David Mamet, in this book, elaborates on how drama is intertwined in our lives and sometimes we don't even perceive it.

He explains how drama, and consequently, narrative helps to create meaning in people's lives and how the human mind cannot deal with the random.

There lie the meanings of drama, magic, and religion in human life: to give sense and significance through structures of thesis/antithesis/synthesis or first act/second act/third act.

These are the parts of the theater that will divide the chapters of his book, with Mamet always giving concrete examples of how all this applies in the daily life of present-day Western society.

It is a short little book, but one that makes good use of its content and can be used in various fields of knowledge.

I highly recommend it to my friends!

It’s filled with Mamet’s political ramblings. These ramblings range from being completely unnecessary to annoyingly problematic.

However, there are some real gems in here when it comes to dramatic writing. If you can manage to put the rest aside, you will discover some valuable insights.

Mamet is known for his unique style and approach to writing. His political views may overshadow some of the other aspects of the work, but if you look closely, you can find nuggets of wisdom about the craft of dramatic writing.

Perhaps it’s the way he structures his dialogues or the way he develops his characters. There are certain elements that can inspire and teach aspiring writers.

So, despite the distractions of the political ramblings, it’s worth taking the time to explore the parts of the work that deal with dramatic writing. You might just be surprised by what you find.

This is an extremely concise book, yet it is densely packed with profound insights. Mamet's extensive vocabulary can be quite intimidating on its own. The manner in which he contemplates drama and unfolds its purpose and significance in our lives is rather abstruse. One truly has to have a genuine desire to read this book and approach it with an understanding of just how remarkable Mamet truly is.

In presenting the elements of drama, he reveals how politicians, television news, and even sports make use of drama, (even when politics, news, or a specific plot may not seem directly involved), and elucidates why we are so easily drawn into - and manipulated by - the narrative.

His description of The Perfect Ball Game delineates the drama of an extraordinary baseball game. It gives the impression of something one has witnessed in real life as well as in the movies. And it adheres to a flawless dramatic structure. Those few pages alone render this book well worth reading. Here are several of my favorite underlined passages:

• Melodrama offers anxiety experienced in safety, while the problem play offers indignation. (Television news offers both.)

• When entering the theater, one must be willing to state, "We're all here to partake in a communion, to discover what on earth is happening in this world." If one is not willing to say that, what one obtains is entertainment rather than art, and mediocre entertainment at that.

• Legitimate political concerns - such as the environment and health care - struggle to find an audience because they lack drama.

• The purpose of art is not to transform but to delight. I don't believe its purpose is to enlighten us. I don't think it's to change us. I don't think it's to teach us. The purpose of art is to bring us joy.

• [Hitchcock] comprehended that the dramatic goal is generic. It need not be more specific than: the Maltese Falcon, the Letters of Transit, the Secret Documents...The less specific the qualities of the MacGuffin are, the more intrigued the audience will be.

• The power of the dramatist...lies in the capacity to pose the problem.

• The audience thus requires the second act to conclude with a question...Solutions to the problem of the middle act serve as a test of character.

• In English, we speak colloquially in iambic pentameter: "I'm going down to the store to buy the cheese," "I told him, but he didn't hear a word," "I swear I'll love you till the day I die," "not now, not later, never. Is that clear?"

• Most great drama pertains to betrayal of one kind or another.

• In my experience, the dramatist becomes fatigued precisely at the same point as the protagonist: when facing the third act. The act is outlined, the task is evident, albeit difficult, and the very clarity of the task is disheartening.

READ IT IF: You have an interest in drama, adore Mamet, or wish to understand why we become so engrossed in vacuous political discussions.

In a word: convoluted.

Through his premise of describing the use and purpose of drama, Mamet takes the reader on a wild journey. He hops from classic drama to psychology, then to bad TV, politics, and blues music, and back again. The result is a chaotic and often confusing exploration that leaves the reader unsure of his opinions on any of it.

For example, when he writes about the big speeches that come at the end of every second act, he seems annoyed that they're there. But then, he notes the greatness of the St. Crispin's Day speech from Henry V. It's hard to know what to make of his contradictory views.

There is some valuable information to be extracted from this mess. However, I can't help but wonder if the David Mamet of today, who has produced an action-packed television show and converted to Conservativism, would still hold the same opinions that he jotted down in seeming stream of consciousness in 1998. Times have changed, and so has Mamet. It would be interesting to see how his views on drama and other topics have evolved over the years.

Even if one doesn't learn anything from it (which is possible), one can look at the manifest of Memento for writing his works.

Memento is a unique and thought-provoking film that presents a complex narrative structure. Its manifest likely contains valuable insights and ideas that can inspire writers.

By examining the manifest, writers can gain a better understanding of the film's themes, motifs, and storytelling techniques. This can help them to develop their own unique writing styles and approaches.

Additionally, the manifest may offer some practical tips and advice on how to create engaging and memorable works.

Overall, looking at the manifest of Memento can be a useful exercise for any writer, regardless of whether they have learned something from the film or not.

This book presents a rather muddled picture.

Mamet continuously shuttles back and forth between diverse ideas, lacking any genuine cohesiveness.

Nevertheless, there are a couple of excellent ideas within this book regarding the nature of drama.

The best one, in my opinion, is when he discusses the difficulty of writing second acts. He posits that writing second acts is somewhat akin to living second acts.

In order to pen a mid-life crisis, one must have lived through it, which many people are reluctant to do.

They desire to write the script without having to endure the pain that the characters in the story experience—and yet that is precisely what they must do.

This is essentially the same concept that he expounds upon in his book on acting, “True & False.”

However, I believe it holds even greater significance in the realm of writing.

Many actors become actors because they are already masochists—they yearn to be hurt and to relive past hurts.

Whereas I am acquainted with numerous writers who fail to realize that being a writer of any dramatic narrative implies being a sado-masochist.

You must be sadistic towards your characters, subjecting them to hell—and then experience what those characters are feeling, that is, be masochistic.

I think Mamet, as a writer, leans more towards being a sadist than a masochist, and that is why his plays and films yield some remarkable drama but not a great deal of “feeling” from these characters.

Ah well. We can't all be Shakespeare. In the meantime, we can pen essays on writing or compose reviews of essays on writing.

But I should return to the actual writing. Please excuse me, as I have a few darlings to kill.

This slim yet thought-provoking book offers valuable insights into what makes great drama, with a specific focus on the theatre.

It delves deep into the elements that contribute to the creation of a captivating and impactful theatrical experience.

From the art of storytelling and character development to the use of stagecraft and lighting, every aspect is explored in detail.

The author presents a comprehensive analysis that not only helps readers understand the essence of great drama but also provides practical tips and techniques for aspiring playwrights, directors, and actors.

Whether you are a theatre enthusiast looking to enhance your appreciation of the art form or a professional in the field seeking to refine your skills, this book is a must-read.

It offers a wealth of knowledge and inspiration that will surely leave you with a newfound understanding and respect for the power of great drama in the theatre.

The deranged, free-wheeling ravings of a lunatic.

It reads like a manifesto that a newspaper would publish and then later have to apologize for.

Much like those manifestos of lore, there are a couple nuggets of wisdom in here. But just a couple.

This text seems to be a rather chaotic and perhaps even somewhat disturbing collection of thoughts.

The description of it as "deranged" and "free-wheeling ravings" gives the impression of a lack of coherence and rationality.

Comparing it to a manifesto that a newspaper might regret publishing further emphasizes its controversial nature.

However, the mention of a couple of nuggets of wisdom suggests that, despite its overall flaws, there may be some small grains of truth or useful ideas hidden within.

Nonetheless, it is clear that this is not a text that can be taken at face value and requires careful examination and analysis.

If this book were mandatory, Renzi would not be the prime minister.

This statement implies a certain causal relationship or condition. It suggests that there is something about the content or nature of this book that, if made compulsory, would have a significant impact on Renzi's position as the prime minister.

Perhaps the ideas or policies presented in the book are contrary to Renzi's views or actions. Or maybe the implementation of the book's requirements would lead to a change in the political landscape that would make it difficult for Renzi to maintain his leadership.

However, it's important to note that this is just a hypothetical scenario. We don't know for sure what would happen if the book were made mandatory. It could potentially have a wide range of consequences, both positive and negative.

In any case, this statement serves as an interesting thought experiment and prompts us to consider the potential influence of books and ideas on politics and society.

This book is an absolute delight to read.

It is intellectually stimulating, presenting a clear-headed and cynical perspective without being overly destructive. The writing is thrilling and energetic, and what's more, it's short!

The author has a very firm stance on what drama is for and what constitutes good drama or art. He believes that by admitting our flaws and difficulties, we can experience a momentary sense of relief. However, if we consciously try to avoid these issues, we may end up in an even worse situation.

In the grand scheme of things, drama emerges when order gives way to chaos, and the hero initially denies, then manages, and finally either transcends or is overcome by it. The audience doesn't come to learn but rather to be temporarily purged by the understanding that everyone experiences similar feelings at times.

The author also makes some thought-provoking statements about the Defense Department and the way we treat certain individuals. He argues that our actions are often driven by a desire to defend ourselves against feelings of powerlessness.

He is critical of the Problem Play, which he believes presents a different kind of hero. In the Problem Play, the hero or heroine has complete control over the test they are facing, which he sees as a departure from the traditional hero story.

However, at times, the author seems to get carried away with his own argument. Towards the end of the book, he presents a rather idealized view of drama, suggesting that in a good drama, the truth prevails and the audience is made whole. But does this really hold true for all great dramas?

Overall, this book is very much worth reading and arguing with. It offers a unique perspective on drama and challenges our assumptions about what makes a good story.

So much water.

This simple yet evocative title immediately grabs our attention. It makes us wonder about the abundance of water, where it is, what it means.

Water is such a vital and ubiquitous element. It covers a large portion of our planet, flowing in rivers, filling lakes, and forming vast oceans.

It is essential for all forms of life. Plants need it to grow, animals depend on it for survival, and humans use it for countless purposes, from drinking and cooking to washing and irrigation.

The title "So much water" also makes us think about the value and importance of this precious resource. We should cherish and protect it, ensuring that there is always enough water for future generations.

Perhaps it also reminds us of the beauty and power of water. The gentle lapping of waves on a shore, the thundering roar of a waterfall, or the peaceful stillness of a lake can all have a profound impact on our emotions and senses.

In conclusion, the title "So much water" holds a wealth of meaning and possibilities, inviting us to explore and appreciate the wonders of this essential element.

A brilliant, penetrating, and brief exploration into the nature and purpose of drama. Mamet doesn't shy away from drama. Instead, he starts by elucidating its function in our daily lives.

From there, as we move forward, Mamet critiques the trashy entertainment that masquerades as drama and also the drama that is specifically crafted to enlighten those so-called "unfortunate masses" who are allegedly less informed than the self-righteous, preachy "artist."

This is an extremely useful volume for preachers to have close at hand. They can refer to it when they are pondering the role of art and drama in worship, and also when they are considering the role of art and entertainment in the culture at large. It provides valuable insights and perspectives that can enhance their understanding and decision-making in these important areas.

Overall, Mamet's work offers a thought-provoking examination of drama and its various manifestations, making it a must-read for anyone interested in the subject.