When One Controls Form, One

I Don't Like Symbolism That Hits You Over The Head. A Symbol Should Not Be A Cymbal.

Martha: Truth Or Illusion, George; You Don't Know The Difference. George: No, But We Must Carry On As Though We Did. Martha: Amen.

I Don't Pay Much Attention To How The Plays Relate Thematically To Each Other. I Think That's Very Dangerous To Do, Because In The Theater One Is Self-conscious Enough Without Planning Ahead Or Wondering About The Thematic Relation From One Play To The Next. One Hopes That One Is Developing, And Writing Interestingly, And That's Where It Should End, I Think.

When A Play Enters My Consciousness, Is Already A Fairly Well-developed Fetus. I Don't Put Down A Word Until The Play Seems Ready To Be Written.

When I'm Writing A Play I Hear It Like Music. I Use The Same Indications That A Composer Does For Duration. There's A Difference, I Tell My Students, Between A Semi-colon And A Period. A Difference In Duration. And We Have All These Wonderful Things, We Use Commas And Underlining And All The Wonderful Punctuation Things We Can Use In The Same Way A Composer Uses Them In Music. And We Can Indicate, As Specifically As A Composer, The Way We Want Our Piece To Sound.