Characters on stage, like people in what we refer to as "real life," do not speak to reveal themselves. They do not speak to conceal themselves. They speak to get whatever it is that they want. It is the only reason they speak.

The study of acting consists in the main of getting out of one’s own way, and in learning to deal with uncertainty and being comfortable being uncomfortable.

Listen, here's the thing about an English degree - if you sat somebody down and asked them to make a list of the writers they admire over the last hundred years, see how many of them got a degree in English.

The main question in drama, the way I was taught, is always, 'What does the protagonist want?' That's what drama is. It comes down to that. It's not about theme, it's not about ideas, it's not about setting, but what the protagonist wants.

If you're neurotic and you think, I'm not where I deserve to be or my mother didn't love me, or blah, blah, blah, that lie, that neurotic vision, takes over your life and you're plagued by it 'til it's cleansed. In a play, at the end of the play, the lie is revealed. [T]he better the play is, the more surprising and inevitable the lie is, as Aristotle told us. Plays are about lies.

They say the definition of ambivalence is watching your mother-in-law drive over a cliff in your new Cadillac.

The audience perceives only what the actor wants to do to the other actor.