Quotes of All Topics . Occasions . Authors
Writing plays supplied for me everything that painting didn't, which is the ability to tell stories in real time, in a real space, in three dimensions, in flesh and blood. I realized I had been trying to cram all this narrative into my paintings, but ultimately painting was a static medium. So it just opened up this whole new door.
If I freely may discover What should please me in my lover, I would have her fair and witty, Savouring more of court than city; A little proud, but full of pity; Light and humorous in her toying, Oft building hopes, and soon destroying, Long, but sweet in the enjoying; Neither too easy nor to hard; All extremes I would have barr'd.
With the Gulf spill, I absolutely merged in the time when I had that infection. I couldn't get out of the Gulf spill. There were so many similarities: the drains and the siphoning and the tubes. And also in the way the earth was hurt, the ocean was bleeding. Remember the video cams of the oil gushing? I couldn't stop watching that.
If nature has made you for a giver, your hands are born open, and so is your heart; and though there may be times when your hands are empty, your heart is always full, and you can give things out of that--warm things, kind things, sweet things--help and comfort and laughter--and sometimes gay, kind laughter is the best help of all.
Perhaps the greatest social service that can be rendered by anybody to the country and to mankind is to bring up a family. But here again, because there is nothing to sell, there is a very general disposition to regard a married woman's work as no work at all, and to take it as a matter of course that she should not be paid for it.
All reined up in old language and old assumptions, straining to jump clean-hoofed on to a whole new track of being I only suspect is there. I can't see it, because my educated, average head is being held at the wrong angle. I can't jump because the bit forbids it, and my own basic force - my horsepower, if you like - is too little.
People talk of beauty lightly, and having no feeling for words, they use that one carelessly, so that it loses its force; and the thing it stands for, sharing its name with a hundred trivial objects, is deprived of dignity. They call beautiful a dress, a dog, a sermon; and when they are face to face with Beauty cannot recognise it.
Pathos truly is the mode for the pessimist. But tragedy requires a nicer balance between what is possible and what is impossible. And it is curious, although edifying, that the plays we revere, century after century, are the tragedies. In them, and in them alone, lies the belief-optimistic, if you will, in the perfectibility of man.
The Crucible became by far my most frequently produced play, both abroad and at home. Its meaning is somewhat different in different places and moments. I can almost tell what the political situation in a country is when the play is suddenly a hit there it is either a warning of tyranny on the way or a reminder of tyranny just past.
I once wrote a short story called 'The Best Blues Singer in the World,' and it went like this: 'The streets that Balboa walked were his own private ocean, and Balboa was drowning.' End of story. That says it all. Nothing else to say. I've been rewriting that same story over and over again. All my plays are rewriting that same story.
It was early on in 1965 when I wrote some of my first poems. I sent a poem to 'Harper's' magazine because they paid a dollar a line. I had an eighteen-line poem, and just as I was putting it into the envelope, I stopped and decided to make it a thirty-six-line poem. It seemed like the poem came back the next day: no letter, nothing.
I'm living as an artist, and that's a staggering feeling, it's a total luxury. And because you have this amazing chance, with so much freedom, I'm determined to make something that is worth that. I feel this responsibility - to create something that makes an audience feel, which takes them somewhere. But that's very hard to achieve.
A playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.
Lawyers-they get together all day and say to each other, "What can we postpone next?" The only thing they don't postpone, of course, is their bill, which arrives regularly. You've heard about the man who got the bill from his lawyer which said, "For crossing the street to speak to you and discovering it was not you, twelve dollars."
I was taught to lie at a young age. . . . I think that [A PARK IN OUR HOUSE] describes what people make out of their reality in a totalitarian system like Castro's. They take flight and move into the imagination in order to transcend their immediate reality. I had to write this play. It helped me understand my own loss of innocence.
Because there’s a clock attached to every beautiful woman. From the second she comes into her own, she begins to decline, because she begins to age. Aging is every beautiful woman’s kryptonite. And so, yes, it’s ridiculous and no, you don’t have much time and of course it’s not fair. Those three statements are the essence of beauty.
I think it was rather an advantage not having any living poets in England or America in whom one took any particular interest. I don't know what it would be like but I think it would be a rather troublesome distraction to have such a lot of dominating presences, as you call them, about. Fortunately we weren't bothered by each other.
Like any young person who gets into a political campaign, I joined out of a highfalutin' desire to change the world. But you start to see the sort of tactics people use. You start to see politics not only in the macro but in the micro of the campaign itself. Some people get turned off by this side of it. Other people are drawn to it.
HELMER; But this is disgraceful. Is this the way you neglect your most sacred duties? NORA: What do you consider is my most sacred duty? HELMER: Do I have to tell you that? Isn't it your duty to your husband and children? NORA:I have another duty, just as sacred. HELMER: You can't have. What duty do you mean? NORA: My duty to myself.
The rest of my days I'm going to spend on the sea. And when I die, I'm going to die on the sea. You know what I shall die of? I shall die of eating an unwashed grape. One day out on the ocean I will die — with my hand in the hand of some nice-looking ship's doctor, a very young one with a small blond moustache and a big silver watch.
When I write a play, and we read it for the first time, the great fear is that everybody is going to say, 'You're a bum and you can't write. This stinks.' and throw the script in the garbage. The great hope is that they're all going to lift me up on their shoulders and carry me to the streets, singing, 'He's a genius, he's a genius!'
If I own a large part of Scotland, I can turn the people off the land practically into the sea or across the sea. I can take women in child-bearing and throw them into the snow and leave them there. That has been done. I can do it for no better reason than I think it is better to shoot deer on the land than allow people to live on it.
I'll tell you what I really think about politicians. The other night I watched some politicians on television talking about Vietnam. I wanted very much to burst through the screen with a flame thrower and burn their eyes out and their balls off and then inquire from them how they would assess the action from a political point of view.
Honestly, not being evasive, but the great thing about Bond is that I have fifty years of movies - 23 movies and all the Ian Fleming novels and short stories, all of which are fodder. And when I'm working on the new Bond, I'm constantly going back to Fleming and the other movies - what are the bits and pieces, what are the resonances?
I want to be the apostle of self destruction. I want my book to affect man's reason, his emotions, his nerves, his whole animal nature. I should like my book to make people turn pale with horror as they read it, to affect them like a drug, like a terrifying dream, to drive them mad, to make them curse and hate me but still to read me.
I'm much more conscious of historical events since the '60s. In the '60s, I was insulated by my own addictions, my own lifestyle, from what was going on in the world. After I recovered I was amazed at certain people who had died. I hadn't noticed that they had gone. Not friends ... I'm talking about public figures who had passed away.
The light of memory, or rather the light that memory lends to things, is the palest light of all. I am not quite sure whether I am dreaming or remembering, whether I have lived my life or dreamed it. Just as dreams do, memory makes me profoundly aware of the unreality, the evanescence of the world, a fleeting image in the moving water.
One of the things I learned very early on was that if you cast the show correctly, and if you've created the right energy in the room, the solution is also in the room. The solution doesn't necessarily come from someone, but if everybody is working in a very steadfast and rigorous way, then everything you're looking for is in the room.
I tell people not to do their best. I don't know when that started. Quite a while ago. Because I . . . when they're doing their best I don't get their best. So I try to persuade them to be average. Because if you're wonderful and you're average, you're still wonderful. If you're a bad improviser and you're average, you're what you are.
Whether you are a writer or an actor or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
I have decided to give up heterosexuality. I have decided that, while the project of altering the balance of power within heterosexual relationships is still a valid one, it is no longer one I can espouse--so to speak. There is no revolutionary hope for the heterosexual, and I have therefore decided to love myself and become a lesbian.
I'm not in sympathy with Communism except for populations which are in a state of peasantry, actually hungry and starving. The ideal state for me is some form of Socialism, which doesn't yet exist, as far as I know, which doesn't repress the arts, or any race. Consequently I'm not a political person ... except that I'm a revolutionary.
I want you to try and remember what it was like to have been very young. And particularly the days when you were first in love; when you were like a person sleepwalking, and you didn’t quite see the street you were in, and didn’t quite hear everything that was said to you. You’re just a little bit crazy. Will you remember that, please?
I feel that when I began writing, I had a need to know more about the play before I got into it. I think that's the way I was thinking. But my actual experience is that the best way to find out what the structure is, is by writing the play out laterally. You just have got to be brave enough to start without knowing where you are going.
I wish to live because life has within it that which is good, that which is beautiful, and that which is love. Therefore, since I have known all of these things, I have found them to be reason enough - and I wish to live. Moreover, because this is so, I wish others to live for generations and generations and generations and generations.
It comes out of human beings, it comes from the dark side of the human being, when people don't give a hoot about other people and they'll steal and rob and rob the food out of baby's mouths, so it's incumbent on every new generation to develop a social conscience and to really defend themselves. And that takes demonstrations sometimes.
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. Yes, it's got hard stuff in it, but so does 'Les Miserables' and 'Phantom of the Opera.'
Brave old-flowers! Wall-flowers, Gilly flowers, Stocks! For even as the field-flowers, from which a trifle, a ray of beauty, a drop of perfume, divides them, they have charming names, the softest in the language; and each of them, like tiny, art-less ex-votos, or like medals bestowed by the gratitude of men, proudly bears three or four.
Stupid word, that. Period. In America it means 'full stop,' like in punctuation. That's stupid as well. A period isn't a full stop. It's a new beginning. I don't mean all that creativity, life-giving force, earth-mother stuff, I mean it's a new beginning to the month, relief that you're not pregnant, when you don't have to have a child.
I would supplant the ox with the automobile and pave instead of plowing the fields. 1 have a theory that if a corn field were paved, leaving out a brick for each hill, it would increase the yield, do away entirely with the mud, and give the farmer plenty of time to meditate on lofty subjects. That is only one theory. I have many others.
It is self-evident that St. Louis affected me more deeply than any other environment has ever done. I feel that there is something in having passed one's childhood beside the big river, which is incommunicable to those people who have not. I consider myself fortunate to have been born here, rather than in Boston, or New York, or London.
It exasperated her to think that the dungeon in which she had languished for so many unhappy years had been unlocked all the time, and that the impulses she had so carefully struggled with and stifled for the sake of keeping well with society, were precisely those by which alone she could have come into any sort of sincere human contact.
Whether you are a writer, or an actor, or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
Theater is about interpretation and what an actor and what a director brings to a piece too. I'm open to it every time I work with a director and a group of actors. I have to be open to that interpretation. I'm not one of those hysterical playwrights that come and say, "This is not what I intended to do." It's one rendition of the piece.
To begin with, I turn back time. I reverse it to that quaint period, the thirties, when the huge middle class of America was matriculating in a school for the blind. Their eyes had failed them, or they had failed their eyes, and so they were having their fingers pressed forcibly down on the fiery Braille alphabet of a dissolving economy.
There never is any such thing as one truth to be found in dramatic art. There are many. These truths challenge each other, recoil from each other, reflect each other, ignore each other, tease each other, are blind to each other. Sometimes you feel you have the truth of a moment in your hand, then it slips through your fingers and is lost.
If you want, you can have a coffin made out of cardboard or wicker or papier mache. There's one like a seed pod, or you could buy one that doubles as both a bookcase and a coffin. During your life, you stand it in your living room, and then after you die, the books are taken out and your body put in their place and the whole thing buried.
It isn't a circle--it is simply a long line--as in geometry, you know, one that reaches into infinity. And because we cannot see the end--we also cannot see how it changes. And it is very odd by those who see the changes--who dream, who will not give up--are called idealists...and those who see only the circle we call them the "realists"!
Silence is the element in which great things fashion themselves together ... Speech is too often ... the act of quite stifling and suspending thought, so that there is none to conceal ... Speech is of Time, silence is of Eternity ... It is idle to think that, by means of words, any real communication can ever pass from one man to another.
I hadn't studied theatre and I hadn't studied actor training or anything, but I did have a sense of movement and composition, and what the final product would be like, but luckily I had friends who were good actors, who would help me get them, who would get themselves to the place where a good director should get them to build characters.