Molly Smith interviews Edward Albee during "An Evening with Edward Albee"

Summary

The video features a playwright reflecting on his life's work, the recognition he's received, and his journey from writing poetry and novels to finding his true calling in theater. He shares his thoughts on the importance of maintaining artistic integrity, the state of modern theater, and the challenges of commercialization. He also reminisces about the vibrant artistic scene in 1950s New York and the influence of that era on his development. The conversation touches on his creative process, the role of education in the arts, and his continued passion for writing plays.

Takeaways

• 🎭 The playwright expresses gratitude for the Arena Stage honoring his work, noting that it's rare for audiences to see a full body of work rather than just recent successes.
• 🤔 The playwright reflects on why awards are given for simply doing something he enjoys and does well.
• ✍️ He started writing poetry at a young age but transitioned to playwriting after realizing he didn’t feel like a true poet.
• 📖 He wrote two novels in his teens, but considers them to be some of the worst novels ever written by an American teenager.
• 🎬 Writing 'The Zoo Story' was a turning point where he realized he had created something of real quality and found his identity as a playwright.
• 🎨 He reminisces about the vibrant art scene in 1950s New York, where experimental arts were thriving, and people could enjoy culture affordably.
• 💸 He laments the commercialization of theater, expressing frustration at how art is often sacrificed for profit in today’s commercial theater world.
• 📝 The playwright emphasizes that dramatists should retain full control of their work, rejecting pressure to simplify or alter plays for commercial reasons.
• 👥 He describes his writing process as starting with characters who come to him, rather than with an idea or theme. He learns about the characters as he writes.
• 🎓 He advocates for more education in civics and the arts, warning that without teaching these subjects, society risks losing its cultural foundation.

Q & A

What does the speaker express gratitude for at the beginning of the conversation?

The speaker is grateful to Arena Stage for showcasing his work, particularly because it gives people the opportunity to see more than just his most recent commercial successes but also the breadth of his career over 50 years.

Why does the speaker feel conflicted about receiving awards or celebrations?

The speaker questions why anyone would give awards to someone for simply doing something they are competent at and enjoy. He feels that doing what one knows how to do well should not necessarily warrant accolades.

How did the speaker initially realize he had competence in writing?

The speaker first realized he had competence in writing when he wrote his first play, *The Zoo Story*. Prior to that, he wrote poetry and novels but did not feel truly connected to those forms. Writing *The Zoo Story* was the first time he felt he had created something that wasn’t bad, leading him to believe he was a playwright.

What kind of writing did the speaker engage in before turning to playwriting?

The speaker wrote poetry from a young age until he was 26 and even had poems published, including in *The New Yorker*. He also wrote two novels in his teens, although he considered them the worst novels an American teenager could write.

How does the speaker describe the arts scene in New York City in the 1950s?

The speaker describes New York City in the 1950s as an extraordinary place for the arts, with abstract expressionist painters, avant-garde composers, and experimental poets all active. The city was an exciting and affordable place for emerging artists to learn, experiment, and engage with each other.

What challenges does the speaker see in the current arts scene compared to the past?

The speaker believes that the arts today face challenges due to the 'dead hand of commerce,' where financial concerns often outweigh artistic integrity. He suggests that commercial pressures force artists to compromise their work, unlike in the past when the focus was more on artistic innovation and collaboration.

How does the speaker view the playwright's rights in relation to their work?

The speaker emphasizes that playwrights have complete control over their work, including ownership of any changes made with their approval. He encourages playwrights to resist commercial pressures to simplify or alter their plays, arguing that maintaining artistic integrity is essential.

What advice does the speaker give to young playwrights facing commercial pressures?

The speaker advises young playwrights to learn two important phrases: 'No,' and a more forceful rejection if their integrity is threatened. He stresses the importance of resisting pressures to alter their work for commercial reasons, believing that this will lead to better theater and a more intelligent audience.

How does the speaker approach the process of writing a play?

The speaker starts with the characters rather than a specific idea or theme. He learns everything he can about the characters and their interactions, allowing the play to develop organically. He views the process of writing as a way to discover why he is writing the play in the first place.

What concerns does the speaker raise about education, particularly in relation to civics and the arts?

The speaker laments the lack of education in civics and the arts in modern schools. He recalls taking a civics course, which taught him about government and democracy, and believes that this knowledge, along with exposure to the arts, is essential for a well-rounded and informed society.