Quotes About Playwright

Prenez un cercle, caressez-le, il deviendra vicieux.

A statesman who confines himself to popular legislation - or, for the matter of that, a playwright who confines himself to popular plays - is like a blind man's dog who goes wherever the blind man pulls him, on the ground that both of them want to go to the same place.

I am an internationally produced playwright.

I would enjoy having dinner with the poet/playwright Derek Walcott.

It seems that the hurdle you have to jump over is everyone's informed opinion. When you're a young playwright, you're probably too precarious in your own technique to understand that when these seemingly informed opinions are contradicting each other, it becomes this paralyzing monolith.

I thought I wanted to be a playwright because I was interested in stories and telling stories.

The instinct to impersonate produces the actor; the desire to provide pleasure by impersonations produces the playwright; the desire to provide this pleasure with adequate characterization and dialogue memorable in itself produces dramatic literature.

By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing -- which is not a commercial playwright. I'm not after the brass ring.

Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.

A playwright has a responsibility in his society not to aid it, or comfort it, but to comment and criticize it.

There's a playwright named S.M. Berryman, Sam Berryman, who wrote these kinds of social comedies. They are actually extremely sharp and still quite provocative.

Athol Fugard became famous as a playwright, so although 'Tsotsi' the book was written in the '60s, it was only published in the '80s. It was then optioned pretty much every year by producers. I think the problem was that holding onto its period setting made it very hard to get finance.

I did a lot of freelance desk publishing jobs when I graduated from college. I sort of earned a living doing that while I was writing plays, which was what I wanted to do. My hope was to become a playwright.

I had a sort of bad experiences as a playwright early on, when directors were putting in huge concepts that I didn't intend, or they were stylizing something that was compromising the play, so I started to think like, 'Well if I'm going to fight against this, I should learn how to direct.'

'A Streetcar Named Desire' is the play I've probably read the most times in my life, and I love the weirdness of all the scene outs but especially the end of the second scene, when Williams brings a tamale vendor on stage to simply say, 'Red hot!'

I want to do a Tennessee Williams play.

I love Tennessee Williams; as a playwright, he's so poetic.

The first theater subscription I ever bought was the August Wilson season at Signature. I remember thinking a whole season to one playwright was a great way for a master to do a victory lap.

To me, the most important elements in a theatre are the actors and the texts.

If it's stage, the two most important artists are the actor and the playwright. If it's film, THE most important person is the director. The director says where the camera goes.

The only thing we are as actors are messengers. That's all we are. Correct? We are delivering the playwright's intention through the concept of the director. And I come on stage; if I feel confident in the role, then I give it away.

I do come from a theater background, where the playwright is optimal and king and you have to serve the playwright. So I am, of course, a huge fan of scripted everything.

My only responsibility as a playwright and a storyteller is to give you the time of your life in the theatre. I just happen to think that with Hamilton's story, sticking close to the facts helps me. All the most interesting things in the show happened.

Because theatre is a story-telling art form, we feel entitled to assume that the playwright got there before we got there.