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...artists is almost admirable in its total conviction—but the failure to effectively substantiate his claims renders this book an exercise in futility. However, to call Mamet a charlatan would be to commit the same error he does in “Theatre.” As one of the seminal theatre artists of our age, his ideas are certainly important—hopefully Mamet will heed his own advice and employ a little more “common sense” while penning his next book...
...actual critique of Stanislavsky, however, is mostly based on an uncharitable, oversimplified reading of the director’s prolific work: “Stanislavsky’s famed (if essentially hypothetical) system, then, was and is the dissection of the motives and emotions of the character. One hundred years of actors have wasted their time in this pointless pursuit.” He proceeds to expound on why the emphasis on character over plot is a flawed method of theater making, but he never successfully validates his vitriolic reading of Stanislavski. To take on a figure so influential, one...
...One of the underlying problems of “Theatre” is that Mamet’s style of writing does not lend itself to sophisticated argumentation. His dramatic dialogue is iconic—often referred to as “Mametspeak”—and his plays are full of terse and crude language. The effect translates to his nonfiction as well, and much of language in “Theatre” has the colloquial feel of dialogue, which does little to lend credibility to his opinions. Rhetorical questions abound—many of which...
Short, who is best known for his roles in “Stomp the Yard” and “Armored,” is both a husband and a father, and says that those personal roles that have helped prepare him for this one. “It’s not a departure at all, it’s actually a great help,” he said. “I don’t know if I’d necessarily be able to tap [into the role] in the right way if I wasn?...
...graphic novel is fantastic, period. [The film] is one of the closest translations I’ve seen from graphic novel to film and that alone is going to set it apart,” said Evans...