David Henry Hwang Quotes

And you wonder, what's wrong with me? Will anyone beautiful want me?

For a long time, it was hard for me to get my work done in Chicago. Silk Road gave me opportunities to do shows like 'Golden Child' - shows that nobody else seemed interested in. And they bring an artistic integrity to the work that matches anything you'll find at a bigger theatre.

But is it possible for a woman to be too uninhibited, too willing, so as to seem almost too... masculine?

Even if you're lucky to have a play on Broadway like 'Chinglish,' you don't necessarily earn enough off it to support the years it takes to get there.

For the myths of the East, the myths of the West, the myths of men, and the myths of women - these have so saturated our consciousness that truthful contact between nations and lovers can only be the result of heroic effort.

I've studied Chinese in college, but basically, I'm not bilingual.

My first plays were amazingly bad, but I had a teacher who thought I had promise, and he kept working with me. I finally went to a summer workshop before my senior year with people like Sam Shepard and Maria Irene Fornes who encouraged me to write from my subconscious, and suddenly all this material about culture clash came out.

Well, there's no guarantee of failure in life like happiness in high school.

My new play 'Chinglish,' which will go to Broadway, is about a white American businessman who goes to a provincial capital in China, hoping to make a deal there. It's bilingual. And it's about trying to communicate across language and cultural barriers.

Chinese culture in general is not very religious. Confucianism is more a code of ethics than a religion, and ancestor worship is a way for parents to control you even after they're dead.

Happiness is so rare that our mind can turn somersaults to protect it.

You aren't allowed to ask at auditions, legally, a person's race.

My father has always been interested in discarding the past. He's never much liked China or the whole idea behind China or Chinese ways of thinking. He's always been much more attracted to American ways of thinking. He feels Americans are more open - they tell you what they think - and he's very much that way himself.

You can't be a playwright without believing there's an audience for adventurous work.

I felt I was finally in a position to affect not only the artistic content of the American theatre, but also its institutional structures. This has been an important goal of mine, as there have always been a variety of issues - artistic freedom, author's rights, access by minority groups - which have concerned me and even influenced my decision to become a playwright in the first place.

Why, in the Peking Opera, are women's roles played by men? ... Because only a man knows how a woman is supposed to act.

We are all prisoners of our time and place.

Time flies when you're being stupid.

There was all this talk when Obama got elected about how we were living in a postracial world. But we're not. Until we get to the point where James Earl Jones can play, say, George Washington, race matters. You wouldn't put a white actor in blackface to play Othello. You shouldn't have a white actor in what amounts to yellowface to play Asian.

Originally the structure was ... a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present ... So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.

Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.

I knew I was Chinese, but growing up, it never occurred to me that that had any particular implication or that it should differentiate me in any way. I thought it was a minor detail, like having red hair.

To me to write well is to battle stereotypes. To write well is to create three-dimensional characters that seem human.

It just hangs there. This little... flap of flesh. And there's so much fuss that we make about it. I think the reason we fight wars is because we wear clothes. Because no one knows–between the men, I mean–who has the bigger... weenie. So. if I'm a guy with a small one, I'm going to build a really big building or take over a really big piece of land or write a really long book so the other men don't know, right? But see, it never really works, that's the problem. I mean, you conquer the country, or whatever, but you're still wearing clothes, so there's no way to prove absolutely whose is bigger or smaller. And that's what we call a civilized society. The whole world run by a bunch of men with pricks the size of pins.

I am almost famous in China, because I have that Broadway cachet.

'Yellow Face' marks my summation of multiculturalism.

The West believes the East, deep down, wants to be dominated, because a woman can't think for herself

Consider it this way: what would you say if a blond homecoming queen fell in love with a short Japanese businessman? He treats her cruelly, then goes home for three years, during which time she prays to his picture and turns down marriage from a young Kennedy. Then, when she learns he has remarried, she kills herself. Now I believe you should consider this girl to be a deranged idiot, correct? But because it's an Oriental who kills herself for a Westerner–ah!–you find it beautiful.

There's something about China and its rush to capitalism that I find confusing. At the same time, we live in an America where capitalists oppose any government interference with free markets, while in China you have a very controlled, state-planned market where economic growth is better than ours.

I now know that to do a worthwhile family history I must interpret the past without falling into either demonizing or unquestioning acceptance ... As a playwright, what I object to right now is any form of fundamentalism, whether it's nationalistic, religious or ethnic ... I think it is ridiculous - and fundamentalist, by the way - to say that I am not changed by the culture around me.

I felt pretty good growing up. I didn't feel a lot of prejudice or racism. But I do remember, if there was going to be a movie or a television show with Asian characters, I would go out of my way to avoid them, because they portrayed all Asians as either ridiculously good or ridiculously bad; you know, the whole Charlie Chan-Fu Manchu thing.