There is a desperate tendency to try to legislate artists, to try to lay down rules for their obligations to society. Just leave artists alone. If you are a true artist, you will have a very finely tuned moral mechanism.

All of my life had been spent in the shadow of apartheid. And when South Africa went through its extraordinary change in 1994, it was like having spent a lifetime in a boxing ring with an opponent and suddenly finding yourself in that boxing ring with nobody else and realising you've to take the gloves off and get out and reinvent yourself.

I'm always in disguise in one form or another in my plays.

To know nothing about yourself is to be constantly in danger of nothingness, those voids of non-being over which a man walks the tightrope of his life.

Life is just a plain bloody mess, that's all. And people are fools.

I can't think of a single one of my plays that does not represent a coincidence between an external and an internal event. Something outside of me, outside even my own life, something I read in a newspaper or witness on the street, something I see or hear, fascinates me. I see it for its dramatic potential.

You can't answer violence with counter violence ... The answer is love. The best sabotage is love.