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Quote by Tony Kushner

“Broadway remains the closest thing we have to a national theatre, the place where the greatest number of people can potentially see new work. For an American playwright to say it doesn't matter is simply to capitulate to the current situation.”

Quote by Tony Kushner

Author

Tony Kushner
Tony Kushner

Tony Kushner is an American playwright known for his profound social and political commentary and complex character development. His works often explore historical, moral, and identity issues, reflecting the diversity and complexity of American society. His most famous works include 'Angels in America' and 'Homebody/Kabul.' Kushner has received numerous awards for his outstanding contributions to theater, including the Pulitzer Prize. more

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“It's a movie, OK? I went to see GONE WITH THE WIND, but did I really believe there was a guy named Rhett Butler who said, "Frankly, my dear, I don't give a damn"? No. Movies need heroes and villains, and real life doesn't usually have heroes and villains. Real life has a lot of shades of gray, and moves have black and white even when they're in color.”

“I am the same artist with the same nagging questions I had in my early 20's. What's real and what isn't? How do we tell what's real in our lives? How do we see things as they are? What is my role in life? If the Signature hadn't forced the issue by devoting its season to my plays, I could at least believe I had changed. Really, they're all the same! What is SIX DEGREES OF SEPARATION but THE HOUSE OF BLUE LEAVES with money?”

“Consider: for all the gobbledegook [film studio] executives spout about backstory, all that we, the audience, want to know is what happens next. That's the only thing that's going on. . . . Character is nothing other than action, and character-driven means The plot stinks, and you'd better hope the star is popular enough to open the movie in spite of it.”

“There's this sense of being strange, which is at the heart of every creative person. Every writer, every actor, every director knows who Ripley is. We've made careers and lives out of pretending, making things up, inhabiting other people's stories and lives. That's what I do every day. . . . The story is so audacious and subversive: a central character who behaves badly and isn't apparently caught. That intrigued me no end.”

“What I find interesting is how close you can run the laughter along the seam of seriousness, and occasionally cross it, so that half the house genuinely doesn't know whether to laugh or cry. Custard pie humour is fairly universal, but at the other end, which I'm more interested in, there's the humour that hovers on the darkness, that walks in the shadow of something else, not always that obvious.”

“Regarding pushing the form, ideas interest me more than form. I think you can write a very subversive play in a three-act structure. The content makes the play. I feel the form is simply dressing, because ultimately, you want to communicate to the audience, and sometimes the best way to do that is to present a provocative idea in a format that is comfortable for them to receive. Then the idea will come through directly, right in solar plexus. After all, I want to make a living as an artist, and that means speaking to the audience in a form they can understand.”

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