So The Real Drama For Me Is

I've Been Working In Theater, Really, Since About 1965. I Started Working With The Mabou Mines About Then, And In A Way I've Always Worked In The Theater, But It's Never Been A Main Part Of My Work. And It Wasn't Until Einstein That I Kind Of Shifted Into High Gear With Theater, Working With Bob, With Bob Wilson. And Since Then I Find It A Very Attractive Form To Work In. It's Just An Extension Of My Work.

My Biggest Problem About Writing Is Whenever I Write Piano Pieces, Because I Then Have To Learn To Play Them, Which Is Sometimes Not So Easy.

I Was A Regular Kind Of Academic Music Student. I Was At Juilliard. I Had To Study All The Contemporary Music Of The Time, And Changing That Language Very Radically Was Just A Sign Or A Signal That I Was Going To Try To Do Something Very Different. I Find That That's What I Feel Closest To. I Found No Real Inner Response In Me In A Non-tonal Language.

I Don't Think I'm Capable Of Making Radical Changes, But Over A Period Of Four Or Five Years You Can Perceive Very Big Changes, And They Seem Rather Small At The Time.

What You Hear Depends On How You Focus Your Ear. We're Not Talking About Inventing A New Language, But Rather Inventing New Perceptions Of Existing Languages.