I had a strange feeling when reading this book. It engages the reader, or perhaps I should say it burns the reader's mind? I don't know. The author writes and you listen, even though sometimes you may disagree with him, but you remain silent and enjoy it in a hidden way as if the story is whispering to you. It closely reveals fragmented and scattered things around a certain theme, just like the lectures of university professors in my classes, the topics that they bring up. Maybe it's even confusing, jumbled, and inconsistent. I don't know, but I liked this book. It lingers in my memory and engages my mind.

Okay, well.

I'm truly glad that this book was of a short length. But to be honest, it was indeed quite beneficial for me to read it. I found myself disagreeing with a significant portion of its content. However, I firmly believe that it served a useful purpose. Sometimes, reading materials that you oppose can actually assist you in better expressing your own genuine thoughts.

Overall, Mamet elevates theatre or drama to a level that it perhaps cannot sustain on its own. He almost seems to worship it, associating it with religion, magic, and the Bible. He posits that art should bring peace and "inspire cleansing awe". But can anything other than Jesus truly bestow those things upon us?

In a nutshell, this book gave the impression of idolatry and atheism, concealed beneath overly elaborate language and meandering trains of thought. Seriously, there were numerous instances where he phrased things as eloquently and pretentiously as possible. Or at least that's how it came across to me. There are authors who employ beautiful words simply for their aesthetic value, being infatuated with the beauty of language as a gift from God. And then there are those who use lovely words to sound intelligent. Second-handers who are more concerned with lecturing or impressing rather than sharing their joy in a particular thing. That's precisely how the entire book felt to me.

Moreover, there were so many incomplete thoughts that he left hanging, as if presuming that every reader would be able to understand the remainder of his idea, leaving any reader who didn't understand feeling foolish or out of place.

There were certain aspects that I liked. Sentences and small sections where I thought, "Yes!" (I'll share some quotes below.) But overall... this is a vision of drama that truly requires a lesson from the Storyteller.

I don't necessarily wholeheartedly agree with these, but they caught my attention:
"The demand of immediate gratification is death for any art which takes place over time. That the audience be teased, disappointed, reassured, frightened, and finally freed is the essence of dramatic/musical form. It is only... garbage that'makes us feel good all the time.'"
"Dramatic art raises the creators and the viewers to the status of communicants. We who made it, formed it, saw it, went through something together, now we are veterans. Now we are friends."
"We cannot gamble enough to find peace, eat enough to be thin, arm ourselves or strut enough to feel secure."
"But life is not simple, the truth is not simple, true art is not simple. True art is as deep and convoluted and various as the minds and souls of the human beings who create it." (I feel like a really long and fascinating discussion could be sparked based solely on this sentence.)

I just finished reading this book two minutes ago, and my mind is completely filled with thoughts.

At times, it becomes rather confusing due to its profound philosophical ponderings, making me really think hard.

However, at other times, it is crystal clear with its straightforward anecdotes and interesting, playful metaphors.

Without a doubt, it is easily one of the very best books on drama that I have ever read.

What's truly amazing is that it manages to condense an enormous amount of thought and wisdom into just 81 pages.

It doesn't simply present a step-by-step guide like a "here is how it's done" sort of book. Instead, it challenges the reader to engage with the ideas and form their own interpretations.

This book has truly opened my eyes to a whole new world of drama and has given me a deeper understanding and appreciation for this art form.

I can't wait to pick it up again and explore its pages further.

This short little book is truly a treasure trove, containing a multitude of information and ideas.

In the unique way that only Mamet can manage, he skillfully swerves among various diverse subjects such as drama, politics, religion, and all sorts of other fascinating areas.

Moreover, just as only Mamet has the ability to do, he presents these topics in a manner that is not only interesting but also highly controversial.

This makes the book definitely worth a re-read, as each time one delves into its pages, new insights and perspectives are likely to emerge.

It is a work that challenges the reader's thinking and engages them on multiple levels, leaving a lasting impression and inviting further exploration of the ideas presented within.

Overall, this short book by Mamet is a remarkable piece of writing that combines depth, creativity, and controversy in a truly engaging way.

It's quite possible that I detested this book mainly because it deviated from what I had anticipated.

If only I had picked it up with the intention of delving into Mamet's cynicism towards almost everything else, perhaps I would have found enjoyment in it.

However, my desire was to explore the nature and purpose of drama, and unfortunately, this book failed to fulfill that need.

Moreover, I didn't consider it to be particularly well-written. It seemed to jump around haphazardly, lacking a coherent structure.

Frankly speaking, I probably would have derived more pleasure from poking myself in the eye with rusty nails than from reading this book.

In conclusion, my disappointment with this book stems from its failure to meet my expectations and its subpar writing quality.

I would highly recommend this book to anyone who has even a moderate level of interest in theatre and plays. There is a good possibility that you might disagree with some, if not a significant number of the points that Mamet makes. He has a reputation for being something of an iconoclast, which means he challenges traditional beliefs and ideas. However, I firmly believe that the ideas he presents in this book are truly fascinating. They are delivered in a convincingly and wittily manner, which makes the reading experience not only engaging but also thought-provoking. At first, I had the impression that a superiority complex was emanating from the pages, but as I delved deeper into the book, I found myself wholeheartedly agreeing with him. This book has the power to change your perspective on theatre and plays and is definitely worth a read for anyone interested in this field.

Even a broken clock shows the correct time twice a day. Well, in Mamet's case, it happens a bit more than twice, but he's still a broken clock.

He's really not an intelligent person. Sometimes naïve, other times maniacally convinced of certain self-deceptions bordering on conspiracy theories. Many passages in the book are truly to be picked up and thrown away because they are completely useless and border on illuminated preaching that one doesn't understand a damn thing about.

The most useful part is the one about the actor. And yet, despite everything I've said, the times when he's shown the correct time have really stuck with me and have really helped me.

Overall, Mamet is a complex figure. His work contains both elements that are frustrating and those that are valuable. It's important to approach his ideas with a critical eye and to take what is useful while discarding the rest. This way, we can make the most of his contributions and avoid being misled by his less-than-stellar moments.

Perhaps this is the key to understanding Mamet and his work. We need to see him for what he is – a flawed but sometimes brilliant thinker – and use his ideas as a springboard for our own exploration and growth.

Only then can we truly appreciate the value that he brings, even if it comes packaged with a fair amount of nonsense.

I think this is my favorite of Mamet’s books that I’ve read so far.

Curiously enough, this copy was underlined by two people before me. It must be assigned reading at one of the local universities.

Whomever it was that underlined using a red pen completely missed the point at every stroke. They spent time and energy to sloppily underline passages of minimal relevance to the point of the chapter or even the paragraph.

It’s like they were underlining just to impress us that they have read it. But in reality, their underlining didn't add any value or show a true understanding of the text.

So, I would like to say to anyone who might pick up this book in the future: DO NOT FOLLOW THE RED LINE.

You should read the book with an open mind and form your own interpretations, rather than being influenced by someone else's haphazard underlining.

This way, you can truly appreciate the depth and meaning of Mamet's work and gain a more valuable reading experience.

Please provide the article that needs to be rewritten and expanded so that I can help you.

Not an Instruction on Drama Writing

This piece is not about teaching you how to write drama. Instead, it's more of an exploration into what drama truly is and what it isn't. If your intention is to learn the art of drama writing, you would be better off looking elsewhere. For instance, Mamet's online "Masterclass" could be a great resource. The book in question here may not be the easiest to read, but it does have valuable insights to offer. It provokes a great deal of serious thought, making you reflect on the nature and essence of drama. It challenges your preconceived notions and helps you gain a deeper understanding of this complex art form.

The best writing advice you can get is not actually found in this book.

Many people assume that a book about writing will be filled with practical tips and tricks to improve their writing skills. However, this is not always the case.

Sometimes, the best writing advice comes from experiences, observations, and self-reflection. It is about finding your own voice, understanding your audience, and being able to communicate your ideas effectively.

While books can provide some general guidelines and inspiration, they cannot replace the need for practice and experimentation. You have to get your hands dirty and start writing to truly improve.

So, don't rely solely on books for writing advice. Look for inspiration in the world around you, learn from your mistakes, and keep writing. That's the best way to become a better writer.

And there are plays - and books and songs and poems and dances - that are perhaps upsetting or intricate or unusual. You leave them feeling unsure, but they linger in your mind. Perhaps the next day, perhaps for a week, and perhaps for the rest of your life.

Because they aren't straightforward or easily understood, but there's something in them that comes from the heart. And so, they go straight to the heart of the viewer, reader, or listener.

What comes from the head, on the other hand, is often perceived by the audience, the child, the electorate, as manipulative. We may be swayed by the manipulative for a moment because it makes us feel good to side with the powerful. But eventually, we realize we're being manipulated, and we resent it.

Tragedy, in this sense, is a celebration not of our eventual triumph but of the truth. It is not a victory but a resignation. Much of its calming power comes, again, from the operation described by Shakespeare: when remedy is exhausted, so is grief. It forces us to face the harsh realities of life and come to terms with them.