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The one living playwright I admire without any reservation whatsoever is Samuel Beckett. I have funny feelings about almost all the others.

Edward Albee

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Edward Albee
Age: 88 †
Born: 1928
Born: March 12
Died: 2016
Died: September 16
Author
Playwright
Prosaist
Screenwriter
Theatrical Director
University Teacher
Writer
Washington
District of Columbia
Edward Franklin Albee III
Edward Albee
Whatsoever
Admire
Almost
Funny
Beckett
Living
Reservation
Feelings
Samuel
Others
Reservations
Without
Playwright

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When people don't like the way a play ends, they're likely to blame the play.
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If you have no wounds, how can you know if you're alive?
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Good writers define reality bad ones merely restate it.
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Well, when I was six years old I decided, not that I was going to be, but with my usual modesty, that I was a writer.
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School curricula that ignore the arts produce highly educated Barbarians
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It is a lazy public which promotes a slothful and irresponsible theater.
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Im not suggesting that the play is without fault all of my plays are imperfect, Im rather happy to say-it leaves me something to do.
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I was twenty-nine years old and I wasn't a very good poet and I wasn't a very good novelist, [so] I thought I would try writing a play, which seems to have worked out a little better.
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If the playwright is strong enough to hold on to reasonable objectivity in the face of either hostility or praise, he'll do his work the way he was going to anyway.
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People often ask me how long it takes me to write a play, and I tell them 'all of my life.'
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Careers are funny things. They begin mysteriously and, just as mysteriously, they can end.
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What I mean by an educated taste is someone who has the same tastes that I have.
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A writer is a controlled schizophrenic.
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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.
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When one controls form, one doesn't do it with a stopwatch or a graph. One does it by sensing, again intuitively.
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There are always going to be more actors than anybody can ever use.
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Art should never try to be popular.
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One must let the play happen to one one must let the mind loose to respond as it will, to receive impressions, to sense rather than know, to gather rather than immediately understand.
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When you're dealing with a symbol in a realistic play, it is also a realistic fact. You must expect the audience's mind to work on both levels, symbolically and realistically. But we're trained so much in pure, realistic theater that it's difficult for us to handle things on two levels at the same time.
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I find that when my plays are going well, they seem to resemble pieces of music. But if I had to go into specifics about it, I wouldn't be able to. It's merely something that I feel.
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