Theatrical Innovation Quotes

Theatre artists are essentially sort of charlatans and thieves, I mean that's the tradition that we come from, so I have absolutely no, I make no bones about the fact that I steal from here and I take from there, and we all do it, that's perfectly all right, that's the nothing, there's nothing new in the world, there's nothing actually new in the way that you do something, but the point is is how do you take something and use it to articulate what is essentially a core of any given theatrical production.

I believe we have to bring Broadway a little Latino flair. We have to keep it alive.

At the School of Visual Arts in New York, you can get your degree in Net art, which is really a fantastic way of thinking of theater in new ways.

The theater, which is in no thing, but makes use of everything - gestures, sounds, words, screams, light, darkness - rediscovers itself at precisely the point where the mind requires a language to express its manifestations.... To break through language in order to touch life is to create or recreate the theatre.

I come from 'black-box' theater, where basically, you make your own adventure out of nothing.

Theater is a very changeable art. It responds to the moment in history the way the newspaper does, and there's no predicting what to come up with next.

I believe that improvisation is really just a directorial tool. It's a writing tool. It's not so much that the actors get to say whatever they want, whatever pops into their head. It's an opportunity to write the last draft of the screenplay as you're working on it.

I saw 'Hamilton' when it was at the Public, and I just wept profusely in my seat because this is a form I love deeply, and to watch it be reinvented in such a genius, gifted way and executed by such a brilliant company of human beings, I was overwhelmed with not just appreciation for the piece of work itself but for the possibility.

I've never been a puppeteer, I conceive and I write and I design and I direct. And not just puppets. I direct actors, I direct dancers, I direct singers, I direct films. I also direct puppeteers. I'm really a theatre maker, but there's not a word for that.

Soul of the age! The applause! delight! The wonder of our stage!

There are two strains, I think, in American playwriting, of importance. One is traditional narrative realism, which is definitely my strain, and then the other great contribution is American musical theater, which is a whole other kettle of fish.

At the end of the 1960s, I was part of the downtown theatrical movement in New York that was making work in alleyways, garages, gyms, churches, non-traditional spaces. The idea was to get away from the illusion of the conventional theatre. But then I thought, what's wrong with illusion?

Take a play that you like but you think is flawed, and see if you can improve it and turn it into a musical. [...] Then make up your own story.

To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.

Bobby [Fosse] was very difficult to work with, he wanted to be a big star at MGM, but it was the end of making musical movies at the time.

I was fortunate enough to work at the peak of the great golden age of musicals. And then for awhile, I think they were being advanced in different ways. Andrew Lloyd-Webber brought the rock beat to musicals; people tried different things. The joy of musicals is that there is no perfect recipe; it is what you throw into it.

How can you put on a meaningful drama when every fifteen minutes proceedings are interrupted by twelve dancing rabbits with toilet paper?

The best thing about being nominated in a category like best new play is realizing there were enough new plays to make a category.

I see myself as not a typical theater person, but a person who uses the theater as a place to meet people and explore ideas.

If I ever play Hamlet, it'll be in a dress!

I learned in my early years in the theater that I would never become the guy on top. I'll never create a show; I don't have a brain expansive enough to see the whole picture, in a way that would behoove anyone.

Polly Findlay showed real insight and imagination in her production of my translation of Seneca's Thyestes at the Arcola. I enjoyed her use of the space and the detail of her work with the actors, and I'm looking forward to seeing what she does with Light Shining.

I've been known to wear pajamas onstage for the sole reason of wanting to make sure I'm free enough to execute new things vocally onstage and give my best performance possible.

I am pure performance, and Robert Wilson is pure theater.

I have such a great thing I want to do with Lady Macbeth - make her one of the witches - and I have this whole thing where she's very light and dressed in pink and dancing Gaelic dances and throwing roses, but then when her husband's coming home, she does incantations and pulls her hair back, puts on a black leather trenchcoat. I mean, I could tear it up if somebody would give me the chance! But do you think someone would ever let me do Lady Macbeth? I doubt it. But I'm going to keep talking about it.