quote by Margaret Benson

The cat is, above all things, a dramatist.

— Margaret Benson

Pioneering Dramatist quotations

The art of the dramatist is very like the art of the architect.

A plot has to be built up just as a house is built-story after story; and no edifice has any chance of standing unless it has a broad foundation and a solid frame.

Show me a congenital eavesdropper with the instincts of a Peeping Tom and I will show you the making of a dramatist.

A dramatist is one who believes that the pure event, an action involving human beings, is more arresting than any comment that can be made upon it.

I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.

While we look to the dramatist to give romance to realism, we ask of the actor to give realism to romance.

Characterization in a play is like a blank check which the dramatist accords to the actor for him to fill in.

I am not trying to be a historian and a dramatist;

I'm a dramatist, a dramatic historian, or one who does a dramatic interpretation of history.

I have the right to interpretation as a dramatist.

I research. It's my responsibility to find the research. It's my responsibility to digest it and do the best that I can with it. But at a certain point that responsibility will become an interpretation.

Christ was the first true democrat that ever breathed, as the old dramatist Dekkar said he was the first true gentleman.

J.L. Moreno was a pioneer of twentieth-century theater and psychotherapy. A remarkable work, Impromptu Man should be required reading for therapists and dramatists alike.

Have you noticed ... there is never any third act in a nightmare? They bring you to a climax of terror and then leave you there. They are the work of poor dramatists.

It's insulting to ask a dramatist what his view of his play is. I have no opinion.

Contrast is the dramatist's method.

The twentieth century French dramatist Jean Anouilh wrote a play about Beckett which was made into a film in the 1960

The theatre is supremely fitted to say: Behold! These things are.

Yet most dramatists employ it to say: This moral truth can be learned from beholding this action.

The theatre is supremely fitted to say: 'Behold! These things are.

' Yet most dramatists employ it to say: 'This moral truth can be learned from beholding this action.'

Shake was a dramatist of note; He lived by writing things to quote.

When actors are talking, they are servants of the dramatist.

It is what they can show the audience when they are not talking that reveals the fine actor.

Shakespeare was a dramatist of note who lived by writing things to quote.

Out of the past come the standards for judging the present;

standards in turn to be shaped by the practice of present-day dramatists into broader standards for the next generation.

There is no essential difference between the material of comedy and tragedy.

All depends on the point of view of the dramatist, which, by clever emphasis, he tries to make the point of view of his audience.

Adventure comes with no guarantees or promises.

Risk and reward are conjoined twins—and that’s why my favorite piece of advice needs translation but no disclaimers: Fortes fortuna juvat. ‘Fortune favors the brave,’ the ancient Roman dramatist Terrence declared. In other words, there are many good reasons not to toss your life up in the air and see how it lands. Just don’t let fear be one of them.

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.

From that time through the time I was a New Dramatist, when I was something like twenty-two, I saw absolutely everything in New York. Absolutely everything.

I had never thought of myself as a dramatist, and, for really good technical results, the thought came too late: a man of letters has become too wordy to write economically for the stage.

A Shakespeare could have arisen only on English soil.

In the same way, your great dramatists and poets express the nature and essence of the Norwegian people, but they also express that which is universally valid for all mankind.

I do have a side as a citizen, and I've always expressed it, and that's where I've gotten into misunderstandings, because some people see me as a leftist nut or whatever. A conspiracy nut. All that stuff. These are definitions that don't really apply to a dramatist, because a dramatist is working from empathy.

As a dramatist, I don't have politics.

I learned my job from English dramatists.

Tennessee Williams was no good for me, New York stuff was no good to me.

By the time someone gave me some samples of standard screenplays I was already beyond that stuff, because I was not only a tinkerer in ways to do things, I'd started from Dylan Thomas. As a screen dramatist he was a very intense visualist, with great timing and fluency.

My job as a dramatist is to find out where these characters want to go, and make it as hard as possible for them to get there.

Everybody always talks about the science fiction genre, in particular, which always makes me think about people in spaceships. I can appreciate that, but that's not really where I think my dramatist aspect lies.

I cannot imagine how any diplomat, or any dramatist, could improve on (Ronald Reagan's) words to Mikhail Gorbachev at the Geneva summit: 'Let me tell you why it is we distrust you.' Those words are candid and tough and they cannot have been easy to hear. But they are also a clear invitation to a new beginning and a new relationship that would be rooted in trust.

As a dramatist, you're looking for points of friction.

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