Mamet presents certain perspectives on acting that are indeed quite sensible. There are aspects that I wholeheartedly agree with, and it's likely that some in the theatre world could benefit from being reminded of these points. However, it seems to me that he has deliberately misconstrued many other approaches to acting, such as those of Stanislavsky and Meisner. He mocks them for things that I don't believe those acting philosophies were actually advocating. In my view, when we look closely, Mamet and Meisner are ultimately aiming for the same thing. It feels as if Mamet is creating an artificial divide between himself and other so-called "methods".

Overall, there are some interesting gems to be found in his work. But it is so intertwined with other elements that I consider to be highly misleading. As a result, I don't think it's truly worth the time investment.

I don't agree with absolutely everything that is said or done. However, I do believe that there is something out there for everyone.

Sometimes, in order to truly experience and grow, you need to have a good rewiring of your mindset. This means getting out of your own head and taking that leap onto the stage.

When you're on that stage, whether it's in a professional or personal context, your job is to simply do your best. No more, no less.

It's an interesting concept, but I must admit that it can also come across as very pretentious. After all, not everyone has the confidence or the opportunity to just "get on the stage" and perform.

Nevertheless, it does make you think about how we can all break free from our comfort zones and strive for something more.

Mamet is right about a lot of things. His insights and perspectives in various fields often hold great value. He has a unique way of looking at the world and presenting his ideas. However, it must also be said that he’s also a dick. His behavior and attitude at times can be rather off-putting. He may come across as arrogant or overly opinionated, which can turn people away. Despite his intelligence and talent, his less-than-pleasant qualities can overshadow some of his positive contributions. It’s a complex combination that makes him a somewhat polarizing figure. On one hand, we can appreciate his wisdom and knowledge, but on the other hand, we can’t ignore his less savory aspects.

Amazing!! This piece truly cuts through everything and gets to the very heart of the matter.
As I was reading it, I found myself underlining every other sentence. It's that engaging and thought-provoking.
I immediately passed it on to my DD, who has a passion for acting and wants to study it.
I have no hesitation in highly recommending this to anyone who is interested in the subject or simply looking for some great writing. It's a must-read!

Very nicely written - it feels like every word is chosen carefully, giving a clarity to each short chapter. I’ve never been any good at acting, but I am deeply interested in the method and how it can be linked to psychotherapy. It's about getting in touch with and using emotions and exploring different parts of yourself. Mamet, however, is not up for any of that. He is particularly scathing of Method acting. He encourages his actors to simply say their lines and leave the clever bits to the playwright, which I suppose makes sense from his perspective. I wasn't completely convinced by his views, except when it comes to clearing the mind and not trying too hard. But I could listen to Mamet's thoughts all day long. His insights, even when I don't fully agree, are always thought-provoking and offer a unique perspective on the art of acting and the creative process.

Invent nothing, Deny nothing.

These words hold such profound truth that I sometimes think about getting them tattooed on my face.

It's one of the truest things I've learned about storytelling, which is essentially a reflection of life.

In storytelling, we should always strive to be honest and not invent falsehoods.

We should present the facts as they are and let the story unfold naturally.

Similarly, in life, we should not deny the reality that surrounds us.

We should face our problems and challenges head-on and not try to hide from them.

By following these principles, we can create more meaningful and impactful stories, both in our writing and in our lives.

Invent nothing, Deny nothing. It's a simple yet powerful mantra that I will continue to live by.

This is truly the best book ever penned about anything.

It is an absolute masterpiece that has the power to震撼 the mind and soul.

Every single sentence within its pages is like a firework exploding in my brain, causing a frenzy of excitement and intellectual stimulation.

It's as if my brain is engaging in a passionate and intense love affair with itself, being caressed and tantalized by the brilliant words and ideas presented.

The author's writing is so masterful that it effortlessly draws the reader in and takes them on a journey of discovery and enlightenment.

With each turn of the page, I find myself completely immersed in the story, unable to tear myself away.

This book is not just a collection of words; it is a work of art that will leave a lasting impression on anyone who has the privilege of reading it.

I was simultaneously annoyed, enthused, and amused by this book.

It presented a refreshing perspective with Mamet's simplistic approach.

As an actor, it seems one only requires three things: a strong and good voice, an active body, and the ability to understand the play to a certain extent.

The rest, according to Mamet, will only serve to confuse.

The key is to be able to pretend you're in a situation, engage in something really simple, and say the words on the page.

The rest is left to the playwright.

Mamet also has a clear disdain for formal schooling and various methods.

He encourages actors to just go out on stage, embrace the fear and uncertainty, and do it anyway.

In this way, one can show something that is true.

I really like this idea.

Bravery and truthfulness are essential qualities for an actor.

One should make the art they want to make and say what they want to say, without being hindered by unnecessary complications or conforming to traditional norms.

This book has truly made me think differently about the art of acting.

This book is truly quite easy and captivating to read. The reason lies in the fact that Mamet tolerates no disagreement at all and doesn't pause to contemplate alternatives to his approach. In this regard, it resembles a self-help book, and I don't mean this as a strict criticism. It is useful, especially if one is truly attempting to change the way one lives, to read someone express something like "act first to desire your own good opinion of yourself" with absolute sincerity and seriousness (42).

Mamet's discussion on how to be a good actor appears highly plausible to me. He aims to strip away all the false authenticity that stems from trying to reproduce on-stage the emotions one imagines the character in the script is experiencing. In fact, he even wants to eliminate the concept of a dramatic character altogether. "The actor does not need to 'become' the character. The phrase, in fact, has no meaning. There is no character. There are only lines upon a page. They are lines of dialogue meant to be said by the actor" (9). It's radically simple and hard to refute.

Early on, Mamet has an odd moment where he links Stanislavsky's method with psychoanalysis and complains that neither of them "show demonstrable results" or "tend towards closure" (15). For those who know at least a little about psychoanalysis, it should be evident that this is a common and superficial way of denigrating the practice. Since Mamet doesn't spend much time on it (indeed, he quotes Freud approvingly later in the book: "as Freud said, a man with a toothache can't be in love" (94)), I don't think he's very invested in his criticism here. Stanislavsky is the real demon that True and False is trying to exorcise.

However, ironically, I think there are quite a few psychoanalytic moments in this book's overall theoretical conception. Fundamentally, Mamet wants actors to stop intellectualizing their characters and also to stop regularizing their emotions, to stop schematizing each script with pre-arranged memories, trigger words, sense checkpoints, and so on. Instead, they should direct their emotional energy outwards, towards the other actors on stage and towards the actual achievement of a goal. This is what makes the play interesting to the audience because an audience cannot see the authenticity of your emotions. What they can see, and what human beings are usually interested in, is the struggle involved in solving a problem or attaining a genuine goal. And, as in life, most goals (to open a window, to clean up a mess, to succeed in battle, to ask for a date, to ask for a divorce) are not accomplished by turning inwards. This is a fairly standard Freudian motif. Firstly, to succeed in psychoanalysis, you have to be honest about your emotions. You have to allow yourself the freedom to feel your emotions as they emerge in the discussion, or in dreams or free association. Secondly, in order to become more mature, in a psychoanalytic context, you can't dwell entirely in narcissism, which tends towards neurosis. You need to recognize and appreciate the inner lives of Others and not just see them as obstacles or duplicate Mothers or Fathers.

On page 87, Mamet writes that "Psychoanalysis hasn't been able to cure [anxiety, guilt, nervousness, self-consciousness, ambivalence - in short, the human condition] in a hundred years, and an acting school isn't going to cure them in two easy terms." I feel like he's onto something with the critique of acting schools, but isn't this thing he describes - this human condition, which he encourages actors to embrace on stage, to take their everyday anxiety and guilt and let it charge the words of the script with meaning, to have the courage to let the script speak while affecting it as its faithful transmitter - exactly what Freud describes as 'ordinary unhappiness'? Mamet has a perfectly psychoanalytic take, I think, a Stoical interest in and acceptance of the vicissitudes of psychic existence which can be effectively channeled into artistic practice. I think this book is very ambitious given its length, and I will be pondering over it for some time.

One of the most significant books that I have ever read regarding acting and being an actor is truly remarkable. It takes the complex world of acting and simplifies it in the most extraordinary way. The author has the ability to cut through the jargon and unnecessary details, presenting the essence of acting in a manner that is both accessible and profound. By breaking it down into its fundamental components and then piecing it back together, the book offers a unique perspective on the art of acting. I find myself so captivated by this book that I am certain I will read it not just once or twice, but a hundred times over. Each reading reveals new insights and understanding, making it an invaluable resource for anyone aspiring to be an actor or simply interested in the world of acting.

Phenomenal. This word truly encapsulates the extraordinary nature of certain events, people, or things. It implies something that is remarkable, outstanding, and worthy of our attention and admiration.

When we encounter something phenomenal, it has the power to leave us in awe and inspire us. It could be a scientific discovery that changes our understanding of the world, a work of art that touches our souls, or a performance by an athlete that defies all expectations.

The term "phenomenal" also suggests a sense of rarity and uniqueness. It is not something that we come across every day, but rather a special occurrence that stands out from the ordinary.

In conclusion, the word "phenomenal" is a powerful descriptor that allows us to express our appreciation for the truly remarkable things in life. It reminds us to keep our eyes open for those rare and extraordinary moments that have the potential to change our lives forever.

I have always had a great passion for reading about different perspectives on various aspects of life. One area that has particularly intrigued me is acting. Recently, I came across an article that presented an individual's view on acting, and I found it truly fascinating.

The author's thoughts on acting were quite unique and thought-provoking. Although I cannot say that I agree with every single point he made 100%, I must admit that I gained some new and interesting insights from reading his article.

It made me realize that acting is not just about memorizing lines and performing on stage or in front of the camera. It is a complex art form that requires a deep understanding of human emotions, psychology, and the ability to bring a character to life in a believable and engaging way.

I will definitely be reflecting on these new insights and perhaps even applying them to my own understanding and appreciation of acting.