David Mamet: Language as Dramatic Action
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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22 March Aaronow action actors American Buffalo audience become Bernie Bernie's blah Bobby Christopher Bigsby cliches 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 Joan's 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
Page 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.
Page 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.
Page 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.
Page 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:...