Anything You Put In A Play --

I Think It Is The Responsibility Of Critics To Rely Less Strenuously On, To Use A Hollywood Phrase, "what They Can Live With," And More On An Examination Of The Works Of Art From An Aesthetic And Clinical Point Of View.

When A Critic Sets Himself Up As An Arbiter Of Morality, A Judge Of The Matter And Not The Manner Of A Work, He Is No Longer A Critic; He Is A Censor.

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

I Discover That I Am Thinking About A Play, Which Is The First Awareness I Have That A New Play Is Forming. When I'm Aware Of The Play Forming In My Head, It's Already At A Certain Degree In Development.

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.