The quality of a play is the quality of its ideas.

If all, or almost all, the plays that are popular now, imaginative works as well as historical ones, are known to be nonsense and without rhyme or reason, and despite this the mob hears them with pleasure and thinks of them and approves of them as good, when they are very far from being so, and the authors who compose them and the actors who perform them say they must be like this because that is just how the mob wants them, and no other way; the plays that have a design and follow the story as art demands appeal to a handful of discerning persons who understand them, while everyone else is incapable of comprehending their artistry; and since, as far as the authors and actors are concerned, it is better to earn a living with the crowd than a reputation with the elite, this is what would happen to my book after I had singed my eyebrows trying to keep the precepts I have mentioned and had become the tailor who wasn't paid.

When you leave the theater wanting to discuss the play, that’s a good play. When you leave the theater wanting to discuss your life and the world, that’s art

He who sees a play that is regular, and answerable to the rules of poetry, is pleased with the comic part, informed by the serious, surprised at the variety of accidents, improved by the language, warned by the frauds, instructed by examples, incensed against vice, and enamoured with virtue; for a good play must cause all these emotions in the soul of him that sees it, though he were never so insensible and unpolished.

In our play we reveal what kind of people we are

For we rationalize, objectify, and personalize the process of the game exactly as we do that of a play, a drama. For, finally, it is a drama, with meaning for our lives. Why else would we watch it?

My play opens with an actor walking down into the audience, where he strangles the critic, then reads aloud from a little black book all the humiliations he has noted therein. Then he throws up on the audience, after which he exits and puts a bullet through his head.

he would now have comprehended that work consists of whatever a body is obliged to do, and that play consists of whaterver a body is not obliged to do. And this would help him to understand why construcing artificial flowers or performing on a tread-mill, is work, whilst rolling nine-pins or climbing Mont Blanc is only amusement. There are wealthy gentlemen in England who drive four-horse passenger-coaches twenty or thirty miles on a daily line, in the summer, because the privilege costs them considerable money; but if they were offered wages for the service that would turn it into work, then they would resign.

Always remember that you are the observer and not the doer. Do not take life to be anything more than acting. Don’t identify yourself too much with the action.
Whether you are a wife or husband, a businessman or client, don’t get too involved. Don’t lose yourself in it, for you are simply playing a role in the play. Keep outside of it, and within yourself. These are all necessary parts of life. You must go to work, it is necessary. The play is delightful if you see it as play, but it is fatal if you take it to be life. There is no reason so disrupt your life. You have to play the part that life has given you.

Play is experimenting with chance.

All the world’s a stage. Creative work is a kind of theater. The stage is your studio, your desk, or your workstation. The costume is your outfit — your painting pants, your business suit, or that funny hat that helps you think. The props are your materials, your tools, and your medium. The script is just plain old time. An hour here, or an hour there — just time measured out for things to happen.

I cannot explain my plays. Each must find out for himself what is meant

The Play's the Thing, wherein I'll catch the conscience of the King.

A TV show comprises many departments — Costumes, Props, Talent, Graphics, Set Dressing, Transportation. Everyone in every department wants to show off their skills and contribute creatively to the show, which is a blessing. You’re grateful to work with people who are talented and enthusiastic about their jobs. You would think that as a producer, your job would be to churn up creativity, but mostly your job is to police enthusiasm. You may have an occasion where the script calls for a bran muffin on a white plate and the Props Department shows up with a bran cake in the shape of Santa Claus sitting on a silver platter that says “Welcome to Denmark.” “We just thought it would be funny.” And you have to find a polite way to explain that the character is Jewish, so her eating Santa’s face might have negative connotations, and the silver tray, while beautiful, is giving a weird glare on camera and maybe let’s go with the bran muffin on the white plate. And then sometimes Actors have what they call “ideas.” Usually it involves them talking more, or, in the case of more experienced actors, sitting more. When Actors have ideas it’s very important to get to the core reason behind their idea.