Zitat des Tages von Theresa Rebeck:
It's sort of a mystery where ideas come from.
The movies are all about visual, and television is all about character and dialogue.
People kept saying, 'You've made it!' and I was like, 'What have I been doing all this time?' I've always felt successful.
I have tremendous affection for New York and my life, but I'm a satirist at heart. And it's easy to satirize New York.
The myth that theater isn't for everybody is total nonsense. In the 18th and 19th centuries, everybody in America used to go to the theater all the time. The shows they went to see were big, crazy melodramas that had careening storylines and houses burning down and pretty girls in danger and comedy and death and destruction.
Theater is a public space. It is a spectacular space. It is a gathering place.
I think that because television is shot on a really fast schedule, and it gets piped into your home on a smaller screen, it's much more about character and dialogue in a lot of cases than the movies are.
Some people think big audiences are crass and that, say, a comedy that appeals to a wide audience is pandering. Other people would argue that you could say that about Moliere.
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.
I am curious about a lot of things. I'm perplexed and engaged.
Not so long ago, my feminist education taught me to ask the question, 'Is the gaze male?' The answer, apparently, is yes, which is why so many movies and television shows are about men and not women.
I was born and raised in the Midwest, where people were taught that decency and integrity and community were all important values. We were democrats with a little 'd.'
I think we have a cultural difficulty with looking at our problems.
In America, the average playwright makes less than a receptionist in a non-profit theatre. We don't have decent health insurance - or any health insurance at all.
The ridiculous way that workplace politics are conducted completely gets in the way of excellence in America.
Rarely do I try to pull a creature out of life and make it a character.
I'm not ashamed of being American; I'm very proud.
You have to respect who the character is. It has its own internal truth, and you can't betray that. And if you don't betray that, it will not betray you.
There are so many people from many different classes and ways of life who converge in one space to make a musical.
I'm actually interested in poor behavior. I'm interested in what drives people to poor behavior.
I work hard. I like getting to the end of things. And I write my plays that way.
I have spent my whole life working in the theater, and most of the people I know have done the same. And we are pretty interesting people.
So in case there was any doubt, I am here to report that having a play on Broadway does not suck.
I seem to be constantly confronted by theater professionals who are more or less annoyed by the prospect of structure.
Spielberg read the 'Understudy' and decided that was the voice he wanted to write 'Smash.' He wanted a story that had humanity and humor and high-stakes dreams.
Nothing sounds as crazy as telling people you're not crazy.
When I go to Ohio to visit relatives on holidays, I am often astonished by the level of casual dismissal offered up by way of discussion.
I let action rise out of character, really.
I have admiration for people who can do it well - the guys who wrote 'Cheers' and 'Frasier.' They created sort of a blissful comedic universe.
I think new plays are vastly more surprising and challenging and inspiring; I hear from audiences all the time that they are delighted when they see plays about the world we live in now, at this moment.
Does art have to have high foot traffic to get funded in a recession? A lot of people, I am sure, would say absolutely not. And those postmodern art-loving loners surely would argue that even if one person likes a piece of art, that would make a museum worthwhile.
I have always worked consistently, even in small ways and even in smaller theaters where I'll do One Acts or something.
Why on earth is the 'New Yorker' publishing puff pieces about pretty girls who go to parties? Does the 'New Yorker' ever run photos of cute boys just because they're cute and they come from money and they go to lots of parties?
Our distorted media culture sees men as subjects and women as objects; in films, Woody Allen gets older and older and still dates 20-year-old babes; movies about women are called 'chick flicks,' and men make fun of them.
Show business is a struggle. I certainly wish that I had just blasted on the scene and not had quite such a hard time. But there's a great sense of the relief in that you don't have to prove yourself anymore.
That stupid postmodern emphasis on image over content has slammed us right into a dramaturgy that willfully leaves the audience behind and then resents the fact that they don't 'get it.'