Argues that the techniques taught in acting school, and in particular the famous Stanislavsky Method, mislead aspiring actors, and suggests ways for performers to remain true to the characters they present
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David Mamet was awarded the Pulitzer Prize for Glengarry Glen Ross. His acclaimed plays and screenplays include Speed-the-Plow, American Buffalo, Sexual Perversity in Chicago, and The Verdict, for which he received an Academy Award nomination.
"This book should be read and considered by everyone who acts."
--Steve Martin
"Entertaining and enlightening...Mamet's new book on the actor's life makes me proud to be a participant in that life."
--Joe Mantegna
"This is a very important book. No one has defined the actor's job better than Mamet. So much of the acting we see these days is, in my opinion, emotional glop. The actors are not really acting the story, they are acting what the story means. When all is said and done, it's just indicating. And as Mamet so outrageously and compellingly shows us, the future belongs to those actors who don't indicate at all, ever."
--William H. Macy
"I agree with almost nothing Mr. Mamet says in this book and encourage you to devour every word. Mamet is a genius."
--Alec Baldwin
Pulitzer Prize-winning playwright Mamet (e.g., Glengarry Glen Ross), considered a foremost contemporary American dramatist by most critics, here offers a bold new approach to acting. Mamet draws on his decades of observing good (and bad) acting to present a slim but intriguing volume of musings. Disdainful of studios, acting schools, and graduate school, he declares, "The classroom will teach you how to obey, and obedience in the theater will get you nowhere." Mamet exhorts actors to show up early, have their lines down cold, and have a single objective for each scene. He contends that overthinking and too much emotional interpretation is not the actor's role. Essential reading for theater collections.?J. Sara Paulk, Coastal Plain Regional Lib., Tifton, Ga.
Copyright 1997 Reed Business Information, Inc.
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