Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.

  • Apple
  • Android
  • Windows Phone
  • Android

To get the free app, enter your email address or mobile phone number.

Buy Used
$5.00
FREE Shipping on orders over $25.
Condition: Used: Very Good
Comment: Minor dust jacket scuffing, but pages are clean and binding tight
Have one to sell? Sell on Amazon
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See all 2 images

Theatre Hardcover – April 13, 2010

3.9 out of 5 stars 16 customer reviews

See all 5 formats and editions Hide other formats and editions
Price
New from Used from
Kindle
"Please retry"
Hardcover
"Please retry"
$3.94 $0.01

2016 Book Awards
Browse award-winning titles. See all 2016 winners
Available from these sellers.
click to open popover

Editorial Reviews

Review

Sharp, savvy. . . . Icily hilarious. . . . Mr. Mamet writes with insight, idiosyncrasy, and a Godzillian imperviousness to opposition. (Janet Maslin, The New York Times on Bambi vs. Godzilla)

Winningly pugnacious. . . . [Bambi vs. Godzilla] is funny and angry and intemperate and passionate enough to tell the truth about movies. (San Francisco Chronicle on Bambi vs. Godzilla)

This is a book infused with love - the sweet, helpless love Mamet has for film, and the communal process that makes it. (Los Angeles Times on Bambi vs. Godzilla)

Playful . . . deft. . . . Mamet the dramatist has developed a career as a prolific philosophical essayist. (Chicago Sun-Times on Bambi vs. Godzilla)

About the Author

DAVID MAMET is a director as well as the author of numerous acclaimed plays, books, and screenplays. His play Glengarry Glen Ross won a Pulitzer Prize, and his screenplays for The Verdict and Wag the Dog were nominated for Academy Awards. He lives in Santa Monica, California.

NO_CONTENT_IN_FEATURE


Product Details

  • Hardcover: 176 pages
  • Publisher: Faber & Faber; 1 edition (April 13, 2010)
  • Language: English
  • ISBN-10: 0865479283
  • ISBN-13: 978-0865479289
  • Product Dimensions: 5.5 x 0.5 x 8.5 inches
  • Shipping Weight: 8.8 ounces
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (16 customer reviews)
  • Amazon Best Sellers Rank: #1,284,885 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

By Kenneth A. Morgan on September 8, 2010
Format: Hardcover Verified Purchase
This book reads like a drunken rant. So to loosely paraphrase Abe Lincoln, find out what brand of whiskey Mamet is drinking and give me a double.

Twenty-seven of playwright David Mamet's theatrical essays have been "organized", in no particular order, into a little book called THEATRE. The general subject matter is indeed the theatre, but with the topic drift between one essay and another no central premise can be discovered.

Lajos Egri fans know that the lack of a premise is the missing heart of bad playwriting. But nobody is suggesting that this book be adapted for the stage, so the reader can simply enjoy it for the wisdom it brings. And it is a very wise book. Be advised, with a book made up of rambling essays, the resulting review predictably also rambles, so in no particular order, my observations on Mamet's wisdom.

MAMET ON ACTING: Hit the final consonant, so you don't swallow the last two words of your speech. This alone will improve performances everywhere.

MAMET ON ACTING TRAINING: That famous acting schools are famous not because of the quality of their training but because they attracted super-talented people is undoubtedly true, but the training that perfects your voice and body could have gotten better attention. Mamet's comments about Sanford Meisner's technique are odd, considering how much of Meisner's approach is reflected in Mamet's writing. And while Meisner's repeating game may have never been finished by anybody, it's not without value, and I've watched children spontaneously engage in it.

MAMET ON THE "CULT" OF THE THEATRE: That the "Method" is nothing but psychobabble is a heresy that should have been stated a long time ago.
Read more ›
Comment 11 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Hardcover
Mamet here attacks various theories of theater, most notably ideological ones, following Paul Johnson's critique of Brecht. That the book is short I do not see as a flaw, and I do not find any repetition other than than necessary to overcome entrenched views in the academy.
Comment 15 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Hardcover
I'm getting angry at this book. Not because I disagree with Mamet's political views (though I do) or his theatrical views (cause I don't), but because it's not worth the money. Every goddamn essay makes the same points OVER and OVER again. He wrote one $5.00 essay and parlayed it into a $22.00 book.

One of the points constantly slammed home is that once your audience's eyes start glazing over, give up. You lost. I'm on page 138 and I'm hard pressed to finish it. My eyes are glazing over.

And this is coming from a Mamet FAN, not somebody who takes umbrage at his comtempt for Method acting. I loved "November". "Bobby Gould in Hell" is one of my favorite plays. His writing is entertaining and he makes valid theatrical points in this book.

And makes them.

And makes them.

And makes them.

Mamet needs to take his own advice about keeping up the audience's interest.
1 Comment 27 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Kindle Edition Verified Purchase
A book on theatre by David Mamet is bound to contain some pithy observations on the nature of theatre, acting, and directing. And from that POV this book doesn't disappoint. But Mamet can be a bit pompous at times. He is, IMO, rightly antagonistic toward directors, actors, and theatre schools that push specific methods of working and scorn other, competing systems--since what is important is to keep the audience engaged, and all else should be in the service of that objective. If you're a person who works in theatre, you'll probably enjoy this book. It's also, thankfully, economical and not very long.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Kindle Edition Verified Purchase
...words that could also be used to describe most of Mr. Mamet's plays. Removing the veneer of politeness with regards to acting, directing, and writing for theatre, the short essays in this book reexamine those "truths" that have been long-held by those in the craft since the Modern era began in the mid-Nineteenth Century, and questions: What is a play? What does acting consist of? Why have texts--especially those classics by poets and playwrights long-since departed--become tools to be manipulated rather than a means to communicate a story? Finally, whose voice is most important: the critic or the audience member?

In my earlier days, I scoffed at the "accusations" hurled by Mr. Mamet in "True and False" concerning the frivolity of actor training and methods to achieving a great performance. "Theatre" is a continuation of his thoughts with an even more concise and profound treatise, compounded by fifteen years of experience and thoughtfulness about the art of the business and the business of the art.
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Paperback
As usual, Mamet delivers. I recommend the book ASAP. Despite his naive, conservatist and even infantile view on politics & economy, in the line of Milton Friedmam, Reaganomics, Thatcherism and other horrors perpetrated against more than a hundred countries according to some honest agents who directed some of the Washinghton Consensus institutions. Even the great construction of modern times, the Welfare State is systematically atacked by the employees of the economic and financial power. He does not know that social democracy also came from the roots of Marxism. No matter, Mamet is always honest to the core and a delicious read. I, as an amateur artist, if not learning a lot from him, I am always confirming hugely on the grounds of his great talent and more than respectful experience. Any hope for Mamet's political education? No need. In his works he is always delivering in the same line of the Italian neorealism left wingers or pushing the stick right through the heart of the status quo (namely, capitalism). He practices critic or social realism in spite of himself. He thinks Brecht is a totalitarian when the problem with the German dramatist was "epicization" and a misreading of Aristotle. Of course the young Brecht committed political mistakes. Besides, when drama narrates it goes "pamphleteering" whether on the right or left. But even Mamet apparently does not perceive something Aristotelian: that Esotericism should never be central to drama or the price would be lack of substance. Also, apparently, he lacks knowledge that tragedy is always a moral, individual problem. Nothing to do directly with the gods. But only in this book, not in his works. Don't get me wrong. I love the man.Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse

Most Recent Customer Reviews