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 19
... opening of the quote and continues through to its end . Reflecting both Roma's neurotic personality and his too - sincere manner of speaking , it acts not only as rhythmic verse but also as a means of depicting character . Roma begins ...
... opening of the quote and continues through to its end . Reflecting both Roma's neurotic personality and his too - sincere manner of speaking , it acts not only as rhythmic verse but also as a means of depicting character . Roma begins ...
Pagina 22
... opening sentence is a poetically brillant and ac- complished paean to anger , and its length and rhythm make the short colloquy far more powerful and ironic . Teach's language seems to prescribe its own eccentrically compelling rhythms ...
... opening sentence is a poetically brillant and ac- complished paean to anger , and its length and rhythm make the short colloquy far more powerful and ironic . Teach's language seems to prescribe its own eccentrically compelling rhythms ...
Pagina 29
... opening scenes with matter which is later taken up , worked upon , repeated , expanded and added to , like the theme in a musical composition . " 31 Mamet strives to create natural - sounding speech in his dia- logue , but always within ...
... opening scenes with matter which is later taken up , worked upon , repeated , expanded and added to , like the theme in a musical composition . " 31 Mamet strives to create natural - sounding speech in his dia- logue , but always within ...
Pagina 33
... opening of " Do - do - do What You Done - Done- Done Before . " ) . . . . I must stop getting so stupid . I don't see anything , I don't hear anything except money , money , money . . . Characters like these resort to desperate ...
... opening of " Do - do - do What You Done - Done- Done Before . " ) . . . . I must stop getting so stupid . I don't see anything , I don't hear anything except money , money , money . . . Characters like these resort to desperate ...
Pagina 39
... Open Space , avers that " Mamet desperately loves and respects actors . His heart is with us . . . he really does care about us . You can tell this by the ease with which actors take to his texts ... they are , more so than usual ...
... Open Space , avers that " Mamet desperately loves and respects actors . His heart is with us . . . he really does care about us . You can tell this by the ease with which actors take to his texts ... they are , more so than usual ...
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...