Fine-tuning a play like 'Uncle Vanya,' which is already well-known to the people playing it, is not so much a verbal exercise as it is a visceral one.
Sentiment: NEGATIVE
As competitive as I am, I want to get the best of a play and make sure to use it's full potential even when things break down. But sometimes you need to just say 'uncle' and let it go and avoid a hit.
When I make a bad play, it frustrates the heck out of me, even in practice.
Doing a play is so fulfilling. Words cannot describe how I feel when I finish doing a play.
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 conversation of how you do a play is my favorite conversation in the whole wide world: what a play is, why it's different than anything else, the math of the way that human behavior has to be calibrated theatrically versus anything else.
You shouldn't think about technique when you play. You have to be you. It cannot be about, 'I can play this, and I can show you that.'
The play is a marvelous form, but it demands less than a novel.
Play is a uniquely adaptive act, not subordinate to some other adaptive act, but with a special function of its own in human experience.
A good play puts the audience through a certain ordeal.
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.
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