3 uses of the knife : on the nature and purpose of drama /
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 res...
Saved in:
| Main Author: | |
|---|---|
| Format: | Government Document Book |
| Language: | English |
| Published: |
New York :
Columbia University Press,
©1998.
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| Series: | Columbia lectures on American culture
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| Subjects: |
MARC
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| 246 | 3 | |a Three uses of the knife | |
| 260 | |a New York : |b Columbia University Press, |c ©1998. | ||
| 300 | |a 87 pages ; |c 19 cm. | ||
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| 500 | |a Includes index. | ||
| 505 | 0 | |a The wind-chill factor -- The perfect ball game -- Anti-stratfordianism -- The problem play -- Letters of transit -- Second act problems -- Violence -- Self-censorship -- Three uses of the knife -- The eleven o'clock song -- The end of the play. | |
| 520 | |a 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. 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. 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. Self-assured, filled with autobiographical touches, and attentive to the challenges to theater presented by a media world of simulacra, this book is a bracing call to art and to arms, a manifesto that reminds us of the singular power of the theater to keep us sane, whole, and human. | ||
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