Edward Albee
Edward Albee
Edward Franklin Albee IIIis an American playwright known for works such as The Zoo Story, The Sandbox, and Who's Afraid of Virginia Woolf?. His works are often considered as well-crafted, realistic examinations of the modern condition. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Samuel Beckett, Eugène Ionesco, and Jean Genet. Younger American playwrights, such as Paula Vogel, credit Albee's daring mix of...
NationalityAmerican
ProfessionPlaywright
Date of Birth12 March 1928
CountryUnited States of America
About four years ago I made a list, for my own amusement, of the playwrights, the contemporary playwrights, by whom critics said I'd been influenced. I listed twenty-five. It included five playwrights whose work I didn't know, so I read these five playwrights and indeed now I suppose I can say I have been influenced by them. The problem is that the people who write these articles find the inevitable similarities of people writing in the same generation, in the same century, and on the same planet, and they put them together in a group.
Some things that make sense to me don't make the same degree of sense to other people.
There are two things that a playwright can have. Success or failure. I imagine there are dangers in both. Certainly the danger of being faced with indifference or hostility is discouraging, and it may be that success - acceptance if it's too quick, too lightning-quick - can turn the heads of some people.
I'm not responsible for the commercialization. The people who produce the plays are responsible for it.
When you get old, you can't talk to people because people snap at you.... That's why you become deaf, so you won't be able to hear people talking to you that way.
I think that's foolishness on the part of the playwright to write about himself. People don't know anything about themselves.
Writing should be useful. If it can't instruct people a little bit more about the responsibilities of consciousness there's no point in doing it.
There are lots of young vital playwrights who are experimenting, and these are the plays that people who are interested in the theatre should see. They should go off Broadway. They should go to the cafe theatres and see the experiments that are being made.
Well, when you write about people of a certain age ... we are in a postsexual situation. If I write about younger people then I write sexually, because their drive is sexual. It depends upon the circumstances.
In a democracy you cannot stop public access to that art that will most misinform the people. You cannot stop people from being misinformed. But what you can do is to educate the people to the point that they will throw the rascals out.
Your source material is the people you know, not those you don't know, but every character is an extension of the author's own personality.
What people really want in the theater is fantasy involvement and not reality involvement.
When people don't like the way a play ends, they're likely to blame the play.
A lot of people are confused by "hello." A lot of people are confused by a lot of things they shouldn't be confused by.