Search Results for mamet

...James J. Martine Duke University Press 2003 18 Drama James J. Martine The more things change the more they remain the same; the more things change, the more they, well, change. Some changes are minor and perhaps transient. This year David Mamet and August Wilson replace...

... with reference to Shinn’s exclusion from a pro- posed Methuen anthology of American drama. Shinn’s play was blocked, first by Arthur Miller’s estate and then by David Mamet; the implica- tion seemed to be that including a “minor” playwright would diminish the others. Bottoms constructs an extremely...

... playwrights who are more commonly staged. The primary exception to this trend is David Mamet. Reza Yavarian’s Demythologiz- ing Popular American Myths: Critical Reading of David Mamet’s Plays (AuthorHouse) offers an Indian/Iranian vision of the plays, and Mari- usz Marszalski’s Metaphysical Perspective...

... Smith’s House Arrest, and revivals of Sam Shepard’s True West, David Mamet’s American Bu√alo, Arthur Miller’s The Price and The Ride Down Mt. Morgan (which Miller swore in 1992 would never be per- formed on Broadway), Eugene O’Neill’s A Moon for the Misbegotten, and Moss Hart and George S...

... to native son David Mamet. The volume recounts those magical 1,001 nights in 317 pages and is copiously illustrated with 202 sketches, maps, and black-and-white photographs. If one were odious enough to com- pare Christiansen’s book to Laurence Maslon’s Broadway: The American Musical (Bulfinch...

.../00659142-3481371 © 2016 by Duke University Press 396 Drama This of course is not the TV version of the 1950s, but as David Mamet comments in “A National Dream-Life,” the dramatist writes about the repressed that the culture cannot express directly to itself. Wertheim pro- vides an introduction...

... that includes Albee and Shepard (again), Adrienne Kennedy, Tony Kushner, Mamet, Marsha Norman, Wendy Wasserstein, August Wilson, and many others; Rou- dané enriches his fine chapter with a coda on Arthur Miller’s later plays. The volume concludes with John Degen’s ‘‘Musical Theatre since World War II’’ (pp...

... successful; and it concludes with David K. Sauer and Janice A. Sauer’s useful retrospective on criticism of Wilson’s work that includes a selective bibliography (pp. 193–201) and Bigsby’s 1991 interview with Wilson. With a subtitle borrowed from Mamet’s play of the same name, Ira Nadel’s David...

... on mythic domestic/intrafamil- ial struggle, provides the characters and their situations with a more palpable connection to the real world.” Pressly cites theater owner Rocco Landesmann (“I am very, very ada- mantly against the politicization of art”) and David Mamet (“Should the theater...

... are depicted in John Guare’s Six Degrees of Separation (1990) as in Philip Barry’s Holiday (1928). David Mamet’s Oleanna (1992) is paired with Lillian Hellman’s The Children’s Hour (1934), as plays of sexual accusation against teachers. Farm/incest is contrasted in O’Neill’s Desire under the Elms (1924...

... and Experimentation: 1945 to the Present An educated bibliography and necessary double index complete the volume. If a few jaded scholars find some of the material on U.S. drama lacking in depth, the volume s approach and breadth necessitate certain quick surveys (Arthur Miller gets three paragraphs; Williams, Mamet...

..., books, articles, and sections of books presented chronologically. The same series under adviser William W. Demastes includes David K. Sauer and Janice A. Sauer’s David Mamet: A Research and Production Sourcebook. The authors begin with the requisite comments on Mamet’s life and career, a sketchy...

... reality as it may have been, a style most evident in plays like Eugene O Neill s The Emperor Jones. What is different in the currently emerging neo-expressionism is that the head we are inside seems to be the that of an audience rather than of the author or a character. David Mamet s Oleanna, for example...

... Wilson’s Book of Days; David Mamet’s Boston Marriage; Edward Albee’s The Goat, or Who Is Sylvia? and Occupant; Tony Kushner’s Homebody/ Kabul; and Suzan-Lori Parks’s Pulitzer Prize-winning Topdog/Underdog. Legitimate theater may be the most legitimate thing in America. François Rabelais observed...

..., a Hegelian—V’s Other” (SELit 81: 137–50). f. 20th-Century Drama and Poetry  Mitsunobu Nagata’s Uchi to Soto no Saisei: Rokujyu nendai kara no Amerika Engeki (Inner and Outer Resurrection—American Drama after the ’60s: Tennessee Williams, Sam Shepard, Lanford Wilson, and David Mamet) (Kanae...

..., a Hegelian—V’s Other” (SELit 81: 137–50). f. 20th-Century Drama and Poetry  Mitsunobu Nagata’s Uchi to Soto no Saisei: Rokujyu nendai kara no Amerika Engeki (Inner and Outer Resurrection—American Drama after the ’60s: Tennessee Williams, Sam Shepard, Lanford Wilson, and David Mamet) (Kanae...

..., a Hegelian—V’s Other” (SELit 81: 137–50). f. 20th-Century Drama and Poetry  Mitsunobu Nagata’s Uchi to Soto no Saisei: Rokujyu nendai kara no Amerika Engeki (Inner and Outer Resurrection—American Drama after the ’60s: Tennessee Williams, Sam Shepard, Lanford Wilson, and David Mamet) (Kanae...

..., a Hegelian—V’s Other” (SELit 81: 137–50). f. 20th-Century Drama and Poetry  Mitsunobu Nagata’s Uchi to Soto no Saisei: Rokujyu nendai kara no Amerika Engeki (Inner and Outer Resurrection—American Drama after the ’60s: Tennessee Williams, Sam Shepard, Lanford Wilson, and David Mamet) (Kanae...

... of blackness. In support, Elam notes that not since the 1920s have so many white playwrights dealt with the black experience, as does David Mamet in Race, John Guare in Free Man of Color, and the award-winning musical The Scottsboro Boys. The new complexity is signified in the Obamas’ attendance...

... 20th-century playwriting luminaries, principally Arthur Miller, David Mamet, Edward Albee, Edward Bond, and Harold Pinter. Indeed, the study is at its best in the sections where Bigsby is able to draw on his vast knowledge of modern English-language drama. For example, he discusses how...