays. Because perfect plays are not sublime plays. Shakespeare's plays are weird and wonky and oddly shaped and wonderfully imperfect but sublime. They are as untidy men lime as nature is. Contemporary playwrights are often encouraged to make tidy plays rather than plays with cliffs and torrents

The decision to write full time was made when I was twenty-eight years old and had just had two small plays accepted for BBC Radio.

I myself grew up when radio was very important. I'd come home from school and turn on the radio. There were funny comedians and wonderful music, and there were plays. I used to pass time with radio.

Exaggeration in every sense is as essential to newspaper writing as it is to the writing of plays: for the point is to make as much as possible of every occurrence. So that all newspaper writers are, for the sake of their trade, alarmists: this is their way of making themselves interesting.

My early attempts writing plays, which are very poetic, did not use the language that I work in now. I didn't recognize the poetry in everyday language of black America. I thought I had to change it to create art.

I said it before and I'll say it again: books are dead, plays are dead, poems are dead: there's only movies. Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I'd be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don't write movies. You make movies.

We have 18 or 19 plays by Euripides, for example, yet he is known to have written almost 100. Only 7 of Aeschylus's 80 remain, while just 7 plays of Sophocles have come down to us out of 120 known titles. Almost every character you come across when reading the Greek myths had a play about them written by one, other, or all three of the great Athenian masters. The loss of so many of their works might be regarded as the greatest Greek tragedy of them all.

In that film, the man and the part met. As far as I'm concerned, that part is Greg's for life. I've had many, many offers to turn it into musicals, into TV or stage plays, but I've always refused.

Immediately after school, I did a lot of regional theater. I was in Berkeley and Princeton and Minneapolis and all over the country doing wonderful plays for the local audiences.

Those regrets that I do have are, exclusively, not doing plays that I wish I had done.

I was so involved in the regular joy of school that I didn't do any plays. On a dare, I auditioned for 'South Pacific' my junior year. I showed up at the last minute to the audition and ended up getting cast as the lead. I haven't turned back since then.

I'd like to play something classical. I'm in the Strindberg society, and we do readings of Strindberg plays. I'd love to do Nora in 'A Doll's House.' And Chekhov. I have been working back to back on what I call 'regular jobs,' so it's hard to do plays.

Going to rehearsals of school plays got me out of science. It became clear what inspired me and what dampened my spirit. The only other thing I could do at school was trampolining - it didn't seem to have much future in it.

And that's another reason to make this movie: We can put plays on film now, at a relatively small cost, and they will reach an audience they would never have reached otherwise.

I directed plays in college. It's something that I have sort of always put in the back of my mind, and I'm a busy actress, and it's very difficult to sort of find the time, honestly, to commit to directing. It's a very - it's a big, big job.

I think that plays are probably the most personal, because it's just me in charge, but sometimes it's just really - I think that there's honor in being a good artist, and there's honor in being a good 'craftsperson.'

I've always loved absurdism and plays of that genre. I think that my humour is very much rooted in theatre and drama.

I think Hyderabadis have the best sense of humour in the entire country and I still remember the famous plays of 'Adrak Ke Panje' by Babban Khan and 'Dhed Matwale.'

In Ireland, novels and plays still have a strange force. The writing of fiction and the creation of theatrical images can affect life there more powerfully and stealthily than speeches, or even legislation. Imagined worlds can lodge deeply in the private sphere, dislodging much else, especially when the public sphere is fragile.

I worked on 'Blue Peter' and 'Tonight' and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I'd had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.