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Theatre is, at its roots, some very brave people mutually consenting to a make believe world, with nothing but language to rest on.

Sarah Ruhl

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Sarah Ruhl
Age: 50
Born: 1974
Born: January 1
Playwright
Writer
Wilmette
Illinois
Nothing
Believe
Consenting
Make
Mutually
World
Theatre
People
Brave
Roots
Rest
Language

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I used to paint and I used to draw, and I probably would have loved to have been a portrait painter if I'd been good enough, but I really wasn't good enough.
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There's a word in Japanese for being sad in the springtime - a whole word for just being sad - about how pretty the flowers are and how soon they're going to die.
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What I really value about being a writer is that I can go to rehearsal when I want to, and then, when I need to be at home writing or with my kids, I go home.
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Being dead is the most airtight defense of one's own aesthetic.
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This is what it is to love an artist: The moon is always rising above your house. The houses of your neighbors look dull and lacking in moonlight. But he is always going away from you. Inside his head there is always something more beautiful.
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I would never be essentialist about sexuality and structure, but I do think there's a way in which this male-arc has been talked about as the only structure, and kind of a stand-in for even the word structure, instead of looking at other forms.
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I found that life intruding on writing was, in fact, life. And that, tempting as it may be for a writer who is a parent, one must not think of life as an intrusion. At the end of the day, writing has very little to do with writing, and much to do with life. And life, by definition, is not an intrusion.
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I see, in women friends, a really dangerous phenomenon where it seems they reach a certain age and become invisible.
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I think a person has to believe in something, or search out some kind of faith otherwise life is empty, nothing. How can you live not knowing why the cranes fly, why children are born, why there are stars in the sky... Either you know why you live, or it's all small, unnecessary bits.
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I think theatre is a democratic act and I think writing a play is not a democratic act. I think we should give writers more leeway and space to write the thing they want to write, and then we should produce the play, multiple times, and let them re-write it.
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I do think there's a relationship between a book and a reader that's more intimate, in many ways, than the relationship between an audience member and a play - just by the nature of it being an object that you can have in bed with you and that you can keep and page through.
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We all exist in relation to the world, our partners, the human race.
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I don't read a word that's written about me. I don't read my own interviews. I don't read reviews. I think it would drive me insane.
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No one likes kids. We say we do, and we take pictures of pregnant women for People Magazine, but really they're commodities - we hate them around, we hate them on airplanes, we consider them a grand imposition and almost a style choice.
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The director was only invented in the nineteenth century. So directors have only been around for 200 year,s and playwrights have been around since Sophocles and Euripides.
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In America I think it's much more full of disruption culturally it's much more mysterious how we inherit culture here. We grab it where we can find it - we're insatiable - and there can be a sense here that it's not available to you as readily as it is in other cultures.
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I always thought there would be more interesting people at my wedding.
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Plays are architecture, and you can make them stand in many ways that are hard to describe. And, I think, in our limited ability to describe them, we've substituted our inarticulateness for saying that there's one and only one structure.
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It was important to me that people know that you can make plays and raise children at the same time - for other mothers, for other parents, for other women considering having children and who want to be working and thinking and contemplating and making things while they're raising children.
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Art is a way of freezing time, or extending time. ... It's another way to bridge the gaps between us.
Sarah Ruhl