A Quote by Seamus Heaney
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.
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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.
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.
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 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.
I am a playwright. I show What I have seen. In the man markets I have seen how men are traded. That I show, I, the playwright.
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.
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.
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.
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.
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.
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.
I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.
I think that as a playwright, if I detail that environment, then I'm taking away something from them [designers]. I'm taking away their creativity and their ability to have input themselves, not just to follow what the playwright has written. So I do a minimum set description and let the designers create within that.
I am not, at heart, a playwright.
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