A Quote by Terence Rattigan
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.
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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 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.
Everybody has his own theatre, in which he is manager, actor, prompter, playwright, sceneshifter, boxkeeper, doorkeeper, all in one, and audience into the bargain.
Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.
Just as the historian can teach no real history until he has cured his readers of the romantic delusion that the greatness of a queen consists in her being a pretty woman and having her head cut off, so the playwright of the first order can do nothing with his audience until he has cured them of looking at the stage through the keyhole, and sniffing round the theatre as prurient people sniff round the divorce court.
I think a playwright must be his own dramaturg.
The way Donald Trump talks about the problems of black Americans as a kind of separate group who are not part of his audience but he's kind of reaching over his audience or behind his audience to black Americans, saying what have you got to lose? As in you might as well join me because the Democrats haven't done anything for you. But joining me means joining this group that already supports me.
Lyoto is never going to lose his skills. He might lose his timing, speed, cardio, but he'll never lose his skills.
The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.
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.
[Anton] Chekhov is the most produced playwright in the world after Shakespeare, and most of the people in my sort of audience would have seen at least one of his plays.
The Judo pupil, therefore, must cultivate his mind; he must never feel fear, never lose his temper, never be off his guard; but he must be cool and calm, though not absent-minded; he must act as quick as thought, according to circumstances. He must also be dexterous as well as bold both in attack and in defense.
No one wants to see a player lose his credibility in college, lose his chance to play and obviously maybe not have the right guy to prepare for his future.
Neanderthal man listened to stories, if one may judge by the shape of his skull. The primitive audience was an audience of shock-heads, gaping around the camp-fire, fatigued with contending against the mammoth or wooly-rhinoceros, and only kept awake by suspense. What would happen next? The novelist droned on, and as soon as the audience guessed what happened next, they either fell asleep or killed him.
It was Lord Jesus Christ who said "Whosoever will save his life shall lose it, but whosoever shall lose his life for my sake shall save it. For what shall it profit a man, if he shall gain the whole world, and lose his own soul?"
An ideologue - one who thinks ideologically - can't lose. He can't lose because his answer, his interpretation and his attitude have been determined in advance of the particular experience or observation. They are derived from the ideology, and not subject to the facts.
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