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Showing 1 - 25 of 58 matches in All Departments
The Penguin Classics debut that inspired a classic film and a
current Broadway revival
The complete third season of the action drama series featuring a covert team of Special Forces operatives risking their lives on undercover missions in far-flung locations. Episodes comprise: 'Pandemonium: Part 1', 'Pandemonium: Part 2', 'Always Kiss Them Goodbye', 'Every Step You Take', 'Inside Out', 'M.P.s', 'Five Brothers', 'Play 16', 'Binary Explosion', 'Gone Missing' and 'Side Angle Slide'.
Now published in the Bloomsbury Revelations series, this is a classic work on the power and importance of drama by renowned American playwright, screenwriter and essayist David Mamet. In this short but arresting series of essays, David Mamet explains the necessity, purpose and demands of drama. A celebration of the ties that bind art to life, Three Uses of the Knife is an enthralling read for anyone who has sat anxiously waiting for the lights to go up on Act 1. 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, public spectacle to private script. Self-assured and filled with autobiographical touches Three Uses of the Knife is a call to art and arms, a manifesto that reminds us of the singular power of the theatre to keep us sane, whole and human.
NEW YORK TIMES BESTSELLER! "Savagery appeased can only grow. Once you give in to it, it must escalate, like a fire searching for air." The man who won the Pulitzer Prize for GLENGARRY GLEN ROSS, who wrote the classic films THE VERDICT and WAG THE DOG sounds his alarm about the Visigoths at our gates. In RECESSIONAL he calls out, skewers, mocks, and, most importantly, dissects the virus of conformity which is now an existential threat to the West. A broad-ranging journey through history, the Bible, and literature, RECESSIONAL examines how politics and cultural attitudes about rebellion have shifted in the United States in the last generation. By screaming down freedom of thought and expression, Mamet explains, we kill invention and democracy - the foundations of security and growth. A wickedly funny, wistful and wry appeal to the free-thinking citizen, RECESSIONAL is a vital warning that if we don't confront the cultural thuggery now, the commissars and their dupes will transform the Land of the Free into the dictatorship at which they aim.
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.
Mamet's ground-breaking and controversial play on the male-female power struggle, annotated with an introduction, notes and commentary. "An ear for reproducing everyday language has long been David Mamet's hallmark and he has now employed it to skewer the dogmatic, puritannical streak which has become commonplace on and off the campus. With Oleanna he continues an exploration of male-female conflicts begun with Sexual Perversity in Chicago in 1974. Oleanna cogently demonstrates that when free thought and dialogue are imperilled, nobody wins." (Michael Wise, Independent) In Oleanna "John and Carol go to it with hand-to hand combat that amounts to a primal struggle for power. As usual with Mamet, the vehicle for that combat is crackling, highly distilled dialogue unencumbered by literary frills or phony theatrical ones." (Frank Rich, International Herald Tribune)
Calling on his unique perspective as playwright, screenwriter, and director of his own critically acclaimed movies, House of Games 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 enjoyed not only by students but by anyone interested in an overview of the craft of filmmaking.
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, either actors are 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, teachers, 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.
A student edition of Mamet's Pulitzer Prize-winning play First staged in Britain in 1983, Glengarry Glen Ross is the tale of four real-estate salesmen in a cut-throat sales competition. It won the Pulitzer Prize in 1984 and was made into a film, starring Al Pacino, Jack Lemmon, Kevin Spacey and Alec Baldwin, in 1992. "The finest American playwright of his generation" Sunday Times "A chillingly funny indictment of a world in which you are what you sell" Guardian "Nobody alive writes better American...Here at last, carving characters out of language, is a play with real muscle" Observer "David Mamet, screenwriter of The Verdict and The Postman Always Rings Twice, is alongside Sam Shepard and Michael Weller, one of the most distinctive voices on the contemporary American stage" Michael Coveney, Financial Times
Winner of the 1984 Pulitzer Prize, David Mamet's scalding comedy is about small-time, cutthroat real esate salesmen trying to grind out a living by pushing plots of land on reluctant buyers in a never-ending scramble for their fair share of the American dream. Here is Mamet at his very best, writing with brutal power about the tough life of tough characters who cajole, connive, wheedle, and wheel and deal for a piece of the action -- where closing a sale can mean a brand new cadillac but losing one can mean losing it all. This masterpiece of American drama is now a major motion picture starring Al Pacino, Jack Lemmon, Alan Arkin, Alex Baldwain, Jonathan Pryce, Ed Harris, and Kevin Spacey.
The Pulitzer Prize winning playwright, director and teacher has written a blunt, unsparingly honest guide to acting. In True and False David Mamet overturns conventional opinion and tells aspiring actors what they really need to know. He leaves no aspect of acting untouched: how to judge the role, approach the part, work with the playwright; the right way to undertake auditions and the proper approach to agents and the business in general. True and False slaughters a wide range of sacred cows and yet offers an invaluable guide to the acting profession.
David Mamet has been a controversial, defining force in nearly
every creative endeavor-now he turns his attention to politics.
Duck Variations: "A brilliant little play...about two old men sitting on a park bench discussing ducks" (Guardian); Sexual Perversity in Chicago, bar-room banter and sexual exploits in Mamet's home town "sweet sad understanding and utterly believable" (Chicago Daily News); Squirrels is a sequence of philosophising between a younger writer, an older writer and a cleaning lady which "memorably captures the agony of the creative process" (Daily Telegraph); American Buffalo, one of Mamet's most famous plays, is set in a junk shop where Three small-time crooks plot to carry out the midnight robbery of a coin collection - in the hours leading up to the heist, friendship becomes the victim in a conflict between loyalty and business. The Water Engine is "a propulsive, kaleidoscopic nightmare" and Mr Happiness is a short ironic monologue by a Radio DJ commenting on the letters from his listeners.
"The finest American playwright of his generation" (Sunday Times) Glen Garry Glen Ross (also made in to a film starring Jack Lemmon and Al Pacino) "his superb play about real estate salesmen in a cut-throat sales competition" (New Society); in Prairie du Chien a railway carriage speeding through the Wisconsin night is the setting for a violent story of obsessive jealousy, murder and suicide, told within shooting distance of a card-hustler and his victim. "A short poignant study in violence and the twin drives of love and money, told with hypnotic power thorugh a travelling raconteur" (City Limits); The Shawl shows a clairvoyant wondering whether to cheat a bereaved woman of her inheritance and "confirms Mamet's place as about the best living writer of vivid American dialogue" (Daily Telegraph). Set in the cut-throat world of Hollywood, Speed-the-Plow sees two old-time movie collaborators manipulate the aspirations of a young woman who will do anything to attain her dream of success "a brilliant black comedy, a dazzling dissection of Hollywood cupidity." (Newsweek)
William Esper, one of the most celebrated acting teachers of our time, takes us through his step-by-step approach to the central challenge of advanced acting work: creating and playing a character.
6 working actors describe their methods and philosophies of the theater. All have worked with playwright David Mamet at the Goodman Theater in Chicago.
A literary jeu d'esprit, a modern-day Tristram Shandy, a hilarious satire on false scholarship, Wilson is David Mamet at his best and most mischievous. When the internet - and the collective memory of the twenty-first century - crashes, the past is reassembled from the downloaded memories of Ginger, wife of ex-President Wilson. The transcripts take the reader on an intellectually breathtaking tour. In Mamet's baroque, fragmented world, nothing is certain except the certainty of academics. His customary bilious playfulness has created a trompe l'oeil for the mind's eye. In playing with the ideas of perception, understanding, accuracy, he dares to doubt them all.
Esper worked closely with Meisner for 17 years and has spent decades developing his famous program for actor's training. Co-writer Damon DiMarco, a former student of Esper's, spent over a year observing his mentor teaching first-year acting students. In this book he recreates that experience for us.
Comic Drama Characters: 7 male 2 interior sets This scalding comedy took Broadway and London by storm and won the 1984 Pulitzer Prize. Here is Mamet at his very best, writing about small-time, cutthroat real estate salesmen trying to grind out a living by pushing plots of land on reluctant buyers in a never-ending scramble for their share of the American dream. Revived on Broadway in 2006 this masterpiece of American drama became a celebrated film which starred Al Pacino, Jack Lemmon, Alec Baldwin and Alan Arkin. "Crackling tension...ferocious comedy and drama."-The New York Times "Wonderfully funny...A play to see, remember and cherish."-New York Post
Bobby Gould in Hell by David Mamet Short Play, Comedy Characters: 3 male, 1 female Interior Set This is Bobby Gould's day of reckoning. The conniving movie mogul from Speed the Plow awakes in a strange room. A loquacious interrogator in fishing waders enters. Gould argues his case. A woman he has wronged appears and gets so carried away that she says some sassy things to the Interrogator. In the end, Bobby is damned for being "cruel without being interesting." "Funny and pungent."-N.Y. Times "Lifts the soul."- N.Y. Daily News "Hilarious ... with flashy magic tricks."-Newsday Published with The Devil and Billy Markham by Shel Silverstein Short Play, Comedy Characters: 1 male Bare stage In this amazing rendition of a tall tale written in rhymed couplets, Billy Markham loses a sucker's bet with the Devil but ultimately outwits him. "A tour de force with the jokes coming Faust and furious."-N.Y. Post. "A rip snorting, raunchy delight. Very, very funny."-Associated Press
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, dangerous truths are revealed, and no punches are spared. "Scapel-edged intelligence " -New York Times "Provocative and profane " -NY-1 "Mamet is most concerned with the power and treachery of language: a line of dialogue vital to the prosecution case is cynically rewritten by the defense. Mamet's larger contention is that attempts to create a more equal and tolerant society have made race an unsayable word...brilliantly contrives here a moment in which the single most taboo sexual expletive is ignored by an audience which then gasps at the word "black..".Mamet remains American theatre's most urgent five-letter word." -The Guardian Intellectually salacious...Gripping...rapid-fire Mametian style...Mamet's new play argues, everything in America - and this play throws sex, rape, the law, employment and relationships into its 90 minutes of stage wrangling - is still about race." -Chcago Tribune "There is intrigue within intrigue, showing how personal prejudice and individual missteps govern the course of things...Mamet adroitly mixes comic darts with tragic arrows." -Bloomberg News
Full Length, Dramatic Comedy / 2m, 1f / 2 ints. Revived on Broadway in 2008, the original production starred Joe Mantegna, Ron Silver and Madonna in this hilarious satire of Hollywood, a culture as corrupt as the society it claims to reflect. Charlie Fox has a terrific vehicle for a currently hot client. Bringing the script to his friend Bobby Gould, the newly appointed Head of Production at a major studio, both see the work as their ticket to the Big Time. The star wants to do it; as they prepare their pitch to the studio boss, Bobby wagers Charlie that he can seduce the temp/secretary, Karen. As a ruse, he gives her a novel by "some Eastern sissy" writer that needs a courtesy read before being dismissed out of hand. Karen slyly determines the novel, not the movie-star script, should be the company's next film. She sleeps with Bobby who is so smitten with Karen and her ideals that he pleads with Charlie to drop the star project and and pitch the "Eastern sissy" writer's book. "Hilarious and chilling ."- The New York Times "Mamet's clearest, wittiest play." - The New York Daily News |
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