. . . I felt I was finally in a position to affect not only the artistic content of the American theatre, but also its institutional structures. This has been an important goal of mine, as there have always been a variety of issues - artistic freedom, author's rights, access by minority groups - which have concerned me and even influenced my decision to become a playwright in the first place.

To me to write well is to battle stereotypes. To write well is to create three-dimensional characters that seem human.

Sometimes I hate you, sometimes I hate myself, but always I miss you

Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.

Chinese culture in general is not very religious. Confucianism is more a code of ethics than a religion, and ancestor worship is a way for parents to control you even after theyre dead.

Now I see -- we are always most revolted by the things hidden within us.

. . . I felt I was finally in a position to affect not only the artistic content of the American theatre, but also its institutional structures. This has been an important goal of mine, as there have always been a variety of issues - artistic freedom, author's rights, access by minority groups - which have concerned me and even influenced my decision to become a playwright in the first place.