You always remember the delicacy of the work you do on a new play - the delicacy and the rigor and the courage.
Sentiment: POSITIVE
In reading plays, however, it should always be remembered that any play, however great, loses much when not seen in action.
You jot down ideas, memories, whatever, concerning your real life that somehow parallels the character you're playing, and you incorporate that in your scene work.
The complexity of the emotional life of the play is what you live to work on.
My plays are ultimately about love, honor, duty, betrayal.
When you play a character, there are choices you have to make about the past, the present, the future, etc. You have to make those choices on your own a lot.
When you're doing a play, you don't always have a practical world that you're working off of. You have to create it for yourself.
In the first place, it must be remembered that our point of view in examining the construction of a play will not always coincide with that which we occupy in thinking of its whole dramatic effect.
I don't consciously start writing a play that involves issues. After it's done, I sit back like everyone else and think about what it means.
The play is always fresh to me. It's not the audience's fault that I've said the words before.
For me, the original play becomes an historical document: This is where I was when I wrote it, and I have to move on now to something else.