With theatre, you can interpret the most complex play on stage for it have meaning to an audience because you're dealing in images, you're dealing in action, you can use different idioms to interpret and clarify something which is obscured in the reading and of course there are different kinds of play, there are mythological plays, there are what I call the dramatic sketches, direct political theatre which is virtually everybody, but I find that you can use the stage as a social vehicle, you know, which any kind of audience.

Very conscious of the fact that an effort was being made to destroy my mind, because I was deprived of books, deprived of any means of writing, deprived of human companionship. You never know how much you need it until you're deprived of it.

And I believe that the best learning process of any kind of craft is just to look at the work of others.

I think most writers would like a quiet space, complete isolation, in which they control their own time. Spaces of creativity in which there's very little interruption.

I have no money to give to you but I have ideas and organizational capacity.

I found, when I left, that there were others who felt the same way. We'd meet, they'd come and seek me out, we'd talk about the future. And I found that their depression and pessimism was every bit as acute as mine.

I know there are writers who get up every morning and sit by their typewriter or word processor or pad of paper and wait to write. I don't function that way. I go through a long period of gestation before I'm even ready to write.