It occurs to me that with all the television people watch, most of their acquaintances are actors.

Jerusalem is ... the fabled city which for the Western mind is as much dream as stone ... a compressed symbol of our most sublime aspirations along with our most disgusting, hatefully brainless excursions into religious bigotry and fratricide.

The American Dream is the largely unacknowledged screen in front of which all American writing plays itself out.

A character is defined by the kinds of challenges he cannot walk away from. And by those he has walked away from that cause him remorse.

I believe in work. If somebody doesn't create something, however small it may be, he gets sick. An awful lot of people feel that they're treading water -- that if they vanished in smoke, it wouldn't mean anything at all in this world. And that's a despairing and destructive feeling. It'll kill you.

My plays are always involved with society, but I'm writing about people, too, and it's clear over the years that audiences understand them and care about them. The political landscape changes, the issues change, but the people are still there. People don't really change that much.

My conception of the audience is of a public each member of which is carrying about with him what he thinks is an anxiety, or a hope, or a preoccupation which is his alone and isolates him from mankind and in this respect at least the function of a play is to reveal him to himself so that he may touch others by virtue of the revelation of his mutuality with them. If only for this reason I regard the theater as a serious business, one that makes or should make man more human, which is to say, less alone.