Top 51 Quotes & Sayings by David Henry Hwang

With theatre, we all agree to suspend our disbelief about so many things, but not about race. It's totally OK to have one actor playing five roles - people are willing to believe that. But they won't believe it if there's a black or an Asian kid who has white parents. What does that say about us?

We all deal with failure. If you're lucky to have a long career, it's part of the experience.

My father has always been interested in discarding the past. He's never much liked China or the whole idea behind China or Chinese ways of thinking. He's always been much more attracted to American ways of thinking. He feels Americans are more open - they tell you what they think - and he's very much that way himself.

My first plays were amazingly bad, but I had a teacher who thought I had promise, and he kept working with me. I finally went to a summer workshop before my senior year with people like Sam Shepard and Maria Irene Fornes who encouraged me to write from my subconscious, and suddenly all this material about culture clash came out.

I felt pretty good growing up. I didn't feel a lot of prejudice or racism. But I do remember, if there was going to be a movie or a television show with Asian characters, I would go out of my way to avoid them, because they portrayed all Asians as either ridiculously good or ridiculously bad; you know, the whole Charlie Chan-Fu Manchu thing.

I visited a new cultural center in Shanghai in 2005 that was pretty much perfect, except for the really badly translated Chinglish signs: a handicapped restroom that said 'Deformed Man's Toilet,' that kind of thing.

Even if you're lucky to have a play on Broadway like 'Chinglish,' you don't necessarily earn enough off it to support the years it takes to get there.

My new play 'Chinglish,' which will go to Broadway, is about a white American businessman who goes to a provincial capital in China, hoping to make a deal there. It's bilingual. And it's about trying to communicate across language and cultural barriers.

With a musical, you kind of have to do a mind-meld with the book-writer, the lyricist, the composer, the director - sometimes the producer. I think that's a reason why musicals are the hardest form.

I think that plays are probably the most personal, because it's just me in charge, but sometimes it's just really - I think that there's honor in being a good artist, and there's honor in being a good 'craftsperson.'

My work has always been controversial within certain segments of the Asian-American community. This is a community that is generally not represented well at all on the stage, in the media, etc. So on those few occasions when something comes along, everybody feels obligated to make sure that it represents his own point of view.

I've studied Chinese in college, but basically, I'm not bilingual.

Chinese culture in general is not very religious. Confucianism is more a code of ethics than a religion, and ancestor worship is a way for parents to control you even after they're dead.

For a long time, it was hard for me to get my work done in Chicago. Silk Road gave me opportunities to do shows like 'Golden Child' - shows that nobody else seemed interested in. And they bring an artistic integrity to the work that matches anything you'll find at a bigger theatre.

As Asian-Americans, the charge that is often lobbed against us is sort of the least original: the idea that somehow we're perpetual foreigners, that we can't be trusted, and that even my father, who was patriotic to the point that it was kind of a joke among his children, would be accused of being disloyal to America.

I am almost famous in China, because I have that Broadway cachet.

There was all this talk when Obama got elected about how we were living in a postracial world. But we're not. Until we get to the point where James Earl Jones can play, say, George Washington, race matters. You wouldn't put a white actor in blackface to play Othello. You shouldn't have a white actor in what amounts to yellowface to play Asian.

There's something about China and its rush to capitalism that I find confusing. At the same time, we live in an America where capitalists oppose any government interference with free markets, while in China you have a very controlled, state-planned market where economic growth is better than ours.

You aren't allowed to ask at auditions, legally, a person's race.

I define the American dream as the ability to imagine a way that you want your life to turn out, and have a reasonable hope that you can achieve that.

There is something very unique in American iconography about this notion of the pursuit of happiness.

You can't be a playwright without believing there's an audience for adventurous work.

If I do a play, it's my vision, and everybody else is working on the production to support that. If I do an opera, I feel like part of my job is to support that composer, to try and create something that allows the composer to do his or her best work. In movies, it's usually the director.

I'm interested in internationalism. It's the new multiculturalism. How we deal with each other isn't sufficient any more. It's about time we examine how we interact with the rest of the world we live in.

I knew I was Chinese, but growing up, it never occurred to me that that had any particular implication or that it should differentiate me in any way. I thought it was a minor detail, like having red hair.

'Yellow Face' marks my summation of multiculturalism.

Death with honor is better than life... life with dishonor.

Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.

I've never quite understood the idea of a "season." Whenever an artistic director says to me, 'I have this slot,' I always start to feel we're parking cars or something.

Well, there's no guarantee of failure in life like happiness in high school.

To me to write well is to battle stereotypes. To write well is to create three-dimensional characters that seem human.

. . . I felt I was finally in a position to affect not only the artistic content of the American theatre, but also its institutional structures. This has been an important goal of mine, as there have always been a variety of issues - artistic freedom, author's rights, access by minority groups - which have concerned me and even influenced my decision to become a playwright in the first place.

This is the ultimate cruelty, isn't it? That I can talk and talk and to anyone listening, it's only air--too rich a diet to be swallowed by a mundane world.

Consider it this way: what would you say if a blond homecoming queen fell in love with a short Japanese businessman? He treats her cruelly, then goes home for three years, during which time she prays to his picture and turns down marriage from a young Kennedy. Then, when she learns he has remarried, she kills herself. Now I believe you should consider this girl to be a deranged idiot, correct? But because it's an Oriental who kills herself for a Westerner–ah!–you find it beautiful.

I felt pretty good growing up. I didnt feel a lot of prejudice or racism. But I do remember, if there was going to be a movie or a television show with Asian characters, I would go out of my way to avoid them, because they portrayed all Asians as either ridiculously good or ridiculously bad; you know, the whole Charlie Chan-Fu Manchu thing.

Sometimes I hate you, sometimes I hate myself, but always I miss you

The West believes the East, deep down, wants to be dominated, because a woman can’t think for herself

There's a reason why the form was originally silent

Now I see -- we are always most revolted by the things hidden within us.

Chinese culture in general is not very religious. Confucianism is more a code of ethics than a religion, and ancestor worship is a way for parents to control you even after theyre dead.

Yellow Face marks my summation of multiculturalism.

Ive studied Chinese in college, but basically, Im not bilingual.

Time flies when you’re being stupid.

I now know that to do a worthwhile family history I must interpret the past without falling into either demonizing or unquestioning acceptance. . . . As a playwright, what I object to right now is any form of fundamentalism, whether it's nationalistic, religious or ethnic. . . . I think it is ridiculous - and fundamentalist, by the way - to say that I am not changed by the culture around me.

Why, in the Peking Opera, are women's roles played by men?...Because only a man knows how a woman is supposed to act.

I'm happy. Which often looks like crazy.

We are all prisoners of our time and place.

It's the stories that make my heart beat faster ...those are the ones to write about

I visited a new cultural center in Shanghai in 2005 that was pretty much perfect, except for the really badly translated Chinglish signs: a handicapped restroom that said Deformed Mans Toilet, that kind of thing.

Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.

Tonight, I've finally learned to tell fantasy from reality. And, knowing the difference, I choose fantasy.