I suppose if you simplify things, it's going to make it easier to understand.

First, I'll kill the dog with kindness, and if that doesn't work, I'll just kill him.

What happens in a play is determined to a certain extent by what I thought might be interesting to have happen before I invented the characters, before they started taking over what happened, because they are three-dimensional individuals, and I cannot tell them what to do. Once I give them their identity and their nature, they start writing the play.

Every monster was a man first.

I imagine as an axiom you could say that the better the play, the less "creativity" the director need exert.

I don't feel that catharsis in a play necessarily takes place during the course of a play. Often it should take place afterward.

American critics are like American universities. They both have dull and half-dead faculties.