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ePub True and False download

by David Mamet

ePub True and False download
Author:
David Mamet
ISBN13:
978-0571192618
ISBN:
0571192610
Language:
Publisher:
Faber & Faber; 1st edition (May 18, 1998)
Category:
Subcategory:
Performing Arts
ePub file:
1876 kb
Fb2 file:
1798 kb
Other formats:
lit azw mbr lrf
Rating:
4.4
Votes:
798

True and False: Heresy and Common Sense for the Actor by David Mamet is an instructional book on acting, and the life and habits of the successful actor.

True and False: Heresy and Common Sense for the Actor by David Mamet is an instructional book on acting, and the life and habits of the successful actor. In it, Mamet outlines his thoughts on acting, and gives advice for those practicing the craft and for aspiring practitioners. In the book, Mamet derides the practice of teaching drama students the system of Constantin Stanislavski or method acting of Lee Strasberg.

In True and False David Mamet overturns conventional opinion and tells aspiring actors what they really need to know. He leaves no aspect of acting untouched: how to judge the role, approach the part, work with the playwright; the right way to undertake The Pulitzer Prize winning playwright, director and teacher has written a blunt, unsparingly honest guide to acting. In True and False David Mamet overturns conventional opinion and tells aspiring actors what they really need to know.

True and False: Heresy and Common Sense for the Actor. Invent nothing, deny nothing, speak up, stand up, stay out of school. With these words, one of our most brilliantly iconoclastic playwrights takes on the art of profession of acting, in a book that is as shocking as it is practical, as witty as it is instructive, and as irreverent as it is inspiring.

David Mamet was awarded the Pulitzer prize for his play Glengarry Glen Ross

David Mamet was awarded the Pulitzer prize for his play Glengarry Glen Ross. His other plays and screenplays include Speed-the-Plow, American Buffalo, Sexual Perversity in Chicago, The Winslow Boy The Spanish Prisoner, Wag the Dog and The Verdict, the last two of which won Academy Award nominations. He has also received an Obie Award, and has written a collection of poems, five collections of essays, and a book on acting, True and False.

When you mention this book to actors, you tend to get a fairly similar response

The most exciting acting book i’ve ever read. When you mention this book to actors, you tend to get a fairly similar response. Usually it’s somewhere between a grunt of annoyance and a sigh of despair that yet another actor is enduring such a book. But what’s really true and false about this book?

True and False Mamet, David Random House (USA) 9780679772644 : Invent nothing, deny nothing, speak up, stand up, stay out of school. True and False, Mamet, David. Варианты приобретения.

True and False Mamet, David Random House (USA) 9780679772644 : Invent nothing, deny nothing, speak up, stand up, stay out of school. With these words, one of our most brilliantly iconoclastic.

DAVID MAMET is a Pulitzer Prize-winning playwright and an Academy Award-nominated screenwriter, as well as a. .

DAVID MAMET is a Pulitzer Prize-winning playwright and an Academy Award-nominated screenwriter, as well as a director, novelist, poet, and essayist. He has written the screenplays for more than twenty films, including Heist, Spartan, House of Games, The Spanish Prisoner, The Winslo. ore about David Mamet.

The Pulitzer Prize winning playwright, director and teacher has written a blunt, unsparingly honest guide to acting. In True and False David Mamet overturns conventional opinion and tells aspiring actors what they really need to know. He leaves no aspect of acting untouched: how to judge the role, approach the part, work with the playwright; the right way to undertake auditions and the proper approach to agents and the business in general. True and False slaughters a wide range of sacred cows and yet offers an invaluable guide to the acting profession.
  • Over the years, I have been amazed at how successful David Mamet has been in almost everything he attempts. This is why, when I started reading this book I felt disappointed. It seemed to me that, in the first third of the book, he listed all the things you should NOT do as an actor. Several times I thought about closing the book and throwing it away. But somewhere around that point where I almost gave up on him, Mamet's genius kicked in. It may be heretical to say this, but I believe that one of the stronger aspects of Mamet's art is his ability to cut through the BS and simplify. I believe that a considerable amount of his power as a dramatist comes from this. Concerning playwriting, he said that, in the crafting of a play, you must dispense with any part of it that does not relate to the protagonist's quest.

    In this book, he again makes us see the power of simplification. He says actors need to forget about the elaborate explanations coming from the "scholars" and just look at the bare bones reality of what acting is. Pretending. He says "This is what I see the actor doing: Invent nothing, deny nothing. This is the meaning of character." He also says, "The simple performance of a great deed, onstage or off, is called 'heroism'". He says a number of other provocative things and then proves each and every one of them. And these proofs are a strong counter-argument to what many acting teachers and scholars are saying. What he tells the actor to do is practical, real, doable and powerful. That is why I gave it three stars, why I will suggest that any actor who acts in any play I write reads this book, and why I believe this book is nourishment not only for the actor, but for the playwright and for just about anybody else in the theatre who wants to know how great performances can be sculpted from a written text.

  • This was obviously written by Mamet after butting heads with some self-indulgent, Strasberg-esque "method" actors. The technique he is actually espousing here, though there is allot of junk abut playing nothing but the text, is the one Hagen, Adler and Meisner taught: "define your objective, decide on the course of action(s) required to get what you want, play them, and the appropriate emotion will surface." He is opposed to using anything outside the text to manufacture emotion. Fair enough. I take it he means one's personal life, which would take you out of the play. Uta's method, for reaching an emotional peak, which is infinitely more helpful, is simply: "Raise the stakes," (ie: If I don't get what I want/need in this situation, THIS will happen.)If taken at face value this little book would seem to suggest that the lines will give you everything you need. (His lines,maybe. Try Albee.) Were that be the truth, anyone could act, and be a good as DeNiro. Mamet knows that, he's just being Mamet. May I suggest Uta Hagen's book "A Challange For Actor," which is simply the best meat and potatoes acting book ever written.

  • I picked this book up on recommendation as a Director and found it incredibly insightful and thought provoking. There are some ideas he briefly discusses in "On Directing Film" on full display here, but this is a much deeper dive into the actor's practice and the culture of life as an artist. In true Mamet form, there is a whole lot of blunt speak, letting you know what' what and who's full of it - but there's also a lot of encouragement and I find the book to be quite inspirational.

  • Here's what. Maybe Mamet is not an actor, but he is an artist, who has a low tolerance for moosekaka. Any artist should get a sigh of relief from reading this book. Dig this. I've always been curious about acting. So, I very sheepishly took an acting class at a respectable local theater. Man, I wanted to run out of there so fast, I felt ridiculous, foolish, a way poser and cluuuuless. No tips was I given, from teacher or classmates, but believe it or not, researching online this book was suggested. I bought it and devoured it. It gave me the direction I needed to get over myself and go back to the class. Have a simple objective AND Have fun. And I learned that from Mamet, not the class. I certainly learned much more than that from this small book. It's definitely not a technique book, but I feel strongly that ANY person pursuing art as a profession, in otherwords, any artist, should strongly relate to and enjoy and benefit from Mamet's personal wisdom. This book is so dam true and sensible.

  • An interesting critique of the method school of acting, and wonderful insight into the world of drama. I came to know of Mamet through his infamous letter to the writers of the Unit, and this book carries that same voice and pursuit of drama as the ultimate goal of all in the world of entertainment.

    He has a very thorough and persuasive perspective on the attitude and approach to acting, from its foundation in theater to the abstract in bringing the unreal to life on stage. The criticism I've read of this, such as Mamet not giving concrete advice towards casting or auditioning sessions, does seem contradictory given the back cover's advertisement of 'how to undertake auditions and rehearsals' but I found this book a treatise on the art and science of the actor's profession and an attitude to take towards the 'business' side of show business.

    Even for those who remain persuaded by Stanislavsky or the Method should find this an interesting and invigorating dialogue on their profession. Highly recommend to all in, and those fascinated by, the arts and the stage.