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Profound and Silly
8/10

This is a very good book when it comes to exposing The Method. Mamet is an excellent critic, but his theoretical aspects are a bit muddled. As a result, his advice often sounds as dogmatic as Stanislavsky's and as reductionist as Strassberg's.

Lee's "Method" appropriated one of Stanislavsky's early theories, "Affective Memory," and absorbed others, perhaps unintentionally giving them secondary status. In this theory, actors recall past moving experiences and apply them to the characters they are portraying to infuse it with "truth." Interestingly, 99% of Affective Memory exercises deal with past pain, like a father's death or a sister's suicide.

This leads to some rather downcast acting sessions and the rise of practicing guru-psychoanalyst-con men. It also gives birth to a new artificial convention, the dogma of REAL TEARS. Method enthusiasts like to contrast "indicating" (which is bad) with "truthfulness" (which is great), and the measure they often use is REAL TEARS. So, whether you're playing Hamlet or Felix Ungar, if the scene requires weeping, the true actor is expected to cry REAL TEARS, regardless of whether it's a classical drama or a comedy.

Mamet makes fun of this lunacy and defends the importance of the play and the written word. Acting is, after all, an interpretive and secondary art to writing. Here, he is on solid ground, following Brecht's complaint that Stanislavskian actors mangled the author's work. But what advice does he offer instead? There are some "common sense" gems, like not indulging in "Funny Voices" and letting the audience teach you. However, in the end, he goes back to Stanislavsky's famous saying and advises stepping out on stage as yourself, picking a simple objective, and being brave. This is a bit silly as creating characters is not that simple. It is as reductionist as anything Lee ever came up with. Mamet's characters are not known for their warmth, perhaps due to his attitude. For a less vehement and more constructive critique, try "The End of Acting" by Richard Hornby.

The wizard of uz

Imagine an Enlightenment thinker, sitting on his drawing room chair in the 18th century. The very idea of the mind-body dichotomy excites him so much that he wets his pants and somehow enters a time loop, directly landing in post-Stanislavski America. Miraculously, he becomes a playwright in the process, and that playwright would be David Mamet. And this would be his book on acting.

I believe this is a valuable book for actors to read, serving as a cautionary tale regarding the less successful attempts at Method Acting. Specifically, the section about "Playing for Time" is extremely useful. In it, Mamet criticizes the process where an actor receives another actor's line and instead of responding, they check in with their internal emotional life, thinking it's all about them. Then they deliver their line, presenting to the audience a kind of human interaction that only occurs in糟糕的theatre productions (paraphrased). Mamet also points out that the actress (and I realize this was sexist as men can do this too) who summons tears onstage just for the sake of it is detaching herself from the narrative of the play and from the almighty Text, of which Mamet seems to think actors are mere vessels, going to extremes in the process.

The issues of "Playing for Time" and emoting for the sake of emoting in this book really resonate with me. However, the problem is that Mamet doesn't replace his "don't do's" with anything. Yes, there is a level of trust in the moment that actors need to have so they don't spend too much time being internal. But the trust in the Text that Mamet is advocating is absolute, leaving no room for the actor to actually act. This is why the acting in Mamet's productions often seems wooden. William H. Macy can manage it because he is always in the moment, with thoughts that are real and unselfish. But whenever I watch a film of Mamet's, I can't help but think the actors' thought process is something like "Ok I can't do this, I can't feel this, just deliver the line, trust the line, Ok here's my line", which is, in effect, exactly the overinternalizing nonsense that Mamet warns against. A hyper-literal interpretation of Stanislavski is just as difficult to watch as a hyper-literal interpretation of Mamet.

Dear actors, have you ever had a director who you know is judging you and looking for undeniable evidence that you're being too cerebral, so they can point it out to you with a triumphant grin? Did this director say you were being too internal without explaining how and giving you another option, thus only making you more internal? Does this director still make you angry when you think about them? I have a solution: Imagine that director as a third-year student, reading this book unsupervised. Do you feel better?

Ultimately, I like the myths about acting that Mamet debunks. But I think the way he does it reflects more of his own cynicism than it does something revolutionary and liberating for actors. Do read the book, but be cautious. It's a book with very good ideas about acting by a person who doesn't fully understand actors.

Eye-opening for anyone searching to be an actor.

Becoming an actor is no easy feat, and it requires a great deal of dedication, hard work, and talent.

For those who are serious about pursuing this career, there are many things to consider.

First and foremost, it is essential to have a passion for acting. This passion will drive you to work hard and persevere through the many challenges that come with this profession.

In addition to passion, actors must also have a natural talent for performing. This includes the ability to emote, project their voice, and move gracefully on stage or in front of the camera.

Another important aspect of being an actor is the ability to handle rejection. Auditions can be tough, and it is not uncommon for actors to be turned down many times before they land their first role.

However, those who are able to handle rejection with grace and continue to work hard will eventually find success.

Finally, it is important for actors to have a good understanding of the business side of the industry. This includes knowing how to market oneself, build a network, and negotiate contracts.

By having a solid understanding of these aspects, actors can increase their chances of finding work and building a successful career.

In conclusion, being an actor is a challenging but rewarding career path. For those who are willing to put in the hard work and dedication, it can be an incredibly fulfilling experience.

A must-read for actors. It is brilliant in too many ways to list.

Imagine Mamet strolling alone through the Garden of Acting Wisdom.

Now envision all the statues of False Gods that inhabit the Garden. They are perched on plinths, posed in absurd postures meant to inspire cheap awe rather than to disclose any truth about form.

Finally? Picture Mamet brandishing a massive fire axe. He knocks down all the idols. He cleaves them in half. He shatters them. He destroys them.

If you ultimately disagree with everything in True or False, it is still worthwhile for you to read it. This book challenges the conventional wisdom and forces actors to reevaluate their beliefs and practices. Mamet's uncompromising approach may be controversial, but it is also thought-provoking. By shattering the false idols of acting, he clears the way for a more authentic and meaningful exploration of the craft. Whether you agree or disagree with his ideas, True or False is sure to stimulate your thinking and inspire you to take your acting to the next level.

Ajatuksiaherättävä!!! It really provokes a lot of thoughts. It blows up many myths about acting and theater-making in general. There are really extreme claims that are good to think about and I often had to stop for a long time to think about whether it is like this and what I think myself.

In addition to the sharp observations, it also felt like Momet is a playwright who doesn't believe that an actor is capable of role work (which at best deepens the work?) but everything should already be written by the playwright's action. HMMHMM still an absolute recommendation hehe! Vekkuli!

This article makes one reflect on the various aspects of the acting and theater world. The extreme claims presented make us question the traditional notions and approaches. It makes us wonder about the role of the actor and the playwright in the creative process. Is the actor really just a vessel to bring to life what is already written, or do they have the ability to add their own interpretations and depth to the role? These are the kinds of questions that this article makes us think about.

Mamet casts his critical eye on the institutional realm of the acting “industry.” This encompasses various institutions and the established methods they uphold, such as THE Method. There are also those would-be gurus and instructors who manage to stay afloat in the business only as long as actors keep participating in their game.

Mamet's proposed solution is straightforward: take matters into your own hands. If one aspires to be an actor, the theater should be the destination, not a traditional school. One should acquire education through practical experience and, most significantly, from the feedback of the audience. This approach emphasizes the importance of real-world application and the direct connection with those who will ultimately judge an actor's performance. By bypassing the institutionalized path, actors can potentially develop a more authentic and unique style, unburdened by the constraints and dogmas of the acting establishment.

This is an article that is truly an incredible read.

It is an absolute must for any performer, as it offers valuable insights and knowledge that can enhance their skills and performances.

However, it is not just limited to performers. In fact, it is a great read for any human being.

The content within this article has the potential to inspire, motivate, and educate.

It can open our eyes to new perspectives and ways of thinking, helping us to grow and develop as individuals.

Whether you are a professional performer or simply someone who is interested in personal growth and self-improvement, this article is definitely worth reading.

It is a captivating piece that will keep you engaged from start to finish and leave you with a wealth of information and inspiration.

So, don't miss out on this amazing opportunity to expand your knowledge and gain a new perspective.

Pick up this article today and discover the incredible things that it has to offer.

I'm not an actor. I came across this book after Shia LaBeouf shouted it out on an episode of Hot Ones. I bought it because Mamet wrote Glengarry Glen Ross, which is amazing, and I was curious.

Anyway, I'm happy to report that you don't have to be an actor to gain a great deal from this little book. It's essentially a series of love letters to artists, with a couple of rants about critics and silver spoon-types thrown in. Mamet's mantra is that good art is about performing for the audience and showing them respect. It's not about your own ego.

And it contains a lot of wisdom on how to overcome your ego, self-doubt, desire for acceptance, and so on, and basically just keep your head on straight. Here he is, for example, on why you shouldn't worry about talent: "Pursuit of [the disciplines that better your own craft] will make you strong and give you self-respect—you will have worked for them and no one can take that from you. Pleasure in your 'talent' can (and will) be taken from you by the merest inattention of the person on whom you have deigned to exercise it."

This book offers valuable insights and practical advice for anyone involved in the creative process, whether you're an actor, writer, painter, or musician. It's a quick read, but one that will leave you thinking and inspired.

While some sections of this work seem to impose themselves rather forcefully, and not every idea within it is one that I wholeheartedly agree with, there is no denying that it has a profound impact.

Everything presented here has the power to provoke thought and bring to the forefront a completely new perspective on theatre, art, and life itself.

It's as if my brain has experienced multiple explosions of inspiration and understanding.

The different viewpoints and interpretations challenge the status quo and encourage me to reevaluate my own beliefs and assumptions.

This work serves as a catalyst for intellectual growth and a reminder that there are always new ways to approach and appreciate the world of art and beyond.

It forces me to step out of my comfort zone and embrace the unknown, opening up a whole new realm of possibilities for exploration and discovery.

For a book about acting and theatre, I found its absolute cynicism truly captivating. As an enthusiastic thespian, I despise the pretentiousness that often plagues the theatre world. This book, despite my few disagreements, offers a novel and refreshing perspective on acting. Theatre is about doing, not just theorizing. It's about taking action, not just thinking. There's no need for Method acting or following Stanislavski blindly. It's simply about acting.

The author makes some thought-provoking statements. For instance, "Actors used to be buried at a crossroads with a stake through the heart. Those people's performances so troubled the onlookers that they feared their ghosts. An awesome compliment" (6). This shows the power that a great performance can have.

The book also emphasizes the importance of learning from the audience. "The audience will teach you how to act and the audience will teach you how to write and to direct. The classroom will teach you how to obey, and obedience in theatre will get you nowhere" (19). It's a reminder that the ultimate judges of a performance are the people watching.

Another interesting point is that none of us can truly know how we would act in a given situation. "None of us have any idea whatever what we would do in such a situation - Hamlet's or the postman's. How can we know? Only a fool or a liar would claim to know what they would do when called upon to act with courage" (27). This highlights the unpredictability and complexity of human behavior.

Overall, this book challenges many of the traditional ideas about acting and theatre, and encourages readers to think outside the box and find their own unique approach to this art form.

This book was truly filled with a great deal of wisdom.

I really appreciated the emphasis on working hard, living in the moment, and concentrating solely on the other character in the scene. Mamet's approach to acting was quite unique. He stated that the actor simply needs to show up and speak the lines truthfully in order to fulfill the objective set forth by the text.

He strongly discourages conducting in-depth analytical analysis of the play's text, believing that the author has already done that job. He even goes as far as to express his dislike for acting schools, claiming that the only legitimate place to act is on the stage. In essence, he discredits all modern acting school institutions.

While I do concur that the stage is indeed preferable to the classroom, I still believe that there are valuable things to be learned from other actors and their processes. School also offers a wonderful opportunity to gain stage time in a more refined and cultivated environment.

I liked his outward approach towards the other character. However, he failed to address the instance of a monologue, which could have been very helpful. Overall, I thought that this book contained some excellent bits of knowledge that can be beneficial for actors.

I like most everything he says.

I truly appreciate the fact that he's a rebel in his thinking. He doesn't bother to pander to casting directors or the teachers of the so-called "greats". This kind of independent mindset is quite refreshing.

However, I do draw some things from all my acting experiences. And to completely trash every other acting coach in their entirety seems a bit excessive to me.

There are valuable lessons and perspectives that can be gained from various sources.

Nevertheless, this is still a solid book. It offers unique insights and ideas that can be beneficial for actors.

It challenges the traditional ways of thinking and encourages readers to explore their own acting styles.

Overall, while I may not agree with everything in the book, I can still recognize its worth and the contributions it makes to the field of acting.