Quotes of All Topics . Occasions . Authors
Often, directors toss playwrights out of rehearsals.
All playwrights should be dead for three hundred years.
When I was in school, I didn't get exposed to Latino playwrights.
Like most playwrights, I hate talkbacks with a passion that can burn a hole through hell.
I love the '50s and grew up loving works from that time period and from those great playwrights.
By increasing the size of the keyhole, today's playwrights are in danger of doing away with the door.
The ideas of the great playwrights are almost always larger than the experiences of even the best actors.
A lot of American playwrights seem to have a career as a playwright. I don't consider it a career at all.
Playwrights are the most gregarious writers - to get our work done, we need actors, directors, set designers.
You know, most good playwrights write seven good plays and then something happens and after that they're crap.
Plays are getting smaller and smaller, not because playwrights minds are shrinking but because of the economics.
I seem to belong to a boom moment of playwrights, and I'm always curious about how we all got here and what comes next.
Generally, the realm in which black playwrights have been allowed to achieve success has been social realism or musicals.
As far as dramas are concerned, it's considered passe for playwrights to turn out anything the average person can understand.
I'm inspired by playwrights, novelists, poets: The value of language has been a lifelong passion of mine. I enjoy it. I'm good at it.
I am always looking for what piece, what artists, what playwrights, what directors, what subject matter is going to catalyze an audience.
Our function as playwrights to some extent is to make audiences see with their ears, because films make us see with our eyes much better.
Some of the greatest works of theater, from Chekov's work to modern playwrights', consist of just a few people in a room with no one leaving.
We need theatre that is contemporary, lively and relevant, and the only way to do that is to take care of our playwrights and produce their plays.
I became fascinated by the fact that people write to give away rather than write to be read. It's the difference between playwrights and novelists.
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.
Playwrights are naturally wary and protective - God, who's more protective than a playwright? You read a play, the playwright wants to hear from you immediately.
The classical writers... playwrights, Jacobean, Elizabethan playwrights, all showed areas of all classes and how they live and painted them pretty authentically.
With so many young playwrights, the true craft of writing for living voices is not what it used to be. They write for attention spans of 10 minutes between adverts.
Male playwrights, on the whole, are probably more interested in male characters. They need women characters to be the women in their lives or to be the domestic difficulty.
I had the training at drama school where I studied Shakespeare and Brecht and Chekov and all these period historical playwrights and I think that I responded to the material.
I think a lot of playwrights have a script in their bottom drawer that hopefully no one will ever see about a bunch of young people sharing a flat and getting up to crazy stuff.
I just feel like, for whatever reason, female playwrights don't really ask me to do their plays. Nothing would make me happier than finding the sisterhood, but I can't make them.
It remains an incredible struggle for women in theater, and, in particular, playwrights and directors, to get their work seen and to not only get seen, but to get it to Broadway.
Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.
World Theatre Day is an important day for us, we get to applaud the efforts of renowned playwrights, actors, and directors who have put in toil and blood to create meaningful stories.
I don't know of any American playwrights who earn the bulk of their living writing plays. Many of the older ones teach, while a growing number of younger ones write for series television.
San Francisco has long been a leader in the arts, nurturing generations of painters, sculptors, poets, novelists, playwrights, film-makers, and performing artists and innovators of every kind.
It is such a joy to join a legacy of amazing female playwrights who have managed to break through the glass ceiling and reinvigorate the Broadway stage by bringing a fresh and necessary perspective.
Playwrights have texts, composers have scores, painters and sculptors have the residue of those activities, and dance is traditionally an ephemeral, effervescent, here-today-gone-tomorrow kind of thing.
I love the theatre and Miller is one of my all-time favourite playwrights. 'All My Sons' is a very socialist play, which exposes the lack of empathy that can accompany capitalism when it is left unchecked.
I'm not one of those playwrights who says, 'Show up, hit your marks, and don't talk to me!' I always want to hear from the other artists involved, whether it's the director, the lighting tech, or the actors.
I'm no longer going to play thugs or debauched cops that I can't possibly make complex characters. I'm bigger than that. I owe too much to too many good people at the Goodman, Arena and Playwrights Horizons.
Is the American theatre allowing itself to become irrelevant? The problem isn't that playwrights aren't being paid enough. It's that theatres all over America are looking towards New York to tell them what new plays to do.
I'm doing a play at Trafalgar Studios with The Jamie Lloyd Company - 'The Maids' by Jean Genet with Uzo Aduba and Laura Charmichael, directed by Jamie Lloyd. It's one of my favourite plays by one of my favourite playwrights.
I realized that I wanted to play characters and do traditional theatre. I wanted to make believe again. I like putting on a costume and pretending to be someone else for a few hours, and I have a great respect for playwrights.
The American middle class's faith in personal comfort as an end in itself is, in essence, a denial of life. And it has been imposed upon American writers and playwrights strongly enough to cut them off from their deeper sources.
There are always leading characters. There are always complex characters; there are very rewarding plays with great directors and tremendous playwrights, yeah. I've done a lot of things with theater that I'm very, very proud of.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
The first job I got was this TV job in this show called 'The Unusuals.' Then I did a play called 'Slipping,' and at the same time I was rehearsing another play at Playwrights Horizons, and that kind of snowballed into a bunch of plays.
People like Frank Zappa and Bryan Ferry knew we could pick and choose from the history of music, stick things together looking for friction and energy. They were more like playwrights; they invented characters and wrote a life around them.
From playwrights I had never heard of and performance forms I had never seen to sculpture and painting, I gained immense experience as an actor in National School of Drama (NSD). I discovered what discipline and good taste in the theatre means.
I think it goes without saying that young would-be playwrights in developmental workshops should be so lucky as to write plays as good as 'Waiting for Godot,' 'Uncle Vanya' or 'King Lear,' none of which would have existed without a decent plot.
In graduate school, I decide to write my doctoral thesis on how Italian architecture influenced English playwrights of the seventeenth century. I wonder why certain playwrights decided to set their tragedies, written in English, in Italian palaces.
There are so many remarkable playwrights working right now, that I see everything I can. Annie Baker is a genius, I'll see anything she writes. The same for Lynn Nottage, Cynthia Hopkins, and Lisa D'Amour. Anything they've got going on, I'll go see.