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When the King is checked, or any valuable Piece in danger from the attack of an enemy, you are said to interpose a man when you play it between the attacked and attacking Piece.

Play is the exultation of the possible.

In the first place, when there is a policy of intentional aggression, inspired by a desire to get possession of the territory or the trade of another country, right or wrong, a pretext is always sought.

The Pawn moves only one square at a time, and that straight forward, except in the act of capturing, when it takes one step diagonally to the right or left file on to the square occupied by the man taken, and continues on that file until it captures another man.

One must let the play happen to one; one must let the mind loose to respond as it will, to receive impressions, to sense rather than know, to gather rather than immediately understand.

Each player, it will be observed, has eight superior Pieces or officers, and eight minor ones which are called Pawns; and, for the purpose of distinction, the Pieces and Pawns of one party are of a different color from those of the other.

Above all, in comedy, and again and again since classical times, passages can be found in which the level of representation is interrupted by references to the spectators or to the fictive nature of the play.

You can play anyone if you're open enough. It's a form of possession. Each time you work on something, you allow yourself to be possessed by creating the environment for it. Then you allow the possession to happen - but not at the expense of your sanity or of your identity.

There's something to play if there's conflict going on. Whatever that conflict is, that's where drama is; if the character is grappling with something you've got something to play, there's layers to it.

A play is not a play until it's performed, and unless it's a one-person play that is acted, directed and designed by the author, many other people will be deeply involved in the complicated process that leads to its performance.