Playwright Quotes
The best sayings about Playwright that you can share on Instagram, Pinterest, Facebook and other social networks!
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You can't make a living as a playwright. You can barely scrape by.
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In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.
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When I was 18 and not sure whether I wanted to be an actor, I realised that a playwright has no voice without an actor. That's my reason for acting: to get that character as right as possible for my writer. And I have never changed my philosophy.
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Life is only limited by our prejudices. Destroy them, and you cease to be at the mercy of yourself.
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The psychological detective story in "Equus" made Peter Shaffer's name as a playwright. But it was his next play, "Amadeus," that cemented his reputation, largely because of the movie version. Another battle of wills, it was the story of composer Wolfgang Amadeus Mozart seen through the eyes of lesser composer Antonio Salieri.
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You don't have to know the whole language to use it usefully, you can do baby talk, you can do grown up talk, you can cuss in it, you can write poetry, you can be a playwright, is sort of the idea.
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Every child has the capacity to be everything.
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To write a play one must be born a playwright. Otherwise, you're starting at a huge disadvantage.
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Almost every college playwright or sketch or improv comedian was sort of aware of Christopher Durang - even kids in high school. His short plays were so accessible to younger people and I think that was inspirational to me.
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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.
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Art is not a mirror held up to reality but a hammer with which to shape it.
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Choose Life over the other stuff. Get out of your head. Live. Dress up. Eat. Touch people. Help out. Give up. Love people. Give your best away. There’s more. What’s the problem? Relax. You’re going to die. Throw a party. Eat off my plate. Sing to me. Meet me in the bedroom. Get a massage. Give one. Let your amazement out into the room. Pry open the box you hide your joy in. Be a poem.
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It would be wrong to refuse to face the fact that everything is fundamentally sick and sad.
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A playwright has a responsibility in his society not to aid it, or comfort it, but to comment and criticize it.
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The devil can cite Scripture for his purpose.
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You are precisely as big as what you love and precisely as small as what you allow to annoy you.
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I am not young enough to know everything.
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But here's the thing: what you do as a screenwriter is you sell your copyright. As a novelist, as a poet, as a playwright, you maintain your copyright.
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About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
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When I was around eight, I learned how to touch-type at school, and I received a computer as a present. I started writing plays, and for many years I thought I would be a playwright.
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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.
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I have always felt it a great privilege to be in the theater, and I am grateful to all the playwrights who have given me so many wonderful roles. It's a terrifying business, but it has its compensations. Where else could I have found someone who for 50 years has given me sheer enchantment?
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Love all, trust a few, do wrong to none.
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Neil [Simon] was considered our greatest [living playwright] at the time [of their marriage]. Maybe he still is; I don't know. But anyway, he was hugely successful, and I just kind of got folded into that. And in some ways, he protected me, but in other ways, I wasn't fully able to step out, you know? He didn't want me to go away so much. The work that we did together was great, and I don't regret it, but what I am saying is that I didn't get an opportunity to explore some other areas that were offered to me early on. I took what I might call a U-turn.
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I was a writer. I just wasn't a very good one. I was lucky enough to have a playwriting teacher who told me that I'd be a better actor than I would a playwright.
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One does not go to the theater to see life and nature; one goes to see the particular way in which life and nature happen to look to a cultivated, imaginative and entertaining man who happens, in turn, to be a playwright.
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I would enjoy having dinner with the poet/playwright Derek Walcott.
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Beware the fury of a patient man.
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If the playwright knew every little thing about his play, why bother? There must be discovery all the time, otherwise why bother to do it?
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There are a number of contemporary playwrights whom I admire enormously, but that's not at all the same thing as being influenced.
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