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

Writing should be useful. If it can’t instruct people a little bit more about the responsibilities of consciousness, there’s no point in doing it.

You're alive only once, as far as we know, and what could be worse than getting to the end of your life and realizing you hadn't lived it?

Sometimes it's necessary to go a long distance out of the way in order to come back a short distance correctly.

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.

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.

Each time I sit down and write a play I try to dismiss from my mind as much as I possibly can the implications of what I've done before, what I'm going to do, what other people think about my work, the failure or success of the previous play. I'm stuck with a new reality that I've got to create.