This book contains several useful tips that offer a novel perspective on acting.

I believe that having this perspective in mind can be advantageous. It is not about blindly accepting everything the author says as absolute truth, but rather about engaging with his ideas and considering them as one extreme, with Stanislavski representing the other.

However, I am not fond of the fact that he dismisses every other method and approach to acting and asserts that the way he proposes is the sole authentic way.

There are likely many valid and effective ways to act, and it seems overly narrow-minded to claim that only one method is correct.

A more inclusive and open-minded approach would be to explore and learn from various acting methods and find what works best for each individual actor.

By doing so, actors can expand their skills and creativity and develop a more well-rounded approach to their craft.

I like the controversial nature of completely rejecting the emotional and sensory memory, as well as any psychological work that Stanislavki proposes as an actor's search to interpret a character.

David returns to what is the main and fundamental for the actor, which is the interpretation of actions and not of the word or emotions. Although he rejects the idea that the actor has a methodology (surely it is because of the time in which he lives).

He also argues why learning acting in an institution is a "waste of time", which can be true if the old (cruel, methodless or unguided) teaching of doing theater persists.

However, it is important to note that while David makes valid points, there is also value in exploring different acting techniques and approaches. The emotional and sensory memory can add depth and authenticity to a performance, and a well-structured methodology can help actors develop their skills more effectively.

Moreover, not all institutions adhere to the old teaching methods. There are many modern and innovative acting schools that offer a diverse range of training programs to suit different learning styles and goals.

In conclusion, while David's views on acting are thought-provoking, it is essential to consider the full spectrum of possibilities and approaches in the field of acting.

This is the second book on acting that I have read. At first, David Mamet's vehement attacks on certain schools of acting seemed like a humorous curiosity and an interesting artifact of the culture of acting.

However, as I got to the middle of the book and had completed my first acting class, I discovered that I truly appreciated his advice.

His words validated the complex emotions of joy and terror that I was experiencing during my acting journey.

It was as if he had tapped into the very essence of what it means to be an actor and had put those feelings into words.

Reading his book at this stage of my acting education was like finding a kindred spirit who understood the challenges and rewards that come with the territory.

I realized that his critiques were not just random rants but were based on his own experiences and insights into the world of acting.

Overall, this book has become an important resource for me as I continue to explore the art of acting and strive to improve my skills.

As an actor, I'm bothered.

The constant pressure to perform flawlessly, to remember lines perfectly, and to bring a character to life in a way that engages the audience can be overwhelming. There are times when I feel the weight of expectations on my shoulders, and it affects my confidence and performance.

However, as a theatre historian, I'm amused.

Looking back at the rich and diverse history of theatre, I'm amazed by the creativity and innovation that has taken place over the centuries. From the ancient Greek tragedies to the modern-day musicals, theatre has evolved and adapted to reflect the changing times and cultures.

I find it fascinating to study the different styles, techniques, and trends that have emerged throughout history and to see how they have influenced contemporary theatre. It gives me a sense of perspective and reminds me that the art of theatre is constantly evolving.

Despite the challenges I face as an actor, my love for theatre remains strong. Whether I'm on stage or studying its history, I'm constantly inspired by the power and beauty of this art form.

Anybody who deems themselves a "seasoned" or "gifted" actor ought to peruse this book. It is a must-read for those who aspire to be actors yet possess little to no experience. Moreover, anyone who is contemplating or has already enrolled in theatre classes should also give this book a read.

This book is essential reading for actors who grapple with "what to do" onstage or for students who wish to pursue acting as their careers. It comes highly recommended, as it has completely transformed my entire perspective on what it means to be an actor.

Whether you are a novice or an experienced thespian, this book offers valuable insights and practical advice that can enhance your acting skills and understanding. It delves into various aspects of acting, such as character development, stage presence, and the art of interpretation.

By reading this book, you will gain a deeper appreciation for the craft of acting and be inspired to take your skills to the next level. So, don't hesitate, pick up this book today and embark on a journey of self-discovery and growth as an actor.

Mamet once again undermines the significance of any and all academic methods related to theater and the process of creating theater. It is once more invigorating to listen to a disrespectful yet knowledgeable voice assert, without any hesitation or apology, that the optimal way to learn how to act is through hands-on experience, without relying on books, classes, or teachers. In brief, it is about finding a means to be on stage and striving to truthfully convey plays to the audiences. While I have some disagreements with certain aspects of his writing, and I remain undecided about a great deal of it, I still continue to be motivated by his viewpoint.

I'm not an actor, and thus, I'm not reviewing this book from the perspective of an actor. However, like every human being, I grapple with uncertainty. Additionally, I believe I engage in something artistic within my career.

I discovered this book, which is peppered with Stoic advice, to be an extremely pleasant source of inspiration when confronted with uncertainty. The space between you and uncertainty is where art comes into being. It's the realm where you courageously face it, not knowing how your actions will pan out, yet you do it regardless, focusing on your skills and your craft.

I'm neither aware nor concerned about the various acting schools that David Mamet so clearly detests (for more on that, read the other reviews here). Nevertheless, his consistent criticism of going to school rather than simply doing the thing is spot-on. I've gleaned more from actually writing, from engaging in the act of writing, than from the two writing classes I've attended. I've learned more from data journalism, doing it under a tight deadline, than from the courses and books I've devoured.

(Perhaps I should apply that same principle to life?)

If you ever find yourself struggling to take risks in your career and constantly grappling with uncertainty, might I suggest this book? Don't read it for advice targeted at actors; instead, read it for the common sense advice and meta lessons that you can apply to your own craft.

Mamet is a renowned North American playwright, theater professor, screenwriter, and film director.

In this controversial essay, he expounds on what one should not do to be a good actor and give a great performance, challenging and questioning the methods taught in drama schools. He begins by stating that "formal education for the actor is not only useless but also harmful. It emphasizes the academic model and denies the primacy of the interaction with the audience."

To interpret a role, one should seek physical distress rather than mental, not adhere strictly to the text, not attempt to feel and evoke specific emotions from reasoning. Actors should not intellectualize their characters nor try to control and decide the emotions they should have. Instead, they should simply let themselves be carried away, have a clear objective of what they are going to do, focus on the action, be brave on stage, and let the emotion arise genuinely... seeking an honest and sincere interpretation. They should let the emotions be felt and come freely. The interpretation should be based on instinct and imagination.

This essay can have a very universal reading, not only for actors but also for everyone in real life. It talks about being carried away by emotions, making everything more physical and sensory rather than mental, in order to give a more spontaneous and organic performance. What Mamet proposes is to get out of the mind and go to the body to interpret any character on stage and in real life.

"Truth and Lies" is part of the recommended bibliography for the Theater and Consciousness 3 course at Espai Philae. It is an irreverent, provocative, clear, and forceful reading that criticizes the classic method of interpretation and at the same time offers interesting alternatives for interpreting theater and also for living life in a more full and genuine way.

This book is truly a disappointment. It contains all the characteristics of an older man going on a rant at the bar, someone who clearly believes he is smarter than you.

He constantly repeats himself, which becomes tiresome and makes it difficult to stay engaged. What's more, he tears down others in an attempt to give his own points a false sense of superiority. This kind of behavior is not only unappealing but also undermines the credibility of his arguments.

Worst of all, after all this ranting and posturing, he doesn't really make much of a point. The book lacks a clear and coherent message, leaving the reader feeling frustrated and cheated.

In conclusion, I would highly recommend that you don't waste your time with this book. There are far better options available that will provide you with valuable insights and entertainment.

David Mamet's work, like his other creations, is avant-garde. Clearly, his effort lies in this regard, and that's why I don't think it's suitable for novice game designers who haven't delved into other Turkish books in this field before reading it. Because it presents descriptions that can be misinterpreted.

What makes this not-so-long book worth reading is the author's sincerity in speech and his effort to convey this sincerity both verbally and behaviorally to his audience.

Perhaps, like me, you may not agree with many of the descriptions and contents presented in this book and may oppose them. But you can't deny the curiosity that some of these redefinitions plant in the mind.

Although Mamet's effort throughout this book is to draw a line through all previous game design works and starts with a bang from the very beginning, in my opinion, in many parts of the book, he uses the teachings of those previous works to place the words and concepts he refers to.

The simplest and most controversial thought that will always remain in the corner of my mind from reading this book is that it is impossible to ignore what the predecessors have left for us, but none of these works, teachings, and so on are the abode of revelation.

The Persian translation of this book, titled "Right and Wrong (Originality and Common Sense for Game Designers)" and written by Ali Mansouri, is a spiritual translation of David Mamet's writing style.

David Mamet's Timeless Brilliance

David Mamet's timeless brilliance will always be relevant, not only for actors but for any artist.

His profound love for the craft of acting is like a reassuring voice that has the power to inspire and help you recall the very reason why you initially fell in love with acting.

It is as if he is a good friend whom you can turn to whenever you find yourself feeling unsure. He is that wise friend who always seems to have that one thing to say that can get you going strong again.

Mamet's work and his insights into the world of acting offer a wealth of knowledge and inspiration. His plays and teachings have influenced generations of actors and artists, guiding them on their creative journeys.

Whether you are a seasoned actor or just starting out, exploring Mamet's ideas and works can open up new perspectives and deepen your understanding of the art form.

His timeless brilliance serves as a constant reminder of the beauty and power of acting, and his love for the craft continues to inspire and motivate artists around the world.

I'll be honest. I've always struggled to understand how to engage in sense memory while remaining fully present in the moment. It just never made much sense to me. I also have had difficulties with many of the acting exercises I've been required to do. For example, closing your eyes and holding your favorite childhood item in your hand. I couldn't fathom how that related to the story being told. It all seemed rather pointless.

However, it's quite refreshing to come across someone else who has put into words exactly how I feel. I didn't necessarily agree with everything he wrote. I do like character development. I think that when it's done properly and helps to推动 the action forward, it's not an issue at all.

I feel that Mamet was essentially advocating for getting out of our heads, stopping overthinking, and simply speaking to see what unfolds. This really resonates with me on a deep level. I tend to be more instinctive than intellectual. I navigate through scenes by "feeling" rather than by thinking them through.

There is one thing that I strongly disagree with, and that's the "Funny Voice" he mentioned. He said that the actor should speak clearly and without emotion. I firmly believe that words are incredibly powerful. One can create a vivid image in the mind through the use of words and how they are delivered: inflection, density, velocity, electricity, cadence, pitch, and tone. Nevertheless, I do concur that an actor must not burden the play with excessive introspection and unwarranted emotion. It's self-centered and dull. Let the audience interpret the play. All an actor has to do is deliver it truthfully and clearly.

I also had an issue with his writing style. It seemed a bit overdone, and his vocabulary a bit pretentious. But then again, it's Mamet.