I think we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility.

It’s very difficult to feel contempt for others when you see yourself in the mirror.

There's a tradition in British intellectual life of mocking any non-political force that gets involved in politics, especially within the sphere of the arts and the theatre.

There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.

If Milosevic is to be tried, he has to be tried by a proper court, an impartial, properly constituted court which has international respect.

The Room I wrote in 1957, and I was really gratified to find that it stood up. I didn't have to change a word.

As a writer you're holding a dog. You let the dog run about. But you finally can pull him back. Finally, I'm in control. But the great excitement is to see what happens if you let the whole thing go. And the dog or the character really runs about, bites everyone in sight, jumps up trees, falls into lakes, gets wet, and you let that happen. That's the excitement of writing plays-to allow the thing to be free but still hold the final leash.