A Quote by Edward Albee
In the thirties a whole school of criticism bogged down intellectually in those agitprop, social-realistic days. A play had to be progressive. A number of plays by playwrights who were thought very highly of then - they were very bad playwrights - were highly praised because their themes were intellectually and politically proper. This intellectual morass is very dangerous, it seems to me. A form of censorship.
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My parents were very well read. They were both New Englanders, not highly educated, but they had a sophisticated... they were both very humanistic, and they were sophisticated readers.
I know too many playwrights, or would-be playwrights, or would-have-been playwrights, that are around my age, who were bitter or have gone to something else because they got such a raw deal from critics, and some are quite wonderful writers.
From the very beginning, we were all a hundred and ten percent about the music, from the very early days when we could barely play our instruments, and we were just covering other people's songs when we were in high school.
There were very depressing days when the whole year everyone was working, and you were sitting at home because half of the people weren't giving you work and then there were some who didn't like you.
My parents were both very intellectually honest, straightforward, and for them, faith meant that you were fully engaged.
When we overthrew Mubarak, we did this in 18 days. And because we were very naive and very unexperienced in revolutions, we thought that that was it. It is very difficult to imagine that you can actually get rid of a dictatorship that has been there for 60 years only in 18 days. So we were very naive.
My mother and my father had very, very strong Scots accents. We were Australian, and in those days when I was young, I spoke with a much more of an Australian accent than I have now. However I knew that if I went to England to become an actor, which I was determined to, I knew that I had to get rid of the Australian accent. We were colonials, we were Down Under somewhere, we were those little people Over There. But I was determined to become an Englishman. So I did.
As a child, every North Korean is very happy. We were very happy because we learned horrible things about the outside world, like in America and Japan. We thought they were suffering; that's why we were very happy... but in reality, we were living under fear.
'Waiting for Godot,' when it first came out in 1950, was a very different sort of play to the plays that were in the West End at that time in London, because most of those plays were what we call drawing-room comedies.
By the grace of God, my parents were fantastic. We were a very normal family, and we have had a very middle-class Indian upbringing. We were never made to realise who we were or that my father and mother were huge stars - it was a very normal house, and I'd like my daughter to have the same thing.
He was certainly in a confused state. I used to go and visit him in Callan Park. They were really - to me they were the best poets those two writing in those days but it wasn't very encouraging because, well, they weren't getting far were they?
I grew up in San Francisco. My parents were not hippies; they were writers. They were very active politically, but on the intellectual side, not on the "taking drugs in a field and listening to the Grateful Dead" side.
In the 60s there were a lot of things which were anarchistic. May-June '68 was riddled by anarchistic sentiments, dreams and ideals, but insofar as this was not strengthened organizationally and intellectually by a very effective, powerful infrastructure, then what happens is the movement becomes dissipated.
When I came to Berkeley, I met all these Nobel laureates and I got to know that they were regular people. They were very smart and very motivated and worked very hard, but they were still humans, whereas before they were kind of mythical creatures to me.
My parents were very, very close; they pretty much grew up together. They were born in 1912. They were each other's only boyfriend and girlfriend. They were - to use a contemporary term I hate - co-dependent, and they had me very late. So they had their way of doing things, and they reinforced each other.
I wouldn't say the anthropologists were making art, but they were definitely justifying their practices with very personal reasoning, passion, and they were also experimenting with form. There was a sense of trying to be as sincere as possible, whether you were investigating something far away from you or very close.
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