A Quote by Edward Albee

There are a number of contemporary playwrights whom I admire enormously, but that's not at all the same thing as being influenced. — © Edward Albee
There are a number of contemporary playwrights whom I admire enormously, but that's not at all the same thing as being influenced.
About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
In graduate school, I decide to write my doctoral thesis on how Italian architecture influenced English playwrights of the seventeenth century. I wonder why certain playwrights decided to set their tragedies, written in English, in Italian palaces.
Belonging to the Dramatists Guild Council where, with my fellow dramatists, I can directly affect (and protect) the professional lives of all American Playwrights has always made me feel that I am returning as much to the theatre as I withdraw. Because only playwrights can ensure the well-being of playwrights. No one else will do it for us.
In fact, I don't watch a lot of contemporary comedy for fear of being influenced by it.
I admire Lincoln enormously and I think what's interesting about Lincoln is how he changes, it's not that he held the same view throughout his life.
I'm enormously less interested in whom you sleep with than I am in with whom you're prepared to die.
My motivation and aspiration is the same, being number one or being number five. So that's the truth. And my goal is the same - it's to always be happy playing, it's to enjoy the game and improve always.
It is relatively easy... to determine whether or not a blow to a quarterback was deemed excessive or incidental. So I'm discouraged that there have been a number of games that are influenced - not that the outcomes are in question - but a number of games influenced based on the protection of the quarterback.
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.
There are a number of World War II historians I admire: Cornelius Ryan, Mark Stoler, Antony Beevor, to name a few. As for generals, there are those I admire as combat leaders and others I admire because they're great fun to write about.
We need theatre that is contemporary, lively and relevant, and the only way to do that is to take care of our playwrights and produce their plays.
Nobody wants to worship you if you have the same problems, the same bad breath and messy hair and hangnails, as a regular person. You have to be everything regular people aren’t. Where they fail, you have to go all the way. Be what people are too afraid to be. Become whom they admire. People shopping for a messiah want quality. Nobody is going to follow a loser. When it comes to choosing a savior, they won't settle for just a human being.
I don't like most contemporary art. But I think if you talked to any person who's heavily involved in contemporary art, they'd say the same thing. If you go to a biennale, you don't expect to like much of it.
I admire American literature, both contemporary and classic - 'Moby-Dick' is just about the best book in the world - and I admire British literature for its insistence on dealing with social class. It may have been an influence.
I'm certainly very influenced by what you would call 'contemporary headline horror,' stuff that is true crime or for one reason or another catches our attention in the media, those strange cases that we end up obsessing about. I'm always influenced by weird anecdotes and news.
What they [ ruling elite] understand is that matters of desire, subjectivities, identities matter. And they take the cultural apparatuses that they control enormously, enormously, in an enormously important way.
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