A Quote by Tony Kushner
You have to have hope. It's irresponsible to give false hope, which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist, which quite a lot of playwrights, especially playwrights younger than me, have become guilty of.
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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.
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.
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.
The classical writers... playwrights, Jacobean, Elizabethan playwrights, all showed areas of all classes and how they live and painted them pretty authentically.
I think more than anything, you should do what you love. If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
In 1980 I sent a play, 'Jitney,' to the Playwrights' Center in Minneapolis, won a Jerome Fellowship, and found myself sitting in a room with sixteen playwrights. I remember looking around and thinking that since I was sitting there, I must be a playwright, too.
I am pleased and reassured by the fact that a lot of younger playwrights seem to pay me some attention and gain some nourishment from what I do.
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.
A rather ugly thing starts happening: the playwright finds himself knocked down for works that quite often are just as good or better than the works he's been praised for previously. And a lot of playwrights become confused by this and they start doing imitations of what they've done before, or they try to do something entirely different, in which case they get accused by the same critics of not doing what they used to do so well.
If you love classical playwrights, seek out companies or places that are doing that. If you love modern playwrights, try to find groups who are writing new plays or working on new plays. If you love television, watch as much theater and film as you can.
When you think about it, what other playwrights are there besides O'Neill, Tennessee and me?
I think a lot of playwrights have a script in their bottom drawer that hopefully no one will ever see about a bunch of young people sharing a flat and getting up to crazy stuff.
In the thirties a whole school of criticism bogged down intellectually in those agitprop, social-realistic days. A play had to be progressive. A number of plays by playwrights who were thought very highly of then - they were very bad playwrights - were highly praised because their themes were intellectually and politically proper. This intellectual morass is very dangerous, it seems to me. A form of censorship.
A lot of American playwrights seem to have a career as a playwright. I don't consider it a career at all.
I mean, I think there's a lot of hope in my work. I don't think I'm a total pessimist, so I think you can find hope in all my films. Some more than others, but there's definitely... I think we want to convey the feeling of hope with the montage at the end.
The English playwrights of the '50s and '60s didn't really keep writing or getting produced, while the Irish did. There's encouragement for the younger ones also in the fact that Ireland is exceptional in its ability to make theater part of the national dialogue, and it reaches to all four corners of the country.
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