A Quote by Caryl Churchill
There's nothing personal in it [THE SKRIKER]. I'm not ever inclined with any of the plays to say, This is about that, because plays are about the whole event that they are. . . . I was certainly wanting to write a play about damage - damage to nature and damage to people, both of which there's plenty of about. To that extent, I was writing a play about England now.
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The thing I know how to do most is write a play. I came up loving plays and learning about plays and writing plays. I actually feel like an outsider when I'm writing movies and television.
That's something I have to work on: to separate what really matters, to conserve energy by not worrying about what other people think. When I walk through that door, it's about home. If I didn't do that, I'd become consumed by one thing only and damage the people who love me. And it would damage the work.
In the build-up to a fight, I am scared, and I do worry about myself. But once I step into that arena, that worry has gone. A switch gets flicked, and I want to do damage. All I care about is doing damage as fast as possible.
Definitely, there is a sense in my writing that people now know me in a personal way. And to an extent, that's true because I write about very personal things, and I use the personal often to contextualize some of these sociopolitical issues that we're dealing with. And to an extent, they're right. They know something about me.
When you look at the damage that many of the policies that Donald Trump has proposed can do to our citizens of the US - you can compare him to Major Storms Harvey, Irma, Maria. We're talking about life or death issues and about repealing the Affordable Care Act. There are lives at stake. Something that would affect millions and millions of people. I think it's totally appropriate. Obviously, it's a metaphor. It's not to be taken literally. But I mean that when I talk about the damage and the trauma that has been brought into our lives because of his presidency, that that's very real.
So many American plays are about family. When you're in the first part of your life, you write about family a lot. I find with my absurdist plays that I was actually writing about my family, but so disguised I didn't realize it myself.
Modern civilization is largely devoted to the pursuit of the cult of delusion. There is no general information about the nature of mind. It is hardly ever written about by writers or intellectuals; modern philosophers do not speak of it directly; the majority of scientists deny it could possibly be there at all. It plays no part in popular culture: no one sings about it, no one talks about it in plays, and it's not on TV. We are actually educated into believing that nothing is real beyond what we can perceive with our ordinary senses.
When I got to university, I would read plays and go, 'But these are about the past. Where are the plays that I love about now?' I couldn't find them, so I started writing.
I am a profound pessimist both about life and about human relations and about politics and ecology. Humans are inadequate and stupid creatures who sooner or later make a mess, and those who are trying to do good do a lot more damage than those who are muddling along.
Being an actor, I have to blow-dry, colour, and use all sorts of products on my hair. The best-ever 'Pantene Total Damage Care' range takes care of the damage from the core. The shampoo and conditioner both have been life savers for me and have saved my hair from all the damage it goes through due to the daily styling.
I started writing plays in around 1967, and at a certain point, I thought, 'I'm writing plays, I should learn about acting and what it is.' So I went to the HB Studio in New York, and I was there for about nine months.
I find it very strange when people say that they are trying to solve 'Uncle Vanya' or find a solution for 'Henry V.' Plays aren't puzzles. They are about playing. But so much theatre has become about performing and acting rather than playing, which is a great pity because audiences are captivated by watching people play.
Something like missing a shot, and the next play you're thinking about it, or you give up a play on defense and you're thinking about it, you're frustrated about it, what's happening is that you're really thinking about yourself. You're not connected to the team. And you have to be connected, or those few plays add up.
Glad it was you and not me," Shane said, and offered Myrin a hand up. "Any brain damage?" "Since the bullet actually passed through his brain, then yes, idiot boy, there's certainly brain damage," Oliver said. "It will pass. His brain's the least fragile thing about him." "You say the nicest things," Myrin said. He was slurring his words, and he threw an arm around Oliver's neck. "Marry me.
Writing has nothing to do with publishing. Nothing. People get totally confused about that. You write because you have to - you write because you can't not write. The rest is show-business. I can't state that too strongly. Just write - worry about the rest of it later, if you worry at all. What matters is what happens to you while you're writing the story, the poem, the play. The rest is show-business.
We must speak more clearly about sexuality, contraception, about abortion, about values that control population, because the ecological crisis, in short, is the population crisis. Cut the population by 90% and there aren't enough people left to do a great deal of ecological damage.
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