I firmly believe that Mamet stands out as one of the more exceptionally brilliant thinkers when it comes to the essence of writing. This particular book is characterized by its brevity and conciseness. There are several instances within the text where I found myself having to reread certain passages. The reason for this is that his language can, at times, be a bit impenetrable, presenting a challenge to the reader's comprehension. However, despite this slight hurdle, the way he contemplates and analyzes drama is truly intelligent and, in my opinion, entirely unique.

It is an absolute must-have for die-hard Mamet fans. Additionally, it would also be of great interest and enjoyment to anyone who relished his master class. The insights and perspectives offered in this book are invaluable for those who are passionate about the art of writing and drama.

Whether you are a seasoned writer or simply someone with a keen interest in the subject, this book is sure to provide you with a wealth of knowledge and inspiration. It offers a fresh and thought-provoking take on the world of writing and drama, making it a worthwhile read for anyone looking to expand their understanding of these fields.

So, if you haven't already picked up this book, I highly recommend that you do so. You won't be disappointed.

The author of this piece seems to have had a rather jumbled collection of thoughts.

There were a few good ideas thrown in here and there, but unfortunately, they were overshadowed by a significant number of bad ideas and a whole lot of nonsense.

The author appears to be making an excessive effort to come across as intellectual, perhaps in an attempt to give the work an air of sophistication. However, this overcompensation has led to a situation where, in reality, very little of substance is actually being said.

When considering that this is supposed to be a book about writing, the quality of the writing itself is quite disappointing. One would expect a certain level of proficiency and clarity in a work that purports to offer insights into the craft of writing. Regrettably, this particular piece fails to meet those expectations.

It seems that the author would do well to reevaluate their approach and perhaps focus more on presenting their ideas in a more straightforward and coherent manner.

Leído para usos académicos.

But I truly adored David. His writing style completely charmed me. He is really an old soul.

Literally, it was a journey through human nature as one learns the basics of dramaturgy.

David's works have a unique allure that draws you in and makes you explore the depths of human emotions and behaviors.

As you read his writings, you can't help but be captivated by the vivid descriptions and the profound insights he offers.

It's like embarking on an adventure where you discover new aspects of yourself and others.

His way of presenting the story and the characters makes it a truly immersive experience.

Whether it's the conflicts, the resolutions, or the relationships, everything is presented in a way that makes you think and feel.

David's writing is not just about entertainment; it's about learning and growing as a person.

It's a journey that I would highly recommend to anyone who is interested in exploring the fascinating world of human nature.

The reasonable entrepreneur embarks on a journey with the intention of "giving the people what they want." And reason seems to imply that what they desire are thrills and mutilation, they crave violence. However, the remarkable success of trash does not speak to its worth as art, or even as entertainment. Instead, it points to its role as a form of repression. Las Vegas does not truly offer fortune (despite its claims) or genuine thrills (unless one considers degradation to be thrilling). What it provides is the chance to act on one's compulsion.

Violence, in and of itself, is not entertaining. Our approval of violence in art, similar to our acceptance of violence in our nation's actions, is a compulsive manifestation of the need to repress - to identify a villain and eliminate it. This compulsion has to be repeated because it fails. It fails because the villain does not exist in the external material world. (...) The viewer keeps coming back to these violent portrayals because they don't have the intended effect - and so he must attempt again, first appeasing the gods with greater enthusiasm, more money, more dedication, and more attention.

This cycle of compulsion and failure continues, trapping individuals in a pattern that may seem unbreakable. It is essential to recognize the true nature of this phenomenon and question whether this is the kind of entertainment and behavior that we truly want to embrace.

A treatise on the nature and purpose of drama seems like a textbook for film and literature students. And that's what I initially expected it to be. However, I soon discovered that it is essential reading for anyone who thinks deeply about the nature of the human mind and how we perceive and engage with the world. Mamet's style is concise; his observations are incisive, and he speaks with authority as he deconstructs his thoughts on humans, society, politics, art, entertainment, advertising, and how we navigate the world, all through the lens of theatre and drama.

The book is neatly divided into three parts, presenting a compact narrative that builds up like a three-act play. Mamet doesn't waste any space or words. He dives right into his observations from the start. Naturally, the book began slowly for me. I was plunged into a depth I wasn't prepared for. With a flick of his hand, he references plays, films, epics, political events, and the tools and techniques of theatre, and you might start to wonder if he's going to ramble. But that's hardly the case. Every reference, if you're familiar with it, is well-placed, and every inference seems like a well-prepared meal. I found myself reading each sentence at least three times - once to absorb what was said, twice to ensure I understood it as the author intended, and a third time to savor the thought and commit it to memory as best I could. Every line is a gem, and you can tell it comes from years of personal experience and the observations of a thoughtful mind. Once I got used to the pace and depth, I took out my pencil and started to enjoy the read. I scribbled notes all over the margin and underlined almost half the book. I might underline the rest when I reread it.

This book not only celebrates drama but also offers deep insights into our motivations and drives, what makes us tick, what liberates us from involuntary submission, and invites us to rise above compulsions and reach a state where we celebrate the natural makeup of our mind while acknowledging our powerlessness to create and engage with art.

"The excess of ability/energy/skill/strength/love is expressed in species-specific ways. In goats it is leaping, in humans it is making art."

By holding drama and art as sacred, he reminds us that it is not in our nature not to make art. Unless we choose not to exercise our will.

Moreover, as always, it is avant-garde and full of sharp and winning sentences.

My book is not neatly organized, and the translator also points this out at the beginning of the book. According to his words, it leans more towards a discursive and academic book; however, it is full of readable paragraphs and engaging dialogues.

It is difficult to read, but it raises issues that are not without charm when reconsidered.

It is a semi-political, semi-artistic manifesto that is not dull and is still readable and practical.

This book should be read so that the names of many of these daily heroes in cinema, theater, television, the virtual space, and so on are not deprived of art.

Interesting ruminations on human nature and the role of drama in our lives can truly open our minds.

Here, we find ourselves delving into the thoughts that explore the depths of what it means to be human and how drama impacts us.

However, I'm not entirely certain that I can wholeheartedly agree with all of the ideas that Mamet presents.

Specifically, his assertions regarding what art is and what it isn't give us much to think about.

Nonetheless, it is an insightful read that challenges our perspectives and makes us reflect on these important aspects of our existence.

Whether we agree or not, such discussions are valuable in expanding our understanding of human nature and the role that drama plays within our lives.

They force us to question our own beliefs and consider different viewpoints, ultimately enriching our intellectual and emotional landscapes.

So, while there may be areas of disagreement, the overall experience of engaging with these ruminations is one that is well worth having.

It serves as a reminder of the power of thought and the importance of exploring the complex themes that shape our world.

It's impossible to deny Mamet's wit and remarkable ability to write.

However, I firmly believe that this book is rather difficult to follow. His unique style is a bit of a challenge, at least for me.

The idea he was attempting to portray wasn't overly clear, which meant I had to read it at a slow pace in order to understand it fully.

The concept of drama, as he put it in his own words, is indeed interesting. The comparisons he makes can be quite useful.

Nevertheless, it's important to note that this book is not suitable for everyone.

Some may find it engaging and thought-provoking, while others may struggle to keep up with his complex writing style and somewhat ambiguous ideas.

Overall, Mamet's work is无疑具有一定的魅力和价值, but it requires a certain level of patience and dedication from the reader to truly appreciate.

This book took me a rather long time to read considering its length.

This was partly because of the density of ideas it contains. It reminded me of those spiritual guidance books that have at most one paragraph per page, written with the intention that the reader reads just one page at a time, closes the book, and reflects on what they have read.

Although Mamet does divide the book into chapters and each chapter into several sub-chapters, even the sub-chapters branch off in various directions, each of which is probably best considered independently.

Regarding the content, Mamet presents a conservative view on drama while addressing a variety of modern phenomena, such as his comments on the "problem play" and why it doesn't work. His voice, as always, is forceful and authoritative.

It's difficult, especially for those well-versed in Mamet's works, not to notice moments of seeming hypocrisy. Even David Mamet himself cannot always meet the extremely high standards he sets in this book.

I was undecided between giving this book 4 or 5 stars. However, there were so many instances throughout the book where I read a sentence or passage, said "wow," put the book down, and actually thought about what I had read for a while. In the end, I gave it 5 stars.

Although the copy I read was borrowed from the library, I will definitely be purchasing my own copy to read again and mark up. It's almost impossible not to mark this book up.

The book has a somewhat loose and organic structure. At times, it may give the impression that Mamet is meandering aimlessly from one topic to another. However, don't let this initial perception mislead you.

He actually touches upon "the nature and purpose of drama" in a way that is similar to a recurring theme in a musical composition. This aspect provides a unifying element within the book.

It's important to note that this is a book of theory rather than one offering practical advice. It delves deep into the theoretical concepts and ideas related to drama, exploring the fundamental nature and purpose behind it.

Readers who are interested in understanding the theoretical underpinnings of drama will find this book to be a valuable resource, despite its perhaps less straightforward structure.

Mamet is far more organized in this work, with significantly less digression compared to his Writing in Restaurants. While Three Uses of the Knife may not boast a 4-star chapter as I had pointed out in the review of Writing in Restaurants, the valuable insights and gems are continuously presented throughout its 85 pages.

Even when I found myself in disagreement with Mamet's rather pessimistic, glass-half-empty point of view, I still managed to gain the impetus and essence of his message.

And thus, as I conclude reading this book, I am left with a much more informed understanding of what the purpose of drama is, from the very first act all the way to the last. It has been a thought-provoking and enlightening read that has surely broadened my perspective on the world of drama.

I had no intention of reading this book. In a dusty summer era and amidst the corona pandemic, my beloved arrived and handed me this small orange book. Well, since a mouse had eaten my beloved's tongue and I knew they were involved in theater and playwriting, I thought they had taken the book for themselves and given it to me for a glance. But later it turned out that, lo and behold, the book was for me. I finished reading it that very day until nightfall.

And it really stuck with me. Since it's possible that soon a situation might arise where I don't have access to my books, contrary to my usual habit, I want to write a part of this book here so that in a way, I have a checkmark of its words.

"The innovation of the information age is not that reason will become supreme over everything, but rather that reason has already become supreme over everything. But as we see in our own lives, for every thousand times we use reason to explain the cause of something, perhaps only once do we use it for a deeper understanding of it. And the lesson of purifying the theaters, in the highest degree, is the worthlessness of reason."