Sitting down with younger women writers and saying, "This is what I do and you can do this" is hugely important.
Plays are architecture, and you can make them stand in many ways that are hard to describe. And, I think, in our limited ability to describe them, we've substituted our inarticulateness for saying that there's one and only one structure.
I would never be essentialist about sexuality and structure, but I do think there's a way in which this male-arc has been talked about as the only structure, and kind of a stand-in for even the word structure, instead of looking at other forms.
I see, in women friends, a really dangerous phenomenon where it seems they reach a certain age and become invisible.
I don't read a word that's written about me. I don't read my own interviews. I don't read reviews. I think it would drive me insane.
I think you have to have your own expectations of yourself and your own sense of purpose and your own intrinsic pleasure in the task. If you don't, you will drive yourself off a cliff because your fortunes will rise and fall, and if you identify too closely with that, you really will go insane.
No one likes kids. We say we do, and we take pictures of pregnant women for People Magazine, but really they're commodities - we hate them around, we hate them on airplanes, we consider them a grand imposition and almost a style choice.
We all exist in relation to the world, our partners, the human race.
It's a privilege to have kids and not live your life in solitude. But we live in a child-hating culture.
I do think there's a relationship between a book and a reader that's more intimate, in many ways, than the relationship between an audience member and a play - just by the nature of it being an object that you can have in bed with you and that you can keep and page through.
It was important to me that people know that you can make plays and raise children at the same time - for other mothers, for other parents, for other women considering having children and who want to be working and thinking and contemplating and making things while they're raising children.
The director was only invented in the nineteenth century. So directors have only been around for 200 year,s and playwrights have been around since Sophocles and Euripides.
What I really value about being a writer is that I can go to rehearsal when I want to, and then, when I need to be at home writing or with my kids, I go home.
I used to paint and I used to draw, and I probably would have loved to have been a portrait painter if I'd been good enough, but I really wasn't good enough.
I think theatre is a democratic act and I think writing a play is not a democratic act. I think we should give writers more leeway and space to write the thing they want to write, and then we should produce the play, multiple times, and let them re-write it.
A multivalent culture is an amazing place to be writing theatre.
In America I think it's much more full of disruption culturally; it's much more mysterious how we inherit culture here. We grab it where we can find it - we're insatiable - and there can be a sense here that it's not available to you as readily as it is in other cultures.
Attachment parenting is this theory that if you wear your baby around and you sleep with your baby and you breast-feed for a long time, the baby will be more attached to you.
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