I am so far as I am aware not at all influenced by dramatists, expect for Shakespeare, who I have to say, it is impossible not to be influenced by if you hold language to be the major element of theatre.

I am so far as I am aware not at all influenced by dramatists, expect for Shakespeare, who I have to say, it is impossible not to be influenced by if you hold language to be the major element of theatre.

I submit all my plays to the National Theatre for rejection. To assure myself I am seeing clearly.

I never 'say' anything in my work. I invent a world. Let others decide what is being 'said'.

We are suffocated by writers who want to enlighten us with their truths. For me, the theatre is beautiful because it is a secret, and secrets seduce us, we all want to share secrets.

When I write, I am not giving a lecture, I am speculating on behavior. Sometimes this is dangerous, but it should be. As I say often, theatre is a dark place and we should keep the light out of it.

I have plenty of political views and plenty of social and personal prejudices. I do not, however, value them.

A good play puts the audience through a certain ordeal.

I believe in poetic discourse, in the value of speech in a non-naturalistic way; it's speculative.

I don't like sympathetic characters.

I'm not interested in entertainment.

I'm not interested in observed reality.

I've often taken important classical, biblical or literary stories and interrogated them. I have tried to reinvigorate Lot by interpreting it differently.

Theatre should be a taxing experience: the greatest achievement of a writer is to produce a character who creates anxiety.

Still, language is resilient, and poetry when it is pressured simply goes underground.

I have my own language and it's high time I put a little of it out there.

Well, with the French language, which I understood and spoke, however imperfectly, and read in great quantities, at certain times, the matter I suppose was slightly different from either Latin or Greek.

I belong to a specific category of writers, those who speak and write in a language different from that of their parents.

Poetry is a matter of life, not just a matter of language.

Our purpose is simply to ask how theological principles can be shown to have usable secular analogues that throw light upon the nature of language.

Countries under foreign command quickly forget their history, their past, their tradition, their national symbols, their way of living, often their own literary language.

French is a language that makes those who speak it both calm and dynamic.

I have eighteen titles in the German language. I had a number one song in 1965.

That's so different in Hong Kong when I'm using my own mother language, I can treat the line in one thousand different ways, with many different reactions.

The Internet is not just one thing, it's a collection of things - of numerous communications networks that all speak the same digital language.

Of all of our inventions for mass communication, pictures still speak the most universally understood language.

If I were assigned poems I suppose I'd write more of them but it is entirely voluntary and for the most part ignored in the market sense of the word so the language to me is most intimate, most important, most sublime and most satisfying when it gets done.

Music is the soul of language.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don't have control over whether this feeling is in me or not.

I think I am too interested in my own ideas to copy anyone else's, but I find that other people's imagery, the flow of language in the outside world, games with words, and ideas about relationships are all most important to me.

I don't see it in terms of changing things, but rather using language and music as weapons for fighting a mainstream media which is predominately right wing, and loyal to the political framework and its corporate interests.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

Although spoken English doesn't obey the rules of written language, a person who doesn't know the rules thoroughly is at a great disadvantage.

I'm really fascinated and you know I've been wondering about that usage of language, various breathing techniques and why in these practices language is being used in another way.

Two races share today the soil of Canada. These people had not always been friends. But I hasten to say it. There is no longer any family here but the human family. It matters not the language people speak, or the altars at which they kneel.

When it comes to atoms, language can be used only as in poetry. The poet, too, is not nearly so concerned with describing facts as with creating images.

One of the most misleading representational techniques in our language is the use of the word 'I.'

Language is the soul of intellect, and reading is the essential process by which that intellect is cultivated beyond the commonplace experiences of everyday life.

To handle a language skillfully is to practice a kind of evocative sorcery.

They are damn good projects - excellent projects. That goes for all the projects up there. You know some people make fun of people who speak a foreign language, and dumb people criticize something they do not understand, and that is what is going on up there - God damn it!

Poetry is ordinary language raised to the Nth power. Poetry is boned with ideas, nerved and blooded with emotions, all held together by the delicate, tough skin of words.

The Catholic faith never changes. But the language and mode of manifesting this one faith can change according to peoples, times and places.

If the president is going to use so much language of theology and the Bible, then let's use that language for a serious discussion about the war in Iraq. And that was never done.

Curiously enough, it seems to be only in describing a mode of language which does not mean what it says that one can actually say what one means.

When I last went to Italy, over two years ago, I had a lot more trouble understanding the language than I used to when I lived there for a year. I used to speak very little but I could understand very well.

The eye of genius has always a plaintive expression, and its natural language is pathos.

Information comes through to me in 3 basic ways seen, hearing, and feeling the energy of the person that's crossed over. In which it is a symbolic type of language.

All of nature begins to whisper its secrets to us through its sounds. Sounds that were previously incomprehensible to our soul now become the meaningful language of nature.