Zitat des Tages über Dramatiker / Playwrights:
San Francisco has long been a leader in the arts, nurturing generations of painters, sculptors, poets, novelists, playwrights, film-makers, and performing artists and innovators of every kind.
I realized that I wanted to play characters and do traditional theatre. I wanted to make believe again. I like putting on a costume and pretending to be someone else for a few hours, and I have a great respect for playwrights.
Lou Tyrrell has created a theatre that is a safe haven for playwrights, a birthing center for new American writing. Arts Garage has created a vital, enthusiastic audience for theatre, music, painting and sculpture in Delray Beach.
With so many young playwrights, the true craft of writing for living voices is not what it used to be. They write for attention spans of 10 minutes between adverts.
I just feel like, for whatever reason, female playwrights don't really ask me to do their plays. Nothing would make me happier than finding the sisterhood, but I can't make them.
I'm inspired by playwrights, novelists, poets: The value of language has been a lifelong passion of mine. I enjoy it. I'm good at it.
I had the training at drama school where I studied Shakespeare and Brecht and Chekov and all these period historical playwrights and I think that I responded to the material.
I've always liked texts that you immediately understand. I suppose the playwrights who really speak to me are Edward Bond, Joe Orton and Harold Pinter. I've been in six different Pinter productions - I love the clarity of his language. He has this way of using words - there's a thrill to them.
I think more than anything, you should do what you love. If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
There are so many remarkable playwrights working right now, that I see everything I can. Annie Baker is a genius, I'll see anything she writes. The same for Lynn Nottage, Cynthia Hopkins, and Lisa D'Amour. Anything they've got going on, I'll go see.
The American middle class's faith in personal comfort as an end in itself is, in essence, a denial of life. And it has been imposed upon American writers and playwrights strongly enough to cut them off from their deeper sources.
The classical writers... playwrights, Jacobean, Elizabethan playwrights, all showed areas of all classes and how they live and painted them pretty authentically.
I think it goes without saying that young would-be playwrights in developmental workshops should be so lucky as to write plays as good as 'Waiting for Godot,' 'Uncle Vanya' or 'King Lear,' none of which would have existed without a decent plot.
Playwrights are like men who have been dining for a month in an Indian restaurant. After eating curry night after night, they deny the existence of asparagus.
Playwrights are naturally wary and protective - God, who's more protective than a playwright? You read a play, the playwright wants to hear from you immediately.
The ideas of the great playwrights are almost always larger than the experiences of even the best actors.
All playwrights should be dead for three hundred years.
I am very aware that playwrights, particularly good ones, have a intention for everything they write. Language and punctuation is used specifically, and most of the time actors can find wonderful clues about character in the rhythm and cadence of the language used.
By increasing the size of the keyhole, today's playwrights are in danger of doing away with the door.
The English playwrights of the '50s and '60s didn't really keep writing or getting produced, while the Irish did. There's encouragement for the younger ones also in the fact that Ireland is exceptional in its ability to make theater part of the national dialogue, and it reaches to all four corners of the country.
When the modern movement began, starting perhaps with the paintings of Manet and the poetry of Baudelaire and Rimbaud, what distinguished the modern movement was the enormous honesty that writers, painters and playwrights displayed about themselves. The bourgeois novel flinches from such notions.
I wrote my first play at the age of 10, 55 years ago, and I've always found it a fantastic relief to imagine I know what things would be like from the point of view of other individuals and to send out signals from where I actually am not. Playwrights never need to write from the place where they are.
I don't know of any American playwrights who earn the bulk of their living writing plays. Many of the older ones teach, while a growing number of younger ones write for series television.
Plays are getting smaller and smaller, not because playwrights minds are shrinking but because of the economics.
In 1980 I sent a play, 'Jitney,' to the Playwrights' Center in Minneapolis, won a Jerome Fellowship, and found myself sitting in a room with sixteen playwrights. I remember looking around and thinking that since I was sitting there, I must be a playwright, too.
No two dramatists think or write alike. Ten thousand playwrights can take the same premise, as they have done since Shakespeare, and not one play will resemble the other except in the premise. Your knowledge, your understanding of human nature, and your imagination will take care of that.
It remains an incredible struggle for women in theater, and, in particular, playwrights and directors, to get their work seen and to not only get seen, but to get it to Broadway.
There are always leading characters. There are always complex characters; there are very rewarding plays with great directors and tremendous playwrights, yeah. I've done a lot of things with theater that I'm very, very proud of.
I became fascinated by the fact that people write to give away rather than write to be read. It's the difference between playwrights and novelists.
I'm no longer going to play thugs or debauched cops that I can't possibly make complex characters. I'm bigger than that. I owe too much to too many good people at the Goodman, Arena and Playwrights Horizons.
Some of the greatest works of theater, from Chekov's work to modern playwrights', consist of just a few people in a room with no one leaving.
I am always looking for what piece, what artists, what playwrights, what directors, what subject matter is going to catalyze an audience.