As I reflect upon this slender volume,

I envision the individual pages, and the words seem to float above them,

suspended there in silence. Is this the profound wisdom of a master artist,

or is it pretentious nonsense,

scribbled down hastily after indulging in a joint on a rainy afternoon

and then published as a conceited jest aimed at aspiring artists?

Perhaps it could be both.

You, the reader, must make that determination.

After all, the perception of such a work can vary greatly from person to person.

Some may see deep meaning and inspiration within those floating words,

while others may dismiss it as mere drivel.

It is up to you to decide where this slim book falls on the spectrum of artistic value.

This treatise is better than the others I've come across so far.

It is more concise, succinct, and straightforward. Mamet dissects the concepts of drama and the psychological interplay between the playwright and the audience.

The only drawback is that Mamet can't restrain his tendency to pontificate and generalize about political matters. He insists on aligning the spectacle of politics with that of the stage. This theorizing dominates Chapter II (out of only three chapters), but the writing is brisk and light, so it's not too bad.

However, there are no concrete technical tips for aspiring authors, playwrights, librettists, thespians, dramaturgists, or scenarists to take away from this short tract. Its aims are far too generalized. It's not a book about stagecraft.

Actually, at the end of reading, I'm not entirely sure what Mamet's motivation was for writing this. It seems like he just wanted to crystallize and refract some of his ideas.

The good thing about it is its brevity. With only about 96 pages, it's a relief! Overall, it's vaguely useful at a macro-level of thought.

This is truly a gem. Mamet offers a concise yet profound exploration of drama in both art and life, which led me to discover a depth of matters worthy of contemplation. In terms of its brevity, intelligence, clarity, and originality, it reminded me of In Praise of Shadows.

However, that doesn't mean I concurred with every single point. Mamet holds a rather narrow perspective on art. He claims that "The purpose of art is to not to change but to delight," and "I don't believe reaching people is the purpose of art," and also that "the conscious mind cannot create art," and that what people seek from art is peace, which can only be attained by "acknowledging our sinful, weak, impotent state." If all art were solely about acknowledging our weak impotence, then perhaps there wouldn't be a great need for much of it, would there? And what would individuals like Mamet, who have already accepted human weakness as a fact, fill their days with and nourish their souls?

Nonetheless, none of this diminishes the book's density of brilliance, especially for those interested in writing fiction and/or grappling with how life should be lived. I devoured the entire book even before arriving home from the bookstore, having already read approximately half of it before purchasing it. Still, I firmly believe it was well worth the purchase. I anticipate rereading it in the not-too-distant future.

I firmly believe that a staggering 99.9 percent of the books written about writing are not only dishonest but also perilous. However, when it comes to delving into the realm of plot, I am convinced that there are two works that are truly worthy of your precious time. The first, without a doubt, is Aristotle's renowned "Poetics". This classic text has endured the test of time and offers profound insights into the art and structure of plot.

The second gem is Mamet's "Three Uses of the Knife". In this concise yet powerful tome, America's so-called "poet of fuck" meticulously lays out the evolution of plots and reveals the inner workings behind them. He masterfully explains our innate human need for stories and why writers have always played a crucial and indispensable role in shaping our understanding and culture.

Good luck in your quest to find a copy of these remarkable works. But if by some stroke of fortune you do manage to obtain them, cherish them with all your heart.

Carac

Reflections on theater are often profound and thought-provoking. When one reads about it from a seated position, a whole new world of ideas and emotions can unfold. Theater has the power to transport us to different times, places, and perspectives. It allows us to experience the human condition in all its complexity. Through the performances of actors, the set designs, and the scripts, we can be moved, inspired, and challenged. We can gain a deeper understanding of ourselves and the world around us. Whether it's a classic tragedy or a modern comedy, theater has the ability to touch our hearts and minds. It is a form of art that continues to evolve and adapt, yet still maintains its timeless魅力.

David Mamet offers a brutally honest, hilariously witty, and passionately intense account of what drama truly is and what it is not. His profound insights extend far beyond the mere mechanics of writing, acting, or directing. Instead, they delve deep into the very essence of who we are as human beings and the underlying reasons why we engage in the art of drama.

If you wish to understand the concept of the "Monomyth," then Joseph Campbell's The Hero With a Thousand Faces is a must-read. However, after that, be sure to pick up this work by Mamet and discover the reasons why and the ways in which we live out this monomyth in our everyday lives.

Flipping through the pages randomly, we come across these thought-provoking statements. For instance, "Dramatists who aim to change the world assume a moral superiority to the audience and allow the audience to assume a moral superiority to those people in the play who don't accept the views of the hero."

On another page, Mamet writes, "He [Hitchcock] understood that the dramatic goal is _generic_. It need not be more specific than: the Maltese Falcon, the Letters of Transit, the Secret Documents. It is sufficient for the protagonist-author to know the worth of the MacGuffin. The less specific the qualities of the MacGuffin are, the more interested the audience will be. Why? Because a loose abstraction allows audience members to project their own desires onto an essentially featureless goal. Just as they do the terms Americanism, or A Better Life, or Tomorrow."

I was so engrossed in this book that I read it in one sitting, not once but twice. It truly is a captivating and enlightening read that offers a fresh perspective on the world of drama.

Some really good passages can be found here and there in this work.

I have a good understanding of where the author is coming from with their ideas. However, to be honest, I kind of skimmed through the book. It didn't have that profound an impact on me initially. But upon reflection, I still feel that taking a second look at it would be quite beneficial.

Maybe during the first read, I was in a bit of a hurry or didn't fully engage with the text. Now that I have had some time to think about it, I realize that there might be more depth and meaning that I missed.

A revisit could potentially open my eyes to new perspectives and help me better appreciate the author's intentions. It might also allow me to gain a more comprehensive understanding of the subject matter.

So, even though my initial reaction wasn't overly enthusiastic, I am willing to give the book another chance and see what more I can discover.

A truly charming little essay awaits. It delves not only into the realm of drama but also touches upon politics, psychoanalysis, and Life itself, which can be seen as the ultimate human drama. Mamet, with his idiosyncratic wit, embarks on this exploration, captivating the reader at every turn. His unique perspective and clever insights draw the reader in, making it impossible to resist following along. Whether it's the intricacies of a political situation, the depths of the human psyche in psychoanalysis, or the broad canvas of Life's drama, Mamet navigates these topics with ease and humor. The result is an engaging and thought-provoking piece that leaves the reader with much to ponder and enjoy.

Pithy yet highly informative.

A world-class leader in the film industry speaks to the nature of plot.

The amount that Mamet says in such a short book is truly a testament to his remarkable craft.

Movie lovers, writers, and storytellers alike need this valuable work in their libraries.

It is a five-star gem that comes highly recommended.

Whether you are passionate about the art of filmmaking, looking to enhance your writing skills, or simply interested in the intricacies of storytelling, this book has something to offer.

Mamet's insights are profound and thought-provoking, providing a fresh perspective on the essential elements that make a great plot.

Don't miss out on this must-read for anyone involved in the world of film and storytelling.

Add it to your collection today and discover the power of a well-crafted plot.

This book was recommended to me as I engage in writing novels. I had anticipated it to be a concise "how to" book, presented from a playwright's vantage point. Oh boy, was I in for a pleasant surprise. It is so much more than that. The subtitle truly encapsulates the essence of the book. It delves into the nature and purpose of drama, and is replete with remarkable insights.

It is a relatively short book. My paperback edition consists of merely 69 pages. However, it is a rather slow read as every single sentence is brimming with profound meaning. One has to pay meticulous attention and pause frequently to digest and contemplate practically every line.

I have awarded it only four stars because I felt that the conclusion was a bit sudden and not as thoroughly thought out as the powerful beginning. It is as if Mamet is doing precisely what he claims playwrights do with the final act: "and the dramatist thinks, again, 'Oh come on – it's in my head. Must I go on? Are you really going to make me write it down?'" This abrupt ending slightly detracted from the overall impact of the book, but nevertheless, it remains a valuable and thought-provoking read for anyone interested in the world of drama and writing.

The statement "and then we go home" seems rather abrupt and simplistic as an ending line for this book, especially when considering it was read for Garth's class.

It fails to provide a sense of closure or a meaningful conclusion that would satisfy the readers.

A more appropriate ending might involve a reflection on the events that took place throughout the story, or perhaps a hint at what the future holds for the characters.

This would give the readers a better understanding of the significance of the story and leave them with a more lasting impression.

Moreover, an ending that ties in with the overall theme of the book would be more effective in engaging the readers and making them feel that their investment in reading the book was worthwhile.

Therefore, it is essential to carefully consider the ending of a book and ensure that it provides a satisfying conclusion that meets the expectations of the readers.

I don't have a particular affinity for David Mamet.

In fact, I like him the least precisely when he utters things that I happen to agree with.

This isn't a common occurrence, but when it does happen, it's rather frustrating.

One might expect that when an artist expresses views that align with one's own, it would enhance the appreciation for that artist.

However, in Mamet's case, it's different.

Perhaps it's because his work and his public persona have always had an air of contrariness and unpredictability.

So, when he does say something that makes sense to me, it somehow disrupts the established perception I have of him.

It's as if he is defying my expectations in a way that I find disconcerting.

Overall, my relationship with David Mamet's ideas and statements remains a complex and somewhat uneasy one.