Playwrights From The United States

"I think this is part of the female gaze…We are used to being watched, so why not watch ourselves, and why not enjoy it? Watching each other, excluding the visage of men—I can enjoy my sexuality."

"I know what they’re thinking. ‘You’re clearly queer, you’re dressed like a child, you have tattoos.’ They have this impression that a person that looks like me…I try not to be like ‘You’re fucking racist!’ or whatever, but they’re probably thinking, There’s no way you belong on the screen. And I’m so happy to shatter that forever."

"Death hallows what it touches. This is a truth to which every heart, not utterly divested of the better feelings of our nature, will yield a ready assent; and he who violates the sanctuary of the grave is looked upon by all who acknowledge this truth as little less sacrilegious than the wretch who profanes the temple of his God. If such is the general feeling towards him who disturbs the sleep of the common dead—of beings unloved in life—and bound to him by no dearer tie than that of mere humanity; how lively must be the indignation, how deep the abhorrence and how bitter the denunciations against him who stands forth the accuser of his earliest, dearest friend: the revealer of follies and of crimes which—though they draw tears of blood from him in secret—should be hidden, as the miser hides his treasure, from the knowledge of the world, and who brands with eternal infamy that name which above all names has the power of reviving in his heart the buried recollections of his infant years! And that wretched being am I! But the task which I have assumed—though Heaven knows how unwillingly!—however it may wring my heart, I dare not shrink from the performance of."

"Theatre is more than just dialog; it’s a complete sensory experience for an audience. They see, they hear, they connect with the actors on stage…"

"I know it’s a good play if I’m afraid to show it to my grandmother."

"…As a poet, I’m an Imagist—driven by and focusing on visuals…"

"…Our society has never experienced a dictatorship on our soil, has never seen civil liberties stripped away. So at times, it can be a challenge for American audiences to imagine how a dictatorship might begin and who would be perceived as a threat to such a regime…"

"Being a playwright —especially in this current climate— is a privilege; I believe that as artists we have a responsibility to share narratives that we often don’t hear about or expect. When you subvert the status quo and reveal the truth in universality, you can spark change…"

"…I think theatre in general is very poetic. That’s what first drew me to playwriting. Plays are like living poems: visual, emotional, narrative. Lorca said, “A play is a poem standing up.” I couldn’t agree more."

"Poetry belongs everywhere, of course — but especially in the classroom…"

"…Poetry is not a stepping-stone to fortune and fame, or Hollywood for that matter — where, if the poet where [sic] to seek that, he or she would trade their voice for that of Hollywood, or fortune and fame, and lose their use of poetry. Poetry does not compromise itself for such mundane material."

"…There is no such a thing as an old poet. People are younger and older, chronologically, because of math of calendars, but spirits are young and old simultaneously. Poetry as a professional, life-long pursuit is one that offers wisdom with age, and that’s to be respected…"

"I tend to channel my characters and their needs first—that leads to dramatic situations—and then…I start writing and barf out pages. Next, I read what I have and find a glimmer of plot in there. Then I do it all over again with the plot driving the characters. You have to write a lot and throw out a lot and have fun with it."

"…All of my poems, to me, have always had an intonation to them, and I think that’s really part and parcel to the nature of writing poetry anyway. My poetry is different from the typical iambic pentameter. It’s not linear because it cascades and goes down the page like an escalator."

"If I talk about my body the way the men do, that’s not okay with the audience. I was at a comedy show where there was this cool lesbian couple in the audience, really stylish, and one of them had to leave. She was crying sitting there listening to all the jokes about Subarus and mullet haircuts. I thought: I am going to get back at them. I want a man to look at this show and realize that their junk is no more appealing than women’s junk. I want them to look at junk."

"My audience is a mix of people, very San Francisco progressive, gay straight, Latino, people of color, white folks, and women. What I’ve learned is you can’t get everybody. I don’t want to compromise who I am. I love anyone who buys a ticket to my show."

"I think there are elements of the playwright in every play they write – it’s hard to completely disassociate from your characters and their given circumstances when you are the person creating it all…"

"The burqa has different meanings for many women who wear it. I think as Americans we have a tendency to only associate this garment with violence, oppression, and fear without really knowing much about its history or cultural significance. It is my hope that audience members will approach this play with an open mind and an open heart to allow for an alternate perspective that is both positive and meaningful."

"I want to represent queerness and mujerness in the conversation. I worry that my poor Spanish may be off-putting to some cohorts. I just talk so damn slow in any language. I also want to represent slow talkers—and mimes."

"I probably am a playwright first, and a director second. But, since I do a lot of directing sometimes, it's an almost equal thing. Writing is very exciting to me because I'm able to control the world that I want to create. And, as a director, you go into another world, and you kind of help flesh out a world that other people have created..."

"The reasons that I stayed in theater are very personal. I think Asian-American stories can be best served in a place where you can tell them the most, and for me, where I can see that happening is in novels and in plays, because it's more easily done. In plays, anyone can do it, so the opportunities to tell Asian-American stories are infinite…"

"The dramaturgy of audiences and communities is crucial: how they think, how they hear stories, how they relate to the theatre…That was an interesting curve. Not having lived in the Midwest, I found that it’s segregated, it’s tribal."

"I write as a person, as a woman, as an Asian American, and, if I fulfill my political obligations in being honest, then great…"

"I am an American writer. I’m not a white American, but I’m writing American stories."

"As a director, I was able to journey into these plays, find myself, and realise the worlds the playwrights have written…I find my inspiration and my passion in other writers and their versions of this country and this world."

"She doesn’t speak like I speak, because something happens to your chords when you look at the neck. Something has happened. But it was that face that really informed who she is. For me, it was all about the physicality. I had to meet that face. And it’s interesting because that face didn’t show up until the day before my first day on the set…"

"There are only a few stories that I've ever wanted to tell…I wanted to record our lives so they wouldn't be lost. I didn't realize what a responsibility that was. I only wanted to put down a few footprints of our sojourn here, at this time, in this place."

"I feel like when I do a play the first time it simply let's me know what I have to do. I do all the things, I make all the cuts, and I really see it for the first time…"

"As a woman, I was very much influenced by the Japanese culture. My saving grace is that my mother was an extremely strong woman, a person in her own right; she took no guff from anybody, including white people, and I think that helps…"

"I also learned how they hungered for education. We take it for granted nowadays, that we get free education. That was major, that they didn't have it, and when they had it they passed it on with whatever they knew. After reconstruction, even if they only had a second grade education, they passed it on. The fact that everyone was hungry to learn to read and write was an amazing thing to realize…"

"And there is such a difference in the stories that came from when they were in Africa and the ones they told in America, where their lives were so much rougher. And they keep going back and forth between these two worlds, until finally they get to the dawn, and they are somewhat strengthened so that they can keep going…"

"I have to say though it’s made it easier for white people to seek me out because I am half-white to ask me what they would be afraid to ask a mono-racial Asian American. I generally have intriguing, sometimes difficult, conversations with people about race…"

"My life's work has been to go around America with a tape recorder trying to become America word for word. And I've met a lot of people who I disagree with. I've met a lot of people who you would think I would disagree with. But I have to say it's enriched my sense of being an American to reach out to people who are very, very different from me…"

"While I’m proud to take risks artistically in my work, at the same time, I’ve had older generations of Taiwanese and Taiwanese Americans who have chastised me for peddling (a phrase I hate) “pain-porn” because I have told my mom’s war-torn story. What a hurtful thing to say to someone who is speaking from the heart and basically laying out the facts of a person’s life. I’ve also had white Americans shaking their fingers at me saying “You’re a bad daughter!”…"

"I do believe that character is a process, that truth is a process, and I am not interested in winning and losing…"

"I’m the most peaceful when I go to Hawaii because I fit in there as a biracial or “hapa” person. No one there questions my Asian-ness, and in fact, I feel my ethnicity is embraced and accepted…"

"In any professional setting, I’m a fish out of water on many levels, not just racially and culturally but also in the work I do, which involves many artistic disciplines…"

"If you are looking for a sense of justice, that’s not what I’m doing. I’m telling many truths. I don’t have to represent."

"[All of the characters] are composites. You’re looking at what could be. There’s theatrical truth to it, which is: maybe this isn’t verbatim, but it’s within the realm of possibility…"

"In theatre, people do that all the time. There’s always going to be somebody who wants their own sense of justice, especially with this. They have their own sense of justice that explains if someone else’s is true. Speak for me, speak to me. I want you to tell me who did what. We don’t know who did what within those individual moments. Who was right? Who was wrong? Whatever that means. It’s not, for lack of a better term, that black and white."

"There’s a legend in my family about my great-grandmother, who lived through the Cuban War of Independence and the Spanish-American War. The Spanish came to take over her farm when she was 16 years old and sent her family to internment camps. The legend is that my great-grandmother refused to go; she took her pet pig under her arms and walked up into the mountain to join the rebels. That’s as much of the story as I could ever get from anyone. I always had an image of this young woman finding a way to survive a terrible war. The play that I eventually wrote is not her story, but it’s certainly infused with her spirit…"

"The outsiders. I’m interested in the people that don’t necessarily fit and the thing that gives you permission to be uncomfortable. I like dark work because you’re forced to learn about certain things…"

"…White racism is about people who don’t feel so bad about fixed things. But white racism is a fixed thing, and it is perpetuated because of fixedness. Anything that we can do that causes people to desire movement more than fixedness is going to disrupt racism…"

"It’s gone away from the thing that I hate, and now it’s more the thing that I don’t know how to do at all, or the thing that’s really hard to do…"

"I remember feeling that if I don’t express this somehow, I’ll despair, I’ll go mad. Looking back, part of it was about trying to impose some kind of order in a process that was decidedly chaotic. Because of my profession, I tend to understand the world in words, in sequences of events. What I saw later was that I was trying to document as clearly as possible an emotional journey. And it felt important at the time that I remember it in its entirety and its complexity."

"I wanted to really be sure that the play never became a play about how to grieve…And in order to accomplish that I needed the play to remain in this time of confusion and chaos."

"On stage the interaction with the audience happens while performing. In fact, the actor needs and depends on the audience response. It not only energizes and enhances the actor’s performance but is a source of much satisfaction. When acting in film, you are acting for the camera so you are not dealing directly with the audience…"

"I like working with identities and stories outside of my own experience, so it’s kind of just a necessity…"

"Memories are raw materials that he mines. When dealing with memories that are especially painful or unpleasant, I think the writer steps aside to save his sanity: sometimes writing becomes a cathartic experience. Tragic or sad stories are part of life and should be treated equally with happy stories."

"Even at school, we were, as I say, we were separated, and...and friends were Japanese. So, yeah, I think I considered myself Japanese more than Japanese American, though we would hear that we, we were citizens of this country, and so we had certain rights and so forth. But the parents were strangers, outsiders, and they had to kind of maneuver with the, the racism and pressure and so that, yeah, I felt more Japanese, I think."