Overall, I found myself in agreement with approximately 50% of the content in this book.

Specifically, I concur with the observation that there are actors who overexert themselves and strive to convey an emotional state directly rather than through their actions. Indeed, in the realm of acting, there are times when we need to simplify certain aspects.

However, I do not necessarily believe that the author's approach is inherently superior. Every individual is unique, and what works well for one actor may not be as effective for another.

Throughout the book, it is evident that the author holds a vendetta against Stanislavski, which, along with other repetitive elements, at times caused my interest to wane.

Nevertheless, it is important to note that this does not mean the book is bad. It simply fails to be my top recommendation for those seeking to improve their acting skills.

Perhaps it could be beneficial for someone who is feeling stagnant in their acting and is in need of a different perspective.

In conclusion, while the book has its merits, it also has its drawbacks, and its value will ultimately depend on the individual reader's needs and preferences.

An incredibly important and truly controversial book indeed. I found myself wholeheartedly agreeing with a significant portion of the things he says, although not always with the manner in which he arrived at those conclusions. At times, I emphatically disagreed. The book seems to reek of arrogance, yet there is an underlying sense of a desire simply for good theatre that runs through every page. It took me two readings to fully appreciate it. The first time I picked it up a few years ago, I was so disgusted that I threw it down. However, today, I find myself applauding (for the most part). It is an easy read that is definitely worth an actor's time. It offers valuable insights into the world of acting and the art of performance. The author's unique perspective, despite its flaws, makes it a thought-provoking and engaging read.

Mamet is, without a doubt, a provocateur. As you read this, you'll likely be engaged in an ongoing argument in your head with him. He takes aim at nearly every sacred tenet of how plays are produced. The Method, actors who research their characters, those who attempt to interpret their lines, most acting schools, auditions, rehearsals - all come under his fire.

At times, as you peruse these pages, you'll think, "He's absolutely right!" But then there will be other moments when you'll wonder, "Does he even like the theater?" The truth is, he does. He just doesn't care for the way most of it is executed.

Mamet abandoned acting to become a playwright, and thus, the roots of statements like these become clear: "The purpose of the performance is to communicate the play to the audience." He views actors as mere vessels, subservient to the playwright, there solely to "perform actions" and not much more. He desires actors "to say the words as simply as possible."

If you've ever been frustrated by the films Mamet has directed from his own scripts, such as "House of Games" or "The Spanish Prisoner," where the acting style is so emotionless that it seems distant, you might find yourself questioning whether Mamet is doing more harm than good with his strident proclamations. However, one thing is for certain - you definitely won't be bored with this book.

I had studied Mamet before, but this book truly blew my mind.

It is an absolute must-read for all actors. He manages to put into words with perfect precision the role of the actor and how acting has become so intertwined with the ego.

Every single word in this book is quotable. I found myself wanting to highlight the entire thing.

Don't get me wrong, though. His opinions are controversial, but that's what makes it so exciting.

It challenges the traditional notions and makes you think deeply about the art of acting.

Whether you agree or disagree with him, there's no denying the impact his words have.

This book forces you to confront your own beliefs and assumptions about acting and the role of the actor in society.

It's a thought-provoking and engaging read that I would highly recommend to anyone interested in the world of acting.

A book that I will definitely revisit whenever I find myself in need of a powerful incentive and a wake-up call to remind myself to live with determination and pursue my goals wholeheartedly.

This book is truly remarkable as it is filled with brutally honest and hard-hitting truths that have the ability to jolt us out of our complacency. At the same time, it presents these truths in an inspiringly simple manner, making them easy to understand and apply to our lives.

It serves as a constant reminder that we should not shy away from challenges but rather embrace them with courage and perseverance. Whenever I feel myself losing focus or getting too comfortable, I turn to this book to reignite my passion and drive. It is like a trusted companion that always knows how to give me the push I need to keep going and strive for greatness.

This is by far the worst book on acting that I have ever read.

It feels as if it is the "Old man yells at cloud" of acting theory. This book seems to exist merely for Mamet to assert that everything he did was correct and everything others do is incorrect. He is widely known as a playwright and tells actors not to think about character or anything complex, as that is the playwright's job. He also claims that all acting teachers are frauds and should not be trusted, insisting that acting talent is innate and cannot be taught.

He appears to have recognized that acting is difficult, but instead of delving deeper and attempting to understand the process, he has decided that throwing up his hands and admitting defeat is somehow a conclusion worth sharing with others. However, he does offer some general principles about acting - which bear a striking resemblance to the acting theory I learned from one of my acting textbooks, taught by one of those so-called fraudulent teachers.

Large portions of the book seem contradictory to other parts, while other sections give the impression that he has a vendetta against specific unnamed individuals and their ideas, yet he doesn't provide enough detail for the reader to understand. Additionally, his attempt to use a brusque, terse style is ill-suited for an instructional book, making it difficult to glean anything useful from it other than that he is a grumpy old man who cannot write clearly. His complex and jumbled style works well in plays as they hint at complex characters beneath the surface while being evocative and memorable - but it is not appropriate for this type of nonfiction where clarity is of utmost importance.

I truly do not recommend anyone read this book. I believe that just about all of the ideas within it that are worth reading can be found in other books.

Quite possibly the best actor book I have ever read.

Maybe I didn't pay enough attention in my BFA program, but I truly feel like I learned more from reading this book than I did in my four years at school.

I don't think the differences between what Mamet describes and Stanislovski's method are as significant as Mamet would make them seem.

Both of them are striving to achieve the same goal - an honest performance.

They are just approaching it in different manners.

However, what truly matters is that none of it really matters in the end.

It's not about what the actor is experiencing during the performance.

Rather, it is about what the audience takes away from it.

The impact on the audience is the ultimate measure of a successful performance.

Whether an actor follows Mamet's approach or Stanislovski's method, as long as the audience is engaged and moved by the performance, that's what counts.

So, while the theories and techniques may be interesting to discuss and analyze, in the end, it's all about the connection with the audience.

Mamet sweeps you up in his ideas on performance and life in general in this compelling, to-the-point quasi-handbook to stage acting. His writing is so captivating that it draws you in and makes you eager to explore his thoughts further. However, upon a first readthrough, it becomes evident that some of his ideas seem to be based on the assumption that you would not dare to contradict The Great Mamet. This is a bit concerning as it is relatively easy to find flaws or poke holes in at least a few of his concepts. Nevertheless, despite these potential drawbacks, the book still offers valuable insights and perspectives on stage acting and related aspects of life. It challenges the reader to think deeply and question their own assumptions and beliefs. Overall, it is a thought-provoking and engaging read that is sure to leave a lasting impression.

Do I find this book pretentious? Yeah.

Is it eye-opening and life-changing when it comes to acting? No, not really.

However, I did discover that it was very beneficial. In fact, I came across a great deal of useful information within its pages.

But when I recommend it to anyone (and I most definitely will!), I will advise them to approach it with a degree of skepticism and not take it overly seriously.

Even though I assigned it a relatively high rating, I don't believe that every aspiring actor should necessarily read it.

Nevertheless, if you have an interest in it, then yes, it could potentially prove to be useful.

Overall, while the book may not be without its flaws, it does offer some valuable insights and practical advice that could be of assistance to those interested in the field of acting.

It's important to remember that everyone's journey and perspective are unique, so what works for one person may not work for another.

Therefore, it's always a good idea to approach any resource with an open mind and a critical eye, and to take what you can from it while leaving the rest.

I picked up this book upon recommendation as a Director, and I was truly amazed by its profound insights and thought-provoking nature.

In "On Directing Film," he briefly touches upon some ideas that are now fully explored in this work. However, this book delves much deeper into the actor's practice and the culture of life as an artist.

Mamet presents his thoughts in his characteristic blunt style, leaving no room for ambiguity and clearly indicating what is genuine and who is not.

Despite the directness, there is also a great deal of encouragement. I find this book to be highly inspirational, as it offers valuable perspectives and practical advice for both directors and actors.

It serves as a reminder of the importance of authenticity and dedication in the pursuit of artistic excellence.

Overall, I would highly recommend this book to anyone interested in the world of film and theater.

I'm a firm believer in the principle of selectively extracting the useful elements from any book about acting and discarding the rest. Having said that, it's quite astonishing that so many actors hold an absolute aversion to this particular book. However, upon closer examination, there are actually numerous valid points within its pages. One just needs to approach it with an open and receptive mind, rather than immediately becoming defensive when confronted with Mamet's views on drama schools, Stanislavsky, and essentially everything related to the commercial aspect of the acting business.

Overall, I firmly believe that this book is worthy of being read. Nevertheless, it might be advisable to do so in a setting where one is not surrounded by other actors. This is because the diverse opinions and biases of fellow actors could potentially influence one's own perception and prevent a truly objective evaluation of the book's content. By reading it in isolation, one can better focus on the ideas presented and form an independent judgment based on one's own understanding and experience in the field of acting.

This is really cool.

However, I have to say that I think it's way too sweaty.

It's definitely worth reading, but it's quite clear that they don't have much regard for those who are trying to become actors.

They seem to assume that we should all already know these things instead of being in the process of trying to learn them.

It's a bit disheartening, really.

As someone who is passionate about acting and is eager to learn and grow in this field, it would be nice if they could be a bit more understanding and less dismissive.

After all, everyone has to start somewhere, and we're all on this journey to become better actors.

Maybe they should take a step back and consider the perspective of those who are just starting out.

It might make a big difference in how they present this information and how it is received by aspiring actors.

Overall, while the content itself may be interesting, the attitude behind it leaves something to be desired.