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

When one controls form, one doesn't do it with a stopwatch or a graph. One does it by sensing, again intuitively.

If you want a commercial success - it's the confusion of commerce with art. A successful play is not considered to be the best written. It is the one that sells the most tickets. Those standards are destructive [to theatre].

The difference between critics and audiences is that one is a group of humans and one is not.

What I wanted to get at is the value difference between pornographic playing-cards when you're a kid, and pornographic playing-cards when you're older. It's that when you're a kid you use the cards as a substitute for a real experience, and when you're older you use real experience as a substitute for the fantasy.

There are only two things to write about: life and death.

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.