I Am Pleased And Reassured By The

The Notion That Women Are Less Aesthetically Profound And Innovative Than Men--just Not Very Important, If You Know What I Mean--doubtless Spreads Back To Our Beginnings As Upright Animals: The Males Hunted And Killed For The Family While The Females Stayed Home In The Cave And Tended The Strange Little Creatures They Were Giving Birth To.

There May Be Lots Of Questions That Anybody - An Actor Or A Director Or Anybody - Can Ask About A Character In A Play Of Mine That Are Not Answered In The Play, But If It's A Question That I Don't Think Is Relevant, I Don't Bother About It. There's No Reason To Ask It.

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.

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.

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