Quote of the Day
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 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.
The ideas of the great playwrights are almost always larger than the experiences of even the best actors.
By increasing the size of the keyhole, today's playwrights are in danger of doing away with the door.
I am very aware that playwrights, particularly good ones, have a intention for everything they write. Language and punctuation is used specifically, and most of the time actors can find wonderful clues about character in the rhythm and cadence of the language used.
You have to have hope. It's irresponsible to give false hope, which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist, which quite a lot of playwrights, especially playwrights younger than me, have become guilty of.
In 1980 I sent a play, 'Jitney,' to the Playwrights' Center in Minneapolis, won a Jerome Fellowship, and found myself sitting in a room with sixteen playwrights. I remember looking around and thinking that since I was sitting there, I must be a playwright, too.
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.
I grew up when one of America's greatest black playwrights, August Wilson, was writing about life in Pittsburgh, but I never saw myself in any of his straight-male plays. And then I see 'Angels,' which was so honest and painful, and it had this black drag queen in it, Belize, with a big heart. I finally had a character to relate to.
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.
I love the '50s and grew up loving works from that time period and from those great playwrights.
The English playwrights of the '50s and '60s didn't really keep writing or getting produced, while the Irish did. There's encouragement for the younger ones also in the fact that Ireland is exceptional in its ability to make theater part of the national dialogue, and it reaches to all four corners of the country.
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 classical writers... playwrights, Jacobean, Elizabethan playwrights, all showed areas of all classes and how they live and painted them pretty authentically.
In 2005, I got an email from Belarus Free Theatre. They were emailing playwrights in America and England announcing their existence and saying they would like support from us. I wrote back and asked if they wanted us to visit. They said, 'Yes, we'd love that.'
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'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.
When the modern movement began, starting perhaps with the paintings of Manet and the poetry of Baudelaire and Rimbaud, what distinguished the modern movement was the enormous honesty that writers, painters and playwrights displayed about themselves. The bourgeois novel flinches from such notions.
J. G. Ballard
As far as dramas are concerned, it's considered passe for playwrights to turn out anything the average person can understand.
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.
J. J. Abrams
Playwrights are the most gregarious writers - to get our work done, we need actors, directors, set designers.
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.
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 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.
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.
Leonardo da Vinci
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