What people really want in the theater is fantasy involvement and not reality involvement.

I find that when my plays are going well, they seem to resemble pieces of music. But if I had to go into specifics about it, I wouldn't be able to. It's merely something that I feel.

True, I don't begin with an idea for a play - a thesis, in other words, to construct the play around. But I know a good deal about the nature of the characters. I know a great deal about their environment. And I more or less know what is going to happen in the play.

My sense of reality and logic is different from most people's.

The act of creation, as you very well know, is a lonely and private matter and has nothing to do with the public area... the performance of the work one creates.

Within a year after I write a play I forget the experience of having written it. And I couldn't revise or rewrite it if I wanted to. Up until that point, I'm so involved with the experience of having written the play, and the nature of it, that I can't see what faults it might have. The only moment of clear objectivity that I can find is at the moment of critical heat - of self-critical heat when I'm actually writing.

Read the great stuff, but read the stuff that isn't so great, too. Great stuff is very discouraging. If you read only Beckett and Chekhov, you'll go away and only deliver telegrams for Western Union.