2.5 Stars

I found myself in strong disagreement with a significant number of David Mamet's claims regarding the purpose of drama.

To me, the man seems to possess a rather negative and perhaps slightly arrogant perspective on this art form. It appears as if he views drama through a somewhat jaundiced lens, which I simply cannot accept.

Nevertheless, it must be said that he did manage to make a good number of valid points. His arguments, while not always to my liking, were presented in a clear and concise manner, making the book a relatively quick and easy read.

Taking all of these factors into consideration, I have decided to award it 2.5 Stars. It's not a perfect work by any means, but it does have its redeeming qualities.

I have a deep love for listening to Mamet.

Although it may not be the case that I always adore his work, I have been extremely fortunate to have had the opportunity to listen to him on multiple occasions.

Each time, it is truly a remarkable experience as I can witness and appreciate the unique way his mind functions.

It is as if I am attending a master class, learning and being inspired by his thoughts and ideas.

His words have a certain charm and power that can captivate the audience and make us think deeply about various aspects of life and art.

Listening to Mamet is not just about hearing his voice; it is about engaging with his intellect and being part of a profound intellectual journey.

It enriches my understanding and broadens my perspective, making me a more informed and enlightened person.

I look forward to more opportunities to listen to him and continue to be influenced by his genius.

I believe this is not a book to start with when learning the theory of drama.

It contains Mamet's thoughts on what has been said about drama and what he has perceived in his career as a dramatist.

It is a book that one should come back to and read again.

It offers unique insights and perspectives that might not be immediately grasped on the first reading.

Mamet's experiences and reflections add depth and complexity to the understanding of drama.

Perhaps after gaining some foundational knowledge of drama theory, reading this book can provide a new and valuable perspective.

It challenges the reader to think differently about the art form and encourages a deeper exploration of its various aspects.

Overall, while it may not be the ideal starting point, it is definitely a book that has the potential to enhance one's understanding and appreciation of drama.

Wow!

Here is a gem of a book that is jam-packed with profound insights. Although it was written 23 years ago, it remains as relevant today as it was back then. We see false heroes, authoritarian figures who spout falsehoods, and cheap entertainment. These are not only the characteristics of bad theater but also of a country that is in trouble.

The protagonist of a worthy piece of drama is just like an honest individual, one of society's warriors, who endeavors to overcome adversity and accepts his/her limitations. An effective play, just like an effective society, is based on the truth rather than fear. Life can be scary indeed. However, a government, a play, or a group of any kind will not thrive if it is founded on fear, hatred, and lies.

The book is divided into three parts, similar to the three acts in a play, and much like life itself - the beginning, the crisis or reckoning, and the resolution.

David Mamet concludes that drama, art, religion, magic, and the well-lived life all require faith and the willingness to take risks.

In the culture-pessimistic passages, I discover the bitterest truths.

Although they irritate me with their tediousness, I can't help but be drawn in.

What does this actually say about me?

Certainly, this small print is so much more meaningless than "Right and Wrong", which once hit me like an enlightenment bomb.

There are many anecdotes, but little structure.

Yet it is not without highlights.

The author's observations on the state of culture are both incisive and thought-provoking.

Despite the lack of a clear framework, the individual stories and insights manage to paint a vivid picture of a society in decline.

It makes me question my own values and beliefs, and forces me to consider the role that culture plays in our lives.

Overall, while the text may not be a masterpiece of literary structure, it does have the power to engage and challenge the reader.

David Mamet presents a truly eloquent explanation regarding the cathartic and revelatory power of theatre.

His insights offer valuable lessons not only to playwrights but also have the potential to extend to non-creative occupations. However, it seems that they are particularly beneficial for writers and directors.

One aspect that might be a bit of a drawback is Mamet's extensive vocabulary. At times, it can be rather distracting as he could convey his point in a more straightforward manner.

Nevertheless, there is absolutely no question that he is an exceptional philosopher within the theatrical realm. His ideas and perspectives have the power to inspire and transform the way we think about theatre and its impact on our lives.

Whether you are a professional in the field or simply an enthusiast, exploring Mamet's work can offer a wealth of knowledge and inspiration.

Some truly very useful stuff is present here. However, it is all unfortunately wrapped within a cloud of Mamet's rage, blather, and pontificating. It's as if the valuable content is hidden beneath a layer of his rather intense and perhaps overbearing表达方式. One can't help but wonder if the useful information could have been presented in a more straightforward and less emotionally charged manner.

Despite the drawbacks of the delivery, the underlying useful stuff still holds potential. It makes one think about how important it is to separate the message from the messenger. Maybe if Mamet could tone down his rage and blather, and present his ideas in a more composed and rational way, the impact of the useful stuff would be even greater.

As it stands, we have to sift through the cloud of his emotional outbursts and pontificating to get to the core of the useful information. It's a bit of a challenge, but it's worth it to uncover the valuable nuggets that are hidden within.

A philosophical examination of the three-act structure in drama that borrows significantly from religious concepts of confession in the face of powerlessness. As the author states:

"The cleansing lesson of the drama is, at its highest, the worthlessness of reason.

"In great drama, this lesson is learned by the hero, and we experience the lesson ourselves. Stripped of our intellectual arrogance, we must admit our sinful, weak, and impotent state - and that, having admitted it, we may find peace."

Furthermore:

"In the Drama, we have created the opportunity to confront our nature, to confront our deeds, to confront our lies. For the subject of drama is THE LIE. At the end of the drama, THE TRUTH - which has been overlooked, disregarded, scorned, and denied - prevails. And that is how we know the Drama is complete."

The author differentiates "Problem Plays" that present a solvable problem and then guide the audience to an acceptable solution. The author deems these to be dishonest. He desires the audience and the dramatist to face the unrevealed, the hidden, the uncomfortable, and then struggle to discover a truth within. A far more challenging task for the writer.

So, this is a valuable piece of reflection for serious writers.

Well, here I find myself in the uncomfortable position of thinking Mamet is wrong. Only in a tiny little spot, but it's distressing nonetheless. It's when he claims that drama is an inferior means of "reaching" or teaching things to an audience and recommends using the gun if the goal is to "change people's attitudes and make them see the world in a new light." To be completely honest, I don't just think he's wrong; I'm afraid I know he is.

Mamet supports his point with what he calls "factual" assertions, like the example of a puppy that will return to its master when the master falls down and lies still because it thinks its dominator is incapacitated and it has a chance to kill. However, this isn't the truth about how dogs and wolves survive in packs led by alphas. When the alpha lies still, it's in the canids' best interest to come see if it's okay and revive it if possible, not to slaughter it. The hierarchical structure in nature may seem ugly to humans, but it's a method that has allowed certain species to survive.

Telling stories, as Mamet correctly points out, is what makes humans survive because it changes people's attitudes, which in turn leads to changed behaviors. So, when he frames his relationship with the audience in terms of inferiority/superiority, it seems needless. A person who has discovered useful information and wants to share it with others isn't "superior" to those who haven't found it yet. It's a strange way to think about it.

Despite this, the rest of the book is brilliant, especially when it comes to the definitions and interrelationships between concepts like the conscious mind, the compulsion to repeat behaviors that repress emotion because they fail, the subconscious, and "art." Mamet's insights into these areas are truly thought-provoking and have given me a lot to think about as I enter my 30s.

Triumphal celebration is not for our final victory, but a celebration for the truth; this is not a victory, but a resignation. The greater part of its soothing power again results from the actions described by Shakespeare: when the treatment is over, grief and sorrow are also over.

We often misunderstand the meaning of celebration. We think that it is only for commemorating a successful outcome. However, in reality, celebration can also be for accepting the truth and moving on. Sometimes, we need to let go of our expectations and embrace what has happened. Just like in Shakespeare's works, when the characters go through the process of treatment, they also experience a transformation in their emotions. They learn to face their problems and find solutions. This is where the true power of celebration lies.

Therefore, we should not only celebrate our victories but also our losses. We should see them as opportunities for growth and learning. By doing so, we can find inner peace and move forward with confidence.

Mamet presents his views on the nature and purpose of drama with a certain air of authority. However, his approach is rather disjointed. He jumps from one topic to another and then back again, as if he has an overwhelming number of ideas vying for attention all at once.

He elaborates on how drama is an inherent part of our nature. We all have an inclination to be heroes, and yet, we can also misuse drama in ways that are perverse. For instance, we might treat politics as mere theater rather than a legitimate means of governance. As he flits from one subject to the next, he drops some profound insights that, if true, should indeed make us feel uncomfortable.

Take, for example, his statement: “In politics as in drama, the false task, the easy task, is often denominated the difficult and noble quest. It is easier to throw good money after bad, at times, than to admit one was wrong, misguided, arrogant, foolish. But these are problems of the second act.” According to him, the truly difficult task is, “How can I live my life in this disappointing, unpredictable, and at times loathsome world?”

But one has to wonder, who would get elected by promising to disappoint? If your goal is to learn how to write a play, this book may not be the most ideal choice. Nevertheless, you will still come across a few ideas that are worthy of serious consideration. On the other hand, if you are seeking to understand the world, this book will definitely provide you with a great deal to think about.

Tolstoy's Tale of the Empty-Handed Man:

A man had "three pieces of bread" and "a stick of horseradish". The man ate the first piece of bread. He was still hungry. He ate the second piece of bread and also took a bite of the horseradish, but he was still hungry. Then he ate the stick of horseradish and walked away.

He said to himself: "How stupid I am. I should have eaten the stick of horseradish first."

Our mind does not understand randomness. From what we have received, we build hypotheses with branches and leaves, and we bring in those hypotheses in the form of information and act based on them...

This book is about David Mamet's mental musings on the nature and purpose of drama writing and is full of such examples.