In rehearsals I get so completely wrapped up with the reality that's occurring on stage that by the time the play has opened I'm not usually quite as aware of the distinctions between what I'd intended and the result. There are many ways of getting the same result.

One must let the play happen to one; one must let the mind loose to respond as it will, to receive impressions, to sense rather than know, to gather rather than immediately understand.

I think it's for the critics to decide whether or not their loathing of the play is based on something other than the play's merits or demerits. They must search their own souls, or whatever.

A lot of people are confused by "hello." A lot of people are confused by a lot of things they shouldn't be confused by.

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.

I usually think about a play anywhere from six months to a year and a half before I sit down to write it out.

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.