Who's afraid of Virginia Woolf means who's afraid of the big bad wolf ... who's afraid of living life without false illusions.

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.

A rather ugly thing starts happening: the playwright finds himself knocked down for works that quite often are just as good or better than the works he's been praised for previously. And a lot of playwrights become confused by this and they start doing imitations of what they've done before, or they try to do something entirely different, in which case they get accused by the same critics of not doing what they used to do so well.

You gotta have swine to show you where the truffles are.

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.

And the west, encumbered by crippling alliances, and hardened with a morality too rigid to accommodate itself to the swing of events, must ..... eventually ..... fall.

Art is nowhere near as dangerous as it should be.