Three Uses Of The Knife: On the Nature and Purpose of Drama: Bloomsbury Revelations
Autor David Mameten Limba Engleză Paperback – oct 2020
In this short but arresting series of essays, David Mamet explains the necessity, purpose and demands of drama. A celebration of the ties that bind art to life, Three Uses of the Knife is an enthralling read for anyone who has sat anxiously waiting for the lights to go up on Act 1. In three tightly woven essays of characteristic force and resonance, Mamet speaks about the connection of art to life, language to power, imagination to survival, public spectacle to private script. Self-assured and filled with autobiographical touches Three Uses of the Knife is a call to art and arms, a manifesto that reminds us of the singular power of the theatre to keep us sane, whole and human.
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Specificații
ISBN-13: 9781350128958
ISBN-10: 1350128953
Pagini: 64
Dimensiuni: 138 x 214 x 8 mm
Greutate: 0.08 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Bloomsbury Revelations
Locul publicării:London, United Kingdom
ISBN-10: 1350128953
Pagini: 64
Dimensiuni: 138 x 214 x 8 mm
Greutate: 0.08 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Seria Bloomsbury Revelations
Locul publicării:London, United Kingdom
Cuprins
ONE: The Wind-Chill Factor
The Perfect Ball Game
Anti-Stratfordianism
The Problem Play
Letters of Transit
TWO: Second Act Problems
Violence
Self-Censorship
THREE: Three Uses of the Knife
The Eleven-O'Clock Song
The End of the Play
Index
The Perfect Ball Game
Anti-Stratfordianism
The Problem Play
Letters of Transit
TWO: Second Act Problems
Violence
Self-Censorship
THREE: Three Uses of the Knife
The Eleven-O'Clock Song
The End of the Play
Index
Textul de pe ultima copertă
Pulitzer Prize-winning playwright, screenwriter, poet, essayist, and director, David Mamet celebrates the absolute necessity of drama - and the experience of great plays - in our lurching attempts to make sense of ourselves and our world. In three tightly woven essays of characteristic force and resonance, Mamet speaks about the connection of art to life, language to power, imagination to survival, the public spectacle to the private script. The essays in the book are an eloquent reminder of how life is filled with the small scenes of tragedy and comedy that can be described only as drama. Mamet also writes of bad theater; of what it takes to write a play, and the often impossibly difficult progression from act to act; the nature of soliloquy; the contentless drama and empty theatrics of politics and popular entertainment; the ubiquity of stage and literary conventions in the most ordinary of lives; and the uselessness, finally, of drama - or any art - as ideology or propaganda. Self-assured, filled with autobiographical touches, and attentive to the challenges to theater presented by a media world of simulacra, this book is a bracing call to art and to arms, a manifesto that reminds us of the singular power of the theater to keep us sane, whole, and human.