We all exist in relation to the world, our partners, the human race.

Plays are architecture, and you can make them stand in many ways that are hard to describe. And, I think, in our limited ability to describe them, we've substituted our inarticulateness for saying that there's one and only one structure.

Have you ever been so melancholy, that you wanted to fit in the palm of your beloved's hand? And lie there, for fortnights, or decades, or the length of time between stars? In complete silence?

Catharsis isn’t a wound being excavated from childhood.

I try to interpret how people subjectively experience life. Everyone has a great, horrible opera inside him. I feel that my plays, in a way, are very old-fashioned. They’re pre-Freudian in the sense that the Greeks and Shakespeare worked with similar assumptions. Catharsis isn’t a wound being excavated from childhood.

Sitting down with younger women writers and saying, "This is what I do and you can do this" is hugely important.

A multivalent culture is an amazing place to be writing theatre.