To A Certain Extent I

In The Thirties A Whole School Of Criticism Bogged Down Intellectually In Those Agitprop, Social-realistic Days. A Play Had To Be Progressive. A Number Of Plays By Playwrights Who Were Thought Very Highly Of Then - They Were Very Bad Playwrights - Were Highly Praised Because Their Themes Were Intellectually And Politically Proper. This Intellectual Morass Is Very Dangerous, It Seems To Me. A Form Of Censorship.

It Is A Lazy Public Which Promotes A Slothful And Irresponsible Theater.

If A Man Writes A Brilliant Enough Play In Praise Of Something That Is Universally Loathed, The Play, If It Is Good And Well Enough Written, Should Not Be Knocked Down Because Of Its Approach To Its Subject.

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.

I Don't Pay Much Attention To How The Plays Relate Thematically To Each Other. I Think That's Very Dangerous To Do, Because In The Theater One Is Self-conscious Enough Without Planning Ahead Or Wondering About The Thematic Relation From One Play To The Next. One Hopes That One Is Developing, And Writing Interestingly, And That's Where It Should End, I Think.