A Quote by Lena Dunham

I started writing plays, but the fact that plays don't last forever was too much for me to bear. — © Lena Dunham
I started writing plays, but the fact that plays don't last forever was too much for me to bear.
How I Learned to Drive I think it's one of the great American plays. Its one of those plays that will be done forever, and it's timeless. I think it, for me, has so much heart and so much love.
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.
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 didn't act in Israel, but I wrote plays at home and acted in plays at school. I tried to get an agent when I was 12, but they told me that I had too much of an accent.
For early plays of mine, I started with character. But I think that's because I hadn't been in theaters; I hadn't worked that much. I'm very interested in character, obviously, but once I started having my plays produced, I became so fascinated by the theatrical experiment and the weirdness of theatrical space, so now all my plays start with space and stage picture and setting - or container is maybe the better way to put it.
I don't write political plays in the sense that I'm writing essays that are kind of disguised as plays. I would really defy anyone to watch any of my plays and say 'Well, here's the point.'
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 always loved theater and acting in plays and directing, writing little plays and directing friends in plays.
You run your plays, you know your plays, you study your plays, you study the other team, you do as much as you can, you go to practice, you get in shape, you do what you need to do, and then by the time you get to the game, you know your plays, but they have to feel like they're in your bones. That has to be an unconscious thing, it cannot be conscious. That is everything to me.
I started out wanting to be an actress. My sister was in this theater company in Brooklyn. I saw her in some plays, and I was immediately obsessed. I started auditioning for plays when I was about 10.
In my view the plangent artificiality of a lot of creative work results from the fact that the people who write novels, direct films and put on plays tend to read too many novels, watch too many films and go to too many plays.
In my view, the plangent artificiality of a lot of creative work results from the fact that the people who write novels, direct films and put on plays tend to read too many novels, watch too many films and go to too many plays.
When I was at UCLA, a professor there encouraged me to write, and so I looked into specializing in creative writing in the English Department. And through that, I started writing plays.
I was 22 and stopped writing plays, and I didn't start again until I was 25. I was writing badly. In college, I attempted to write these more conventional plays, but the theater I loved was downtown experimental theater. I didn't feel like I could do that either. It didn't occur to me to do my own thing.
I used to go with my parents and loved it, I was in school plays, and I started reading plays before I started reading novels. I'll defend it to the hilt. When theatre is good it is fabulous.
I'd like to be in a position to have plays run through me and share the ball, make plays. Still score, obviously, but make plays, as well.
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