An interesting play cannot in the nature of things mean anything but a play in which problems of conduct and character of personalimportance to the audience are raised and suggestively discussed.
On the Greek stage a drama, or acted story, consisted in reality of three dramas, called together a trilogy, and performed consecutively in the course of one day.
Drama is the most difficult of all arts. In it two things are to be satisfied - first, the ears, and second, the eyes. To paint a scene, if one thing be painted, it is easy enough; but to paint different things and yet to keep up the central interest is very difficult. Another difficult thing is stage - management, that is, combining different things in such a manner as to keep the central interest intact.
When I say that I can write nothing but weird fiction, I am not trying to exalt that medium but am merely confessing my own weakness. The reason I can't write other kinds is not that I don't value & respect them, but merely that my slender set of endowments does not enable me to extract a compellingly acute personal sense of interest & drama from the natural phenomena of life.
I'm not a plumber who accidentally blew up or a math professor who accidentally backed into notoriety. I have a master's from Yale drama, and I auditioned for this. So obviously I want to be in the limelight in some capacity, or I want to be in entertainment in some capacity.
The drama is complete poetry. The ode and the epic contain it only in germ; it contains both of them in a state of high development, and epitomizes both.
Ruin, weariness, death, perpetually death, stand grimly to confront the other presence of Elizabethan drama which is life: life compact of frigates, fir trees and ivory, of dolphins and the juice of July flowers, of the milk of unicorns and panthers’ breath, of ropes of pearl, brains of peacocks and Cretan wine.
I'm a natural born show off. I love performing, and at school we had a really good music scene and an even better drama scene. When I got to university, I played in bands and did sketch stuff and it was always about coming up with material, which is why I never really practised and have no chops!! When I left uni, I carried on playing and trying out at stand-up.
Only in the problem play is there any real drama, because drama is no mere setting up of the camera to nature: it is the presentation in parable of the conflict between Man's will and his environment: in a word, of problem.
The popular definition of tragedy is heavy drama in which everyone is killed in the last act, comedy being light drama in which everyone is married in the last act.
I actually find in America, there's a slight snobbery about actors who go back and forth between big heavy dramas and popcorn fare. That always intrigues me, because that doesn't exist in the same way in Britain. And I imagine it would be worse. In terms of the sort of class, and the sort of snobby, slightly on the back-foot thing Britain has. But it's much more prevalent in America. I'm really intrigued by it. I don't know why that is. But I'm aiming to break down those barriers by being in a Shakespeare film and a Smurfs film within six months of each other.
That grand drama in a hundred acts, which is reserved for the next two centuries of Europe-the most terrible, most questionable and perhaps also the most hopeful of all dramas.
Comedy is more difficult than drama. I think it's really difficult to make someone laugh because people have very different comedic sensibilities. In drama, you can get away with being a great actor and surrounded by great actors and having good writing. But in comedy you have to listen and you have to perform with a certain rhythm, because if you don't, it's like playing a wrong note in the orchestra and you can hear the off key and it will fall flat and you won't get that instant response.