Edward Albee: Frases en inglés
"Edward Albee : An Interview", in Edward Albee : Planned Wilderness (1980) edited by Patricia De La Fuente, p. 8
Contexto: I've noticed that there is not necessarily a great relationship between what the majority of critics have to say and what is actually true. Some of them are so busy trying to mold the public taste according to the limits of their perceptions, and others are so busy reflecting what they consider to be the public taste — that view limited again by their perception. You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them. I mean, nobody wants to put them out of a job and a good critic is not necessarily a dead critic. It's just that people take what a critic says as a fact rather than an opinion, and you have to know whether the opinion of the critic is informed or uninformed, intelligent of stupid — but most people don't take the trouble.
As quoted in Conversations with Edward Albee (1988) by Philip C. Kolin, p. 176
Contexto: I survive almost any onslaught with a shrug, which must appear as arrogance, but really isn't because I'm not an arrogant person. When you write a play, you make a set of assumptions — that you have something to say, that you know how to say it, that its worth saying, and that maybe someone will come along for the ride. That's all. And then you go about your business, assuming you'd be the first to know if your talent has collapsed.
I don't think I've been a commercial playwright ever. By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing — which is not a commercial playwright. I'm not after the brass ring. I very seldom get it anyway, and then it's accidental when I do. … So I write those things that interest me.
"Edward Albee : An Interview", in Edward Albee : Planned Wilderness (1980) edited by Patricia De La Fuente, p. 8
Contexto: I've noticed that there is not necessarily a great relationship between what the majority of critics have to say and what is actually true. Some of them are so busy trying to mold the public taste according to the limits of their perceptions, and others are so busy reflecting what they consider to be the public taste — that view limited again by their perception. You find very few critics who approach their job with a combination of information and enthusiasm and humility that makes for a good critic. But there is nothing wrong with critics as long as people don't pay any attention to them. I mean, nobody wants to put them out of a job and a good critic is not necessarily a dead critic. It's just that people take what a critic says as a fact rather than an opinion, and you have to know whether the opinion of the critic is informed or uninformed, intelligent of stupid — but most people don't take the trouble.
“A playwright is someone who lets his guts hang out on the stage.”
Shoptalk: Conversations About Theater and Film with Twelve Writers, One Producer — and Tennessee Williams' Mother by Dennis Brown (1993), Ch. 6 : A Certain Amount of Spleen, p. 122
Contexto: Do you know what a playwright is? A playwright is someone who lets his guts hang out on the stage.
"Edward Albee : An Interview", in Edward Albee : Planned Wilderness (1980) edited by Patricia De La Fuente, p. 7; a paraphrased form of this statement has often been quoted as "The difference between critics and audiences is that one is a group of humans and one is not."
As quoted in Conversations with Edward Albee (1988) by Philip C. Kolin, p. 176
Contexto: I have been both overpraised and underpraised. I assume by the time I finish writing — and I plan to go on writing until I'm 90 or gaga — it will all equal itself out... You can't involve yourself with the vicissitudes of fashion or critical response. I'm fairly confident that my work is going to be around for a while. I am pleased and reassured by the fact that a lot of younger playwrights seem to pay me some attention and gain some nourishment from what I do.
“What could be worse than getting to the end of your life and realizing you hadn't lived it”
Variante: You're alive only once, as far as we know, and what could be worse than getting to the end of your life and realizing you hadn't lived it?
The Zoo Story (1959)
Variante: It's one of those things a person has to do; sometimes a person has to go a very long distance out of his way to come back a short distance correctly.
Fuente: The American Dream & The Zoo Story
“Dashed hopes and good intentions. Good, better, best, bested.”
Fuente: Who's Afraid of Virginia Woolf?
“If you have no wounds, how can you know if you're alive?”
Fuente: The Play About the Baby
“I created myself, and I'll attack anybody I feel like.”
Shoptalk: Conversations About Theater and Film with Twelve Writers, One Producer — and Tennessee Williams' Mother by Dennis Brown (1993), Ch. 6 : A Certain Amount of Spleen, p. 121
As quoted in Unleashing Intellectual Capital (2000) by Charles Ehin, p. 99
On his play Tiny Alice, in National Observer (5 April 1965)
“The gods too are fond of a joke.”
This is actually a quotation of Socrates, as depicted in Cratylus by Plato
Misattributed
“I have a fine sense of the ridiculous, but no sense of humour.”
Who's Afraid of Virginia Woolf? (1961)
On his play Tiny Alice, in National Observer (5 April 1965)
“A play is fiction — and fiction is fact distilled into truth.”
The New York Times (18 September 1966)
“The only time I'll get good reviews is if I kill myself.”
As quoted in a review of "The Goat, or Who is Sylvia? in Broadway Yearbook 2001-2002 (2003) by Steven Suskin, p. 195
“American critics are like American universities. They both have dull and half-dead faculties.”
Address to New York Cultural League (6 May 1969)
“You gotta have a swine to show you where the truffles are.”
Who's Afraid of Virginia Woolf? (1961)
