David Mamet

La direcció d’una agència immobiliària proposa una competició als seus treballadors: qui vengui més guanyarà un Cadillac, el segon rebrà un joc de ganivets de cuina, laresta seran acomiadats. S’estab

Mike Hodgeveteran of the Great War, big shot of the Chicago Tribune medium fryprobably shouldnt have fallen in love with Annie Walsh. But then maybe the guys who killed Annie Walsh shouldnt have messed with Mike Hodge In Chicago, David Mamet has created a bracing, kaleidoscopic page-turner that roars through the Windy Citys underground on its way to a thunderclap of a conclusion. Here is not only his first novel in more than two decades, but the book he has been building up to for his whole career. Mixing some of his most brilliant fictional creations with actual figures of the era (among them Al Capone), suffused with trademark Mamet Speak, richness of voice, pace and brio, and exploring--as no writer can--questions of honor, deceit, revenge and devotion, Chicago is that rarest of literary creations: a book that combines spectacular elegance of craft with a kinetic wallop as fierce as the February wind gusting off Lake Michigan.

If theatre were a religion, explains David Mamet in his opening chapter, many of the observations and suggestions in this book might be heretical. As always, Mamet delivers on his promise: in Theatre, the acclaimed author of Glengarry Glen Ross and Speed the Plow, calls for nothing less than the death of the director and the end of acting theory. For Mamet, actors are either good or they are non-actors, and good actors generally work best without the interference of a director, however well-intentioned. Issue plays, political correctness, method actors, impossible directions, Stanislavksy, and elitists all fall under Mamets critical gaze. To students, teacher, and directors, who crave a blast of fresh air in a world that can be insular and fearful of change, Theatre throws down a gauntlet that challenges everyone to do better, including Mamet himself.From iconic and idiosyncratic director and playwright David Mamet, a mischievous manifesto designed to defrock the high priests and challenge the holy bibles of the theatre world.

Es una recopilación de breves ensayos y artículos de contenido muy variado, desde una reflexión sobre el mundo y la psicología del póker hasta un comentario muy personal sobre la novela estadounidense, pasando por una aguda y humorisitca critica y autocritica sobre las formas de vestirse o una breve estampa sobre un pequeño restaurante. Articulos escritos desde una perspectiva casi autobiografica con los que el escritor estadounidense construye tanto un retrato personal como un espejo de la vida actual en EE.UU. Los problemas del teatro, el cine y la literatura se abordan con sutileza y malicia.

Award winning playwright screenwriter and director David Mamet shares his smart addictive hilarious and insightful Breitbart tales from his four decades in Hollywood where he worked with some of the biggest names in movies David Mamet went to Hollywood on top a super successful playwright summoned west in 1980 to write a vehicle for Jack Nicholson He arrived just in time to meet the luminaries of old Hollywood and revel in the friendship of giants like Paul Newman Mike Nichols Bob Evans and Sue Mengers Over the next forty years Mamet wrote dozens of scripts was fired off dozens of movies and directed eleven himself In Everywhere an Oink Oink he revels of the taut and gag filled professionalism of the film set He depicts the ever fickle studios and producers who piece by piece eat the artists alive And he ponders the art of filmmaking and the genius of those who made our finest movies With the bravado and flair of Mamet s best theatrical work this memoir describes a world gone by some of our most beloved film stars with their hair down and how it all got washed away by digital media and the woke brigade The book is illustrated throughout with three dozen of Mamet s pungent cartoons and caricatures Everywhere an Oink Oink is nothing but wicke

In a terrifyingly short time, a male college instructor and his female student descend from a discussion of her grades into a modern reprise of the Inquisition. Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship, and abuse.

First staged in Britain in 1983, ''Glengarry Glen Ross'' is the tale of four real-estate salesmen in a cut-throat sales competition. It won the Pulitzer Prize in 1984 and was made into a film starring Al Pacino, Jack Lemmon, Kevin Spacey and Alec Baldwin, in 1992.

A big-shouldered, big-trouble thriller set in mobbed-up 1920s Chicago-a city where some people knew too much, and where everyone should have known better-by the Oscar-nominated screenwriter of The Untouchables and Pulitzer Prize-winning playwright of Glengarry Glen Ross. Mike Hodge-veteran of the Great War, big shot of the Chicago Tribune, medium fry-probably shouldn't have fallen in love with Annie Walsh. Then, again, maybe the man who killed Annie Walsh have known better than to trifle with Mike Hodge. In Chicago, David Mamet has created a bracing, kaleidoscopic page-turner that roars through the Windy City's underground on its way to a thunderclap of a conclusion. Here is not only his first novel in more than two decades, but the book he has been building to for his whole career. Mixing some of his most brilliant fictional creations with actual figures of the era, suffused with trademark "Mamet Speak," richness of voice, pace, and brio, and exploring-as no other writer can-questions of honor, deceit, revenge, and devotion, Chicago is that rarest of literary creations: a book that combines spectacular elegance of craft with a kinetic wallop as fierce as the February wind gusting off Lake Michigan.