David Mamet: Language as Dramatic ActionFairleigh Dickinson Univ Press, 1990 - 241 pagina's This book supports the claim that David Mamet is possibly the first true verse dramatist by examining in detail his celebrated use of language as dramatic action. Five of Mamet's best known plays are studied in detail: Sexual Perversity in Chicago, American Buffalo, A Life in the Theatre, Edmond, and Glengarry Glen Ross. |
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Pagina 15
... expression , " but that apparent wasteland of middle American speech , " 4 which is the language of the lower classes of the United States . He molds their attenuated and brutalized words into some of the most vital and original ...
... expression , " but that apparent wasteland of middle American speech , " 4 which is the language of the lower classes of the United States . He molds their attenuated and brutalized words into some of the most vital and original ...
Pagina 24
... expression ; what seems insignificant is filled with mean- ing and the most prosaic speech is given the kind of attention usually reserved for " great art . " Indeed , Mamet's superb render- ing of inarticulate speech is one of his ...
... expression ; what seems insignificant is filled with mean- ing and the most prosaic speech is given the kind of attention usually reserved for " great art . " Indeed , Mamet's superb render- ing of inarticulate speech is one of his ...
Pagina 30
... the pace of city life into his dialogue . The world Mamet dramatizes is one in which literally every second counts , and where there may be danger around every corner . Consequently , brevity of expression be- 30 DAVID MAMET.
... the pace of city life into his dialogue . The world Mamet dramatizes is one in which literally every second counts , and where there may be danger around every corner . Consequently , brevity of expression be- 30 DAVID MAMET.
Pagina 31
Language as Dramatic Action Anne Dean. around every corner . Consequently , brevity of expression be- comes extremely important . Mamet's characters frequently leave out words they feel to be extraneous or redundant in their sen- tences ...
Language as Dramatic Action Anne Dean. around every corner . Consequently , brevity of expression be- comes extremely important . Mamet's characters frequently leave out words they feel to be extraneous or redundant in their sen- tences ...
Pagina 34
... expression , an honesty that is uncluttered by the bonds of polite conversation . Colin Stinton , an American actor who has appeared in a number of Mamet's plays , explains some of the reasons why he believes the dramatist includes so ...
... expression , an honesty that is uncluttered by the bonds of polite conversation . Colin Stinton , an American actor who has appeared in a number of Mamet's plays , explains some of the reasons why he believes the dramatist includes so ...
Inhoudsopgave
51 | |
American Buffalo | 85 |
A Life in the Theatre | 119 |
Edmond | 148 |
Glengarry Glen Ross | 189 |
Conclusion | 222 |
Notes | 224 |
Select Bibliography | 236 |
Index | 239 |
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Veelvoorkomende woorden en zinsdelen
22 March Aaronow action actors American Buffalo audience become Bernie Bernie's blah Bobby Christopher Bigsby clichés Colin Stinton Connie Booth Contemporary Writers conversation convey Danny Danny's David Mamet Deborah desperate dialogue Don's drama Edmond exists fact fantasy fear feels film Fletch Freddie Jones fuck Glengarry Glen Ross Glenna Gussow Ibid interview with author irony Jack Shepherd Joan John kind Lakeboat language Levene Levene's Lingk linguistic listen live London look Mamet believes Mamet's characters Mamet's plays means mind Miranda Richardson Moss National Theatre Notes for Glengarry obscenity observes Patrick Ryecart Pause Perversity in Chicago playwright relationship rhythms Robert Roma Roma's Ruthie salesmen scene screenplay sense Sexual Perversity society South Bank Show speak speech story suggests talking Teach tell theatrical thing tion tone trying verbal Wetzsteon Williamson woman women words Woyzeck Writing in Restaurants Yeah
Populaire passages
Pagina 189 - He's a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back — that's an earthquake.
Pagina 123 - It's terrible. Ours is an immutable reality which should make you shudder when you approach us if you are really conscious of the fact that your reality is a mere transitory and fleeting illusion, taking this form today and that tomorrow, according to the conditions, according to your will, your sentiments, which in turn are controlled by an intellect that shows them to you today in one manner and tomorrow . . . who knows how?
Pagina 36 - I write about violence as naturally as Jane Austen wrote about manners. Violence shapes and obsesses our society and if we do not stop being violent, we have no future. People who do not want writers to write about violence want us to stop writing about us and our time.
Pagina 49 - I'll never know, in the silence you don't know, you must go on, I can't go on, I'll go on.
Pagina 52 - When man confronts himself he also confronts other men. What is true of man's relationship to his work, to the product of his work and to himself, is also true of his relationship to other men, to their labor and to the objects of their labor.
Pagina 204 - But no to that. I say. There's something else. What is it? "If it happens, AS IT MAY for that is not within our powers, I will deal with it, just as I do today with what draws my concern today." I say this is how we must act. I do those things which seem correct to me today. I trust myself. And if security concerns me, I do that which today I think will make me secure. And every day I do that, when that day arrives that I need a reserve, (a) odds are that I have it, and (b) the true reserve that...
Pagina 36 - I do all the donkeywork, in fact, and I think I can say I pay meticulous attention to the shape of things, from the shape of a sentence to the overall structure of the play. This shaping, to put it mildly, is of the first importance.
Pagina 26 - BOB and DON extract foodstuffs and eat. DON: Did they charge you again for the coffee? BOB: For your coffee? DON: Yes. BOB: They charged me this time. I don't know if they charged me last time, Donny. DON: It's okay. Pause. TEACH (to BOB): How is it out there' BOB: It's okay. TEACH: Is it going to rain? BOB: Today? TEACH: Yeah. BOB: I don't know. Pause. TEACH: Well, what do you think? BOB: It might. TEACH: You think so, huh? DON: Teach . . . TEACH: What? I'm not saying anything. BOB: What? TEACH:...
Pagina 150 - What is the measure of man?" Postmodern man is more profoundly perplexed about the nature of man than his ancestors were. He is on the verge of spiritual and moral insanity. He does not know who he is. And having lost the sense of who and what he is, he fails to grasp the meaning of his fellow man, of his vocation, and of the nature and purpose of knowledge itself. For what is not understood cannot be known. And it is this cognitive faculty which is frequently abrogated by the "scientific" theory...