A Quote by Anton Chekhov

Sometimes we go to a play and after the curtain has been up five minutes we have a sense of being able to settle back in the arms of the playwright. Instinctively we know that the playwright knows his business.
Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.
By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing - which is not a commercial playwright. I'm not after the brass ring.
I think a playwright must be his own dramaturg. I believe in a theater where the director and the playwright work together to create what they need.
Playwrights are naturally wary and protective - God, who's more protective than a playwright? You read a play, the playwright wants to hear from you immediately.
A playwright, especially a playwright whose work deals very directly with an audience, perhaps he should pay some attention to the nature of the audience response - not necessarily to learn anything about his craft, but as often as not merely to find out about the temper of the time, what is being tolerated, what is being permitted.
A playwright must be his own audience. A novelist may lose his readers for a few pages; a playwright never dares lose his audience for a minute.
It's a lucky circumstance when you get to usher in new work, because you are able to ask the playwright and the director (who in a new work is always in dialogue with the playwright) an unlimited amount of questions.
Any actor worth his salt is looking for truth, the core of truth of the particular situation he is portraying, of that play. The playwright, the actors and the audience, that's what we're all there seeking. When it's working, time is destroyed. Sometimes 'Moon,' a play of four hours, would go by in a snap of the fingers.
Stage is the place of the playwright: you're guided by great actors and directors, but it's the playwright's word on the page that counts.
One is just an interpreter of what the playwright thinks, and therefore the greater the playwright, the more satisfying it is to act in the plays.
I do come from a theater background, where the playwright is optimal and king and you have to serve the playwright. So I am, of course, a huge fan of scripted everything.
I am not a playwright. A playwright would take "Antigone" and hit it a few clouts and knock it out of shape and restructure it. My versioning was strictly verbal.
Edward Albee, the premier dark playwright of the American theater, would show up at rehearsal and quote his favorite lines from 'Auntie Mame'. He would stand at the back of the theater, not facing the stage, and sort of conduct the music of his play.
One of the things he liked about playwriting as to any other kind of writing is that a playwright is a w-r-i-g-h-t, not a w-r-i-t-e; in other words, that a playwright is more of a craftsman than an artist of the big novel.
I'm a playwright. All I care about is the play being good.
Sometimes the show needs that kick in the ass so being able to sing a Nirvana song kind of takes it there. I've grown up putting on extravagant shows with Girl Talk so when I'm playing I like to go nuts. After 30 minutes of pointing and clicking it's nice to scream into a microphone for three minutes.
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