He wants to live on through something-and in his case, his masterpiece is his son. all of us want that, and it gets more poignant as we get more anonymous in this world.
The apple cannot be stuck back on the Tree of Knowledge; once we begin to see, we are doomed and challenged to seek the strength to see more, not less.
The closer a man approaches tragedy the more intense is his concentration of emotion upon the fixed point of his commitment, which is to say the closer he approaches what in life we call fanaticism.
I think now that the great thing is not so much the formulation of an answer for myself, for the theater, or the play-but rather the most accurate possible statement of the problem.
What is the most innocent place in any country? Is it not the insane asylum? These people drift through life truly innocent, unable to see into themselves at all.
In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.
If I have any justification for having lived it's simply, I'm nothing but faults, failures and so on, but I have tried to make a good pair of shoes. There's some value in that.
Well, all the plays that I was trying to write were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from.
The number of elements that have to go into a hit would break a computer down. the right season for that play, the right historical moment, the right tonality.
It is my art. I am better at it than I ever was. And I will do it as long as I can. When you reach a certain age you can slough off what is unnecessary and concentrate on what is. And why not?
The problem was to sustain at any cost the feeling you had in the theater that you were watching a real person, yes, but an intense condensation of his experience, not simply a realistic series of episodes.