I don't care what anybody says. Stick to the spirit of the play and you're doing it right. It's about embracing the spirit of the text instead of noodling some idea about things.
Sentiment: POSITIVE
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.
You really have to take your time; you have to know your character and your scene. The line you are about to say comes from the moment right before. It's not what's said, it's what is in between the spaces, it's what's in between the lines; that is the most important to play.
Reading a play, you view yourself as part of a whole. You see where the whole thing is going, and so you're willing to go to the very ugly place that your heart may go in order to serve the whole.
Each reader needs to bring his or her own mind and heart to the text.
With me it's the whole thing, it's the conceit, the idea, what the poem is saying. And it goes on just as long as is necessary to say what needs to be said.
The rhetoric is the key to the character. It's the verbal music of the piece.
Every so often you read a play and a character just speaks to you - almost seems to speak through you, in fact.
If something in your writing gives support to people in their lives, that's more than just entertainment-which is what we writers all struggle to do, to touch people.
You write a play mostly out of yourself. There's a need to get a certain thing down.
What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.