A Quote by Edward Albee

When a play enters my consciousness, is already a fairly well-developed fetus. I don't put down a word until the play seems ready to be written. — © Edward Albee
When a play enters my consciousness, is already a fairly well-developed fetus. I don't put down a word until the play seems ready to be written.
I was so grateful to work on 'Bunheads.' We had so much material, and everything was so rapid-fire, and I developed - through theater too, I developed a really great work ethic. I think preparing for both of them is just that - you come to set ready to go, ready to play. You know your lines. You're ready to work.
I always liked to be fairly simple because you could get more players ready to play quickly. If you lose players to free agency, injuries, etc., it is easier to get young players ready to play in a less complex system.
If a man writes a brilliant enough play in praise of something that is universally loathed, the play, if it is good and well enough written, should not be knocked down because of its approach to its subject.
I can play a cat lady. I can't put my foot down and refuse to play anything but playing the perfect, well-adjusted woman, because those people aren't as fun or funny.
Even though it's a shortened format of the game, Twenty20 allows people with different skills to play in a team and play their specific roles. Obviously there's not too much time to waste balls, but if you look at guys who play well in the top six, they have a fairly decent amount of good cricketing ability.
Before one is successful that is before any one is ready to pay money for anything you do then you are certain that every word you have written is an important word to have written and that any word you have written is as important as any other word and you keep everything you have written with great care.
I am disappointed when I lose and don't play well, for example. But it is not so disappointing to lose when you play good. And I never feel I want to put the racquet down and walk away because of losing.
I was always a happy kid. I'd play the piano fairly well. I did all sorts of things fairly well. But who the hell wants to be happy all the time? It's a miserable state to be in permanently. Can you imagine how dreary that would be?
Not that I play guitar anywhere near as well as she sings, but I think I have always had a tendency to play solos the same way, in emotional relation to the structure of the song. I choose simple lines, and only play what seems emotionally relevant, and often express that emotion in time, that is in play or resistance to the set time of the song.
A good play is a good play. If you want to chalk up your rejection letters to the fact that you're a woman, that's your choice. But often you get a rejection letter because your play isn't ready. Or the time isn't ready for your play. And that has nothing to do with gender.
And it was the idea that you can do a play - like a Shakespeare play, or any well-written play, Arthur Miller, whatever - and say things you could never imagine saying, never imagine thinking in your own life.
Every player, they should sit down and have a meeting. They should agree, 'this is how we play Nadal, this is how we play Federer, this is how we play Djokovic.' Then, all try to play them the same way. The right way. First you have to play the right way, then you need to play well.
All you gotta do is think of the song in your head. And it doesn't matter whether you can play it or not, you can get somebody to play it. With songs I've written, there's a song called "The Statue", which I can't play. There are songs that I've written that I've actually just hummed on - there's a song on one of the albums they have there on the Internet called "My Love Was True" and it's almost operatic. I can't play it. But I can sing it.
I started playing instruments. Writing didn't come until later. I didn't know how to play a keyboard but I'd listen to hits off the radio, learn them, then my hands would be ready to play.
The final product in a play is not just the written word. It's the production, the performance. The script is, of course, a very important piece; but it's only one element. Ultimately, yours is one of several voices. People can change your work in a play for better or worse.
I just do my best to put the ball in play and put it in play where no one's going to make a play on it and hopefully drive some runners in.
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