November 30 - David Mamet about drama and directing it
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- Опубликовано: 25 дек 2024
- David Mamet was born in Chicago on November 30, 1947.
After studying drama at the Neighbourhood Playhouse he created his theatre company for which he started writing, out of lack of adequate material.
Through the years, his unique style has been stirring our stage with plays like ''Glen Gary Glen Ross’, ‘Oleanna’, 'Sexual Perversity in Chicago’, 'American Buffalo’, ‘Speed-The-Plow’ or lately ‘Race’. He also wrote for the screen with scripts like ‘Wag The Dog’, ‘The Verdict’, 'The Untouchables’, 'Glengarry Glen Ross’, 'House of Games’ that he also directed.
This video is about his views on drama and his artistic path as a writer and a director:
► Training with Sanford Meisner
► Directing actors from a long tradition - Acting is doing moment to moment
► Playwriting is a craft
► The difference between tragedy and melodrama
AWARDS
1984 - Pulitzer prize and Tony Award for Best Drama for "Glengarry Glen Ross"
1977 - New York Drama Critics' Circle Award for Best American Play for "American Buffalo"
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SOURCES:
► American Masters - Sanford Meisner, the Theater’s Best Kept Secret - • SANFORD MEISNER: THE T...
► Charlie Rose (1994) charlierose.com › videos › 18284
► Creative Arts Television - David Mamet, the Playwright Directs • David Mamet - The Play...
Agree with Mamet. The problem that exists is that there is a style bunged onto plays and musicals, a veneer, before any truth is found first. It doesn't mean going slowly, it does need to be energised discovery with excellent guidance. 'volume' of the wants of each character is clear from the composition be it from a composer a librettist a playwright or a lyricist, , the music has a story, the lyric has a story, it can't be demonstrated in a bunch of superficial effects if there's going to be any connection and resonance in the hearts of fellow players, or indeed the audience - on a level that has powerful potential to create the kind of impact which in turn creates new space in their being. You can't "present it" without revealing something that isn't just showing off a generic idea - connection is fragile it can hurt or not hurt, but it's a revelation. Even with no music in a play, tempo and volume are in alignment with strength of want, which is either consistent, or grows, or waxes and wanes. The conversations for these aspects are missing from many directors, who do not realise that the muscularity of the understanding will give a strength to the actor, not just a hit and miss thing that hasn't been analysed with no knowledge of energetics that have been explored properly, and are not just dictated. Heightening things is about the strength of the wants, the objectives.
And what can I do in a Monologue? If I dont have the other person in the scene to put my attention, if I AM ON MY OWN, where must go my attention? David Mamet talked about this?
Your facts are incorrect.
_Glengarry Glen Ross_ is not 1994.
_Speed-the-Plow_ did not win the Pulitzer. Mamet's only other award-winning play was _The Cryptogram,_ and that didnt win; it was only nominated for a Pulitzer.
Thank you very much @theexpresidents!
Did he not bash Stanislavski in his book?