Progress Is A Set Of

I’m Infinitely More Involved In The Reality Of The Characters And Their Situation Than I Am In Everyday Life.

I Find That In The Course Of The Day When I'm Writing, After Three Or Four Hours Of Intense Work, I Have A Splitting Headache, And I Have To Stop. Because The Involvement, Which Is Both Creative And Self-critical, Is So Intense That I've Got To Stop Doing It.

If You Examine The History Of Any Playwright Of The Past Twenty - Five Or Thirty Years - I'm Not Talking About The Comedy Boys, I'm Talking About The More Serious Writers - It Seems Inevitable That Almost Every One Has Been Encouraged Until The Critics Feel That They Have Built Them Up Beyond The Point Where They Can Control Them; Then It's Time To Knock Them Down Again.

One Has Always Got To Be Terribly Careful, Since The Theater Is Made Up Of A Whole Bunch Of Prima Donnas, Not To Let The Distortions Occur.

I Do Think, Or Rather I Sense That There Is A Relationship - At Least In My Own Work - Between A Dramatic Structure, The Form And Sound And Shape Of A Play, And The Equivalent Structure In Music. Both Deal With Sound, Of Course, And Also With Idea, Theme.