American - Playwright | July 16, 1956 -
I think I have a great deal of self-hatred, a profound feeling of fraudulence, of being detestable and evil. It's only a part of me, but it's there, and it's active.
Tony Kushner
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The way you give love is the most profoundly human part of you. When people say it's ugly or a perversion or an abomination, they're attacking the center of your being.
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I tend to be sort of quiet and shy and awkward in social situations.
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You have a strange relationship with calamity when you're a writer: you write about it; as an artist, you objectify and fetishize it. You render life into material, and that's a creepy thing to do.
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The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
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So I think I'll say the obvious thing: theater is ephemeral. When a production is done, it's gone forever. You can take pictures of it. You can make a film of it. But it's not the production. It's not the same thing.
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God knows I've had productions where there were actors in my plays who were making more money per week than I was.
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As much as I hate his movies, Oliver Stone has an aspiration I admire, and that is that he wants his art to be part of what makes and changes public policy and cultural practice.
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If you know that life is basically going to be horrendously difficult, at best, and all but unlivable at worst, or possibly even unlivable, do you go on? And the choice to go on is the only thing that I think can be called hope. Because if hope isn't forced to encounter the worst possibility, then it's a lie.
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Gay writers now have both a sense of history and the fables that allows them to dwell in the realms of the ridiculous and at the same time talk seriously about things.
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I don't write political plays in the sense that I'm writing essays that are kind of disguised as plays. I would really defy anyone to watch any of my plays and say 'Well, here's the point.'
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I'm a sort of political person, and I feel that there's a kind of ineradicably political dimension to theater, to all theater, whether it's overtly political or not.
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