Quote

Feydeau's one rule of playwriting: Character A: My life is perfect as long as I don't see Character B. Knock Knock. Enter Character B.

John Guare

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John Guare
Age: 86
Born: 1938
Born: February 5
Actor
Playwright
Screenwriter
Writer
New York City
New York
Life
Playwriting
Knock
Enter
Rule
Perfect
Character
Long

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I wanted to be a Bride of Christ but I guess now I'm a young divorcee.
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1975 is as much a historical document as 1803.
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How much of your life can you account for? My life is a collage of unaccounted for brush strokes I am all random”.
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Sometimes you have to protect the life of the play. It seems like spelling out mysterious, musical details can destroy a play by making the motivations too clear, too simplex.
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Like a dog, a playwright lives in an eternal present and a play is never closed.
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The great risk is always saying, how will I communicate what I'm trying to get across to a room full of strangers sitting in the dark watching a stage?
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You can read ten books and finally come across one detail, and it's like, now everything else makes sense. Now I know where I am.
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Oh, I never use a seat belt. I don't believe in gravity.
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All the New York City Ballet does is hit beautiful home runs.
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Everyone talks about America, this great country. You hear, I'm more patriotic than you are. No, I'm more patriotic! But how few people know the history of this country and how we came into being. That's the part that just amazed me.
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I'm sure there are some good dramaturgs but I've never worked with one.
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Show business offers more solid promises than Catholicism.
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You can't kind of take away, you either do or you don't. If you kind of take away something you're a failure.
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Avoiding humiliation is the core of tragedy and comedy.
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James Joyce wrote the definitive work about Dublin while he was living in Switzerland. We're all where we come from. We all have our roots.
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The life of a dancer is tragically short. What is remarkable about the New York City Ballet is that it makes us forget that. Because it keeps the ballet alive.
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People rewrite the play so much to make it palatable to the audience, to make something clear, that they just deaden it. Like it was left it in the oven too long.
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What we're dealt with hopefully is two arms, two eyes, two legs, a head, a heart. The variations, the extensions, the possibilities of the human body, what that can do
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The rich live hand-to-mouth too-just on a higher level.
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You can't be a sort of pioneer.
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