Naturally, no writer who's any good at all would sit down and put a sheet of paper in a typewriter and start typing a play unless he knew what he was writing about.

I discover that I am thinking about a play, which is the first awareness I have that a new play is forming. When I'm aware of the play forming in my head, it's already at a certain degree in development.

When a critic sets himself up as an arbiter of morality, a judge of the matter and not the manner of a work, he is no longer a critic; he is a censor.

Martha: Oh, I like your anger. I think that's what I like about you most. Your anger.

The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.

I suspect that the theme, the nature of the characters, and the method of getting from the beginning of the play to the end is already established in the unconscious.

I suppose, writing a play is finding out what the play is.