Robert Eggers Quotes

All theatre is absurd.

Samuel Beckett's 'Waiting for Godot,' billed as 'the laugh sensation of two continents,' made its American debut at the Coconut Grove Playhouse, in Miami, Florida, in 1956. My father, Bert Lahr, was playing Estragon, one of the two bowler-hatted tramps who pass the time in a lunar landscape as they wait in vain for the arrival of a Mr. Godot.

The first play I saw was a Samuel Beckett play which was great.

Most Americans would agree that Plowshares is a Theatre of the Absurd.

My exposure to Beckett and to late O'Neill was probably important right at the time I gave up poetry and the novel.

I'd never done any Beckett before 'Krapp,' and I haven't done any of his other plays since. I've always felt that 'Krapp' is an autobiographical piece.

My interest in theater really began in the '70s when American realism wasn't really in favor. I really dreaded going into a play that had a toaster that worked. I just didn't want to see that.

'Waiting for Godot,' when it first came out in 1950, was a very different sort of play to the plays that were in the West End at that time in London, because most of those plays were what we call drawing-room comedies.

I like going absurd pretty quickly. You don't waste any time when you're doing theater of the ridiculous.

As a kid, I loved 'Godot' because of the poetry and the humor and the strangeness, but then as you get older, it's much more resonant.

I've played Beckett. I put on in the 1950s the first Australian production of 'Waiting for Godot.' I played Estragon. The most interesting conversation I've had about Beckett was with a Dublin taxi driver.

I'm always keeping an eye out for a period piece. I was trained in theatre, so most of the things we did were classical - Shakespeare, Moliere, and Chekhov.

Kafka is not interested in documenting the manners and mores of any particular place; he is not interested in probing the psyche of individual characters.

I've always thought of absurdism as a French fad I'd like to belong to.

I think that Ionesco's greatest weapon is that he's able to make us laugh at the darkest corners of our souls.

But if I were to say who influenced me most, then I'd say Franz Kafka. And his works were always anchored in the Central European region.

I don't think there's been any writer like Samuel Beckett. He's unique. He was a most charming man and I used to send him my plays.

Discovering Samuel Beckett in college was a big deal for me. I realized you could be very funny and very dark at the same time.

I loved traditional musical comedy. That was my passion. Then 'Spring Awakening' happened, and it took that rock n' roll and pop music to change gears for me.

Samuel Beckett. He is a kind of hero for me.

My favorite playwright is probably Samuel Beckett, and he was always laughing at the abyss.

Let's go." "We can't." "Why not?" "We're waiting for Godot.

When you've seen all of Ionesco's plays, I felt at the end, you've seen one of them.

If by Godot I had meant God I would have said God, and not Godot.

I admire [Samuel] Beckett, but I am totally against him. He seeks no improvement.