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How do you get them to abandon self to character, so it’s not about controlling the story, controlling the character like a little puppet. Sometimes, I get tired of characters having to change in this very, in my mind, sort of antiseptic way. I can’t look into your eyes, I can’t lift your chin, but I will say it on this screen—Take it in.My children’s school has closed indefinitely, and I’ve been encouraging my kids to learn a new poetic form every day. It’s why, if she writes a book on playwriting (and I think she will, and I think she should), it will be very important. You know, you don’t always see that kind of criticism, but when you do, it’s really beautiful, when you see that there’s a critical faculty responding and a wealth of experience and knowledge responding, but you’re also seeing the critic’s emotional life responding, too.WASHINGTON SQUARE: I think it makes sense, though, just with how physical play-making ends up becoming. It goes back to your question about character, actually: not creating a psychology of character and then using language to reflect that or represent that, but instead finding character as you go, just as you’re finding one word to follow the next. It is also the substance through which people cough, sneeze and infect one another." Sarah Ruhl will join Signature Theatre's Residency 1 program - a year long intensive exploration of a single writer's body of work. Other works include The Oldest Boy; How to Transcend a Happy Marriage ; a stage adaptation of Virginia Woolf’s Orlando; and the collection 44 Poems for You (Copper Canyon Press, February 2020). It’s a kind of listening practice.RUHL: For me, it’s about the rhythm of thought. I realized only later that it was highly likely she was on the anonymous committee that year. It’s more like poetry—when you’re reading a poem out loud, you respect the line breaks to some extent, but you don’t necessarily take a big pause between the lines. .RUHL: I think we’re in a strange age of Ovid. Before Sarah Ruhl was a playwright, she was a poet. How can we find meaning, and liberation, in our voluntary captivity this month? Do you see stage directions as a sort of narrative figure involved in the action?Due to COVID-19, we are currently not able to fulfill any orders. The Poetry Foundation's blog for poetry and related news.Playwright Sarah Ruhl suggests that the theater-inclined among us write a poem instead.That's right! I think Ovid’s having a resurgence, maybe it’s just my own bias.WASHINGTON SQUARE: Let’s talk about your stage directions. So, it’s less of an artful, highly trained, Shakespearean sense of voice, and it’s more of a simple relationship to language and emotion and transparency that I’m looking for, in terms of how actors relate to language in my work.WASHINGTON SQUARE: Writing without writing?WASHINGTON SQUARE: What do you think is the dynamic between natural speaking and poetry?