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 11
... kind permission to use salient extracts from his works and for his support . Since this book is a revised version of my doctoral thesis on the language in Mamet's drama , I would also like to state my indebtedness to Dr. Richard Allen ...
... kind permission to use salient extracts from his works and for his support . Since this book is a revised version of my doctoral thesis on the language in Mamet's drama , I would also like to state my indebtedness to Dr. Richard Allen ...
Pagina 17
... kind of " kitchen - sink " drama . He feels frustrated when reviewers miss the poetry in his work and comment only upon its ostensible realism . American theatre in general , Mamet observes , is obsessed with the concept of realism ...
... kind of " kitchen - sink " drama . He feels frustrated when reviewers miss the poetry in his work and comment only upon its ostensible realism . American theatre in general , Mamet observes , is obsessed with the concept of realism ...
Pagina 21
... takes the form of a kind of instruction — how one would go about accomplishing such a task — whereas the latter part is a statement of achieve- ment . Mamet captures perfectly the impudent , boastful manner Introduction 21.
... takes the form of a kind of instruction — how one would go about accomplishing such a task — whereas the latter part is a statement of achieve- ment . Mamet captures perfectly the impudent , boastful manner Introduction 21.
Pagina 22
... kind of free verse , is illustrated in a scene from American Buffalo . In a burst of bathetic exaggeration and self - pity , Teach complains to Don that he has been badly treated by Grace and Ruthie , two women with whom they play poker ...
... kind of free verse , is illustrated in a scene from American Buffalo . In a burst of bathetic exaggeration and self - pity , Teach complains to Don that he has been badly treated by Grace and Ruthie , two women with whom they play poker ...
Pagina 23
... kind of drama in which such characters can be placed in the center of a play . Relatively minor certainly un- heroic characters who converse in ostensibly mundane and un- imaginative language are common to the work of both writers ...
... kind of drama in which such characters can be placed in the center of a play . Relatively minor certainly un- heroic characters who converse in ostensibly mundane and un- imaginative language are common to the work of both writers ...
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 |
Overige edities - Alles bekijken
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...