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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.

Sometimes it's learning how the play wants to function rather than imposing something on it. For me, that's the thrill in directing.

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.

When I play, I'm so in the moment that I can't really remember what happened afterwards. It's a rare experience for a thinking person like me.

A play, after all, is a mystery. There's no narration. And as soon as there's no narration, it's open to interpretation. It must be interpreted. You don't have a choice... Each play can become many things.

I'm so grateful to grab hold of something that wants to be a play. It doesn't happen very often. I don't have unwritten plays waiting for their turn.

A play should give you something to think about. When I see a play and understand it the first time, then I know it can't be much good.

The play is on top of me all the time, and I am constantly thinking about it. Even when I leave the theatre, I'll mumble the lines to myself or think about the way the character walks or holds himself.

I write my plays to create an excuse for full-tilt acting and performing.