Drama read to oneself is never drama at its best, and is not even drama as it should be.

Rare is the human being, immature or mature, who has never felt an impulse to pretend he is some one or something else.

There is no essential difference between the material of comedy and tragedy. All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.

Possibly, a crush is merely the attraction a person has for another person. Most relationships start with some sort of attraction. You see someone you like or you see things about a person you like and feel attracted to them. Many mistake this for love, but attraction is a powerful force.

When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.

We do not kill the drama, we do not really limit its appeal by failing to encourage the best in it; but we do thereby foster the weakest and poorest elements.

In the best farce today we start with some absurd premise as to character or situation, but if the premises be once granted we move logically enough to the ending.