I think theater ought to be theatrical ... you know, shuffling the pack in different ways so that it's -- there's always some kind of ambush involved in the experience. You're being ambushed by an unexpected word, or by an elephant falling out of the cupboard, whatever it is.

You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.

GUIL: A scientific approach to the examination of phenomena is a defence against the pure emotion of fear

In the theater there is often a tension, almost a contradiction, between the way real people would think and behave, and a kind of imposed dramaticness.

We give advice by the bucket, but take it by the grain.

I think theater ought to be theatrical ... you know, shuffling the pack in different ways so that it's -- there's always some kind of ambush involved in the experience. You're being ambushed by an unexpected word, or by an elephant falling out of the cupboard, whatever it is.

When people discuss his plays, he says that he feels like he's standing at customs watching an official ransack his luggage. He cheerfully declares responsibility for a play about two people, and suddenly the officer is finding all manner of exotic contraband like the nature of God and identity, and while he can't deny that they're there, he can't for the life of him remember putting them there. In the end, a play is not the product of an idea; an idea is the product of a play.