Bøger af David Mamet

A masterclass on the art of directing from the Pulitzer Prize-winning (and Oscar and Tony-nominated) writer of Glengarry Glen Ross, Speed the Plow, The Verdict, and Wag the DogCalling on his unique perspective as playwright, screenwriter, and director of his own critically acclaimed movies like House of Games, State and Main, and Things Change, David Mamet illuminates how a film comes to be. He looks at every aspect of directing—from script to cutting room—to show the many tasks directors undertake in reaching their prime objective: presenting a story that will be understood by the audience and has the power to be both surprising and inevitable at the same time. Based on a series of classes Mamet taught at Columbia University''s film school, On Directing Film will be indispensible not only to students but to anyone interested in an overview of the craft of filmmaking."Passion, clarity, commitment, intelligence—just what one would expect from Mamet." —Sidney Lumet, Academy Award-nominated director of 12 Angry Men, Dog Day Afternoon, Network, and The Verdict

In a terrifyingly short time, a male college instructor and his female student descend from a discussion of her grades into a modern reprise of the Inquisition. Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship, and abuse.

Having put his personal stamp on the contemporary theater, David Mamet now performs the supremely audacious feat of reinventing the theater of the past. He does so by telling his own ingenious and eerily moving version of the tragedy of Dr. Faustus.Mamet's Faustus—like Marlowe's and Goethe's before him—is a philosopher whose life's work has been the pursuit of "the secret engine of the world.” He is also the distracted father of a small, adoring son. Out of the clash between love and intellect and the fatal operation of Faustus' pride, Mamet fashions a work that is at once caustic and heart-wrenching and whose resplendent language marries metaphysics to conman's patter. A meditation on reason and folly, fathers and sons, and a breathtaking display of magic both literal and theatrical, Faustus is a triumph.

What makes good drama? How does drama matter in our lives? In Three Uses of the Knife, one of America's most respected writers reminds us of the secret powers of the play. Pulitzer Prize-winning playwright, screenwriter, poet, essayist, and director, David Mamet celebrates the absolute necessity of drama--and the experience of great plays--in our lurching attempts to make sense of ourselves and our world. In three tightly woven essays of characteristic force and resonance, Mamet speaks about the connection of art to life, language to power, imagination to survival, the public spectacle to the private script. It is our fundamental nature to dramatize everything. As Mamet says, "Our understanding of our life, of our drama.... resolves itself into thirds: Once Upon a Time.... Years Passed.... And Then One Day." We inhabit a drama of daily life--waiting for a bus, describing a day's work, facing decisions, making choices, finding meaning. The essays in the book are an eloquent reminder of how life is filled with the small scenes of tragedy and comedy that can be described only as drama. First-rate theater, Mamet writes, satisfies the human hunger for ordering the world into cause-effect-conclusion. A good play calls for the protagonist "To create, in front of us, on the stage, his or her own character, the strength to continue. It is her striving to understand, to correctly assess, to face her own character (in her choice of battles) that inspires us--and gives the drama power to cleanse and enrich our own character." Drama works, in the end, when it supplies the meaning and wholeness once offered by magic and religion--an embodied journey from lie to truth, arrogance to wisdom. Mamet also writes of bad theater; of what it takes to write a play, and the often impossibly difficult progression from act to act; the nature of soliloquy; the contentless drama and empty theatrics of politics and popular entertainment; the ubiquity of stage and literary conventions in the most ordinary of lives; and the uselessness, finally, of drama--or any art--as ideology or propaganda.

"Award-winning playwright, screenwriter, and director David Mamet shares scandalous and laugh-out-loud tales from his four decades in Hollywood where he worked with some of the biggest names in movies. David Mamet went to Hollywood on top-a super successful playwright summoned west in 1980 to write a vehicle for Jack Nicholson. He arrived just in time to meet the luminaries of old Hollywood and revel in the friendship of giants like Paul Newman, Mike Nichols, Bob Evans, and Sue Mengers. Over the next forty years, Mamet wrote dozens of scripts, was fired off dozens of movies, and directed eleven himself. In Everywhere an Oink Oink, he revels of the taut and gag-filled professionalism of the film set. He depicts the ever-fickle studios and producers who piece by piece eat the artist alive. And he ponders the art of filmmaking and the genius of those who made our finest movies. With the bravado and flair of Mamet's best theatrical work, this memoir describes a world gone by, some of our most beloved film stars with their hair down, and how it all got washed away by digital media and the woke brigade. The book is illustrated throughout with three-dozen of Mamet's pungent cartoons and caricatures"--

Drama / Characters: 3 males, 1 female / Interior set / Multiple Award-winning playwright/director David Mamet tackles America's most controversial topic in a provocative new tale of sex, guilt and bold accusations. Two lawyers find themselves defending a wealthy white executive charged with raping a black woman. When a new legal assistant gets involved in the case, the opinions that boil beneath explode to the surface. When David Mamet turns the spotlight on what we think but can't say, dangerou

This collection includes three short plays: VERMONT SKETCHES by David Mamet, SAXOPHONE MUSIC by Bill Bozzone, and ARIEL BRIGHT by Katharine Long. The annual Marathon of One-Act Plays has made Ensemble Studio Theatre one of the most important showcases for one-acts in the country. This selection has been taken from four Marathon evenings. In VERMONT SKETCHES, Pulitzer Prize-winner David Mamet proves once again that he is a major poet of American vernacular. ARIEL BRIGHT concerns a romantic fantasy set in the past in a funeral parlor. In SAXOPHONE MUSIC two down-and-out fellows share a seedy apartment. When one learns to play the saxophone, it appears that his fortunes might change.on ARIEL BRIGHT: "Miss Long follows her two characters on an endearing flight of fancy--the play is both a love story and a fantasy." Mel Gussow, The New York Timeson SAXOPHONE MUSIC: "...a wistful, worm-turns comedy about the underclass." Mel Gussow, The New York Times

A big-shouldered, big-trouble thriller set in mobbed-up 1920s Chicago--a city where some people knew too much, and where everyone should have known better--by the Oscar-nominated screenwriter of The Untouchables and Pulitzer Prize-winning playwright of Glengarry Glen Ross.Mike Hodge--veteran of the Great War, big shot of the Chicago Tribune, medium fry--probably shouldn't have fallen in love with Annie Walsh. Then, again, maybe the man who killed Annie Walsh have known better than to trifle with Mike Hodge.In Chicago, David Mamet has created a bracing, kaleidoscopic page-turner that roars through the Windy City's underground on its way to a thunderclap of a conclusion. Here is not only his first novel in more than two decades, but the book he has been building to for his whole career. Mixing some of his most brilliant fictional creations with actual figures of the era, suffused with trademark "Mamet Speak," richness of voice, pace, and brio, and exploring--as no other writer can--questions of honor, deceit, revenge, and devotion, Chicago is that rarest of literary creations: a book that combines spectacular elegance of craft with a kinetic wallop as fierce as the February wind gusting off Lake Michigan.

A powerful new work from one of our most renowned playwrights.

A new drama by the Pulitzer Prize-winning author of Glengarry Glen Ross.

If theatre were a religion, explains David Mamet in his opening chapter, 'many of the observations and suggestions in this book might be heretical'. As always, Mamet delivers on his promise: in Theatre, the acclaimed author of Glengarry Glen Ross and Speed the Plow, calls for nothing less than the death of the director and the end of acting theory. For Mamet, actors are either good or they are non-actors, and good actors generally work best without the interference of a director, however well-intentioned. Issue plays, political correctness, method actors, impossible directions, Stanislavksy, and elitists all fall under Mamet's critical gaze. To students, teacher, and directors, who crave a blast of fresh air in a world that can be insular and fearful of change, Theatre throws down a gauntlet that challenges everyone to do better, including Mamet himself.From iconic and idiosyncratic director and playwright David Mamet, a mischievous manifesto designed to defrock the high priests and challenge the holy bibles of the theatre world.