Bücher von David Mamet

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.

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 Mamet's 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.

Having put his personal stamp on the contemporary theater, David Mamet now performs the supremely audacious feat of reinventing the theater of the past. He does so by telling his own ingenious and eerily moving version of the tragedy of Dr. Faustus.Mamet's Faustus—like Marlowe's and Goethe's before him—is a philosopher whose life's work has been the pursuit of "the secret engine of the world.” He is also the distracted father of a small, adoring son. Out of the clash between love and intellect and the fatal operation of Faustus' pride, Mamet fashions a work that is at once caustic and heart-wrenching and whose resplendent language marries metaphysics to conman's patter. A meditation on reason and folly, fathers and sons, and a breathtaking display of magic both literal and theatrical, Faustus is a triumph.

Temporarily putting aside his role as playwright, director, and screen-writer, David Mamet digs deep and delivers thirty outrageously diverse vignettes. On subjects ranging from the vanishing American pool hall, family vacations, and the art of being a bitch, to the role of today's actor, his celebrated contemporaries and predecessors, and his undying commitment to the theater, David Mamet's concise style, lean dialogue, and gut-wrenching honesty give us a unique view of the world as he sees it.

In den USA sind David Mamets Vorlesungen über Filmregie, die er im Herbst 1987 an der Filmschule der Columbia University hielt, eines der Standardwerke zur Regie- und Drehbuchtechnik.»Ein guter Autor wird nur dann besser, wenn er lernt zu streichen, das Schmückende, das Beschreibende, das Narrative und vor allem das tief Gefühlte und Bedeutungsvolle herauszunehmen. Das Drehbuchschreiben ist eine Kunst, die auf Logik beruht. Sie besteht aus der beharrlichen Anwendung einer Reihe von grundlegenden Fragen: Was will der Held? Was hindert ihn daran, es zu bekommen? [...] Ich kam als Drehbuchautor zum Regieführen und betrachtete die Kunst der Regie als freudeschaffende Fortsetzung des Drehbuchschreibens - und unter dieser Prämisse unterrichtete ich den Kurs und schrieb ich dieses Buch.«David Mamet

David Mamet Full Length, ComedyCharacters: 3 male (1 non-speaking) Bare stageThe Pulitzer Prize-winning author of Glengarry Glen Ross and Speed-The-Plow, takes us into the lives of two actors: John, young and rising into the first flush of his success; the other Robert, older, anxious, and beginning to wane. In a series of short, spare, and increasingly raw exchanges, we see the estrangement of youth from age and the wider, inevitable and

A renowned psychologist, Charles, is asked to testify on behalf of one of his former patients who has committed a shooting. At first he is hesitant, and as his lawyer and his wife begin to tell him how he should handle the situation, Charles clings more fervently to his morals and his ethics. However, the tighter he clings, the more his reputation and career hang in the balance, especially as more truths are revealed about his relationship to his patient.

A very wealthy businessman buys a plane to carry his fiancée, a non-US citizen, into Canada. However, an unexpected landing of the plane prompts an investigation into the man's affairs based on his tax payment history. As his assistant tries to help him put things back together, secrets are revealed, and it is discovered the man is a powerful political insider who's been evading tax law. The investigation deepens and his future is even more at risk.

Nothing is quite what it seems in David Mamet's latest work. With a nod to his mentor, Harold Pinter, Mamet once again employs his signature verbal jousting in this battle of two women over freedom, power, money, religion -and the lack thereof. Premiered on Broadway, under the direction of the playwright, in Fall 2012 starring Patti LuPone and Debra Winger.

"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 should have known better than to trifle with Mike Hodge. In Chicago, David Mamet has created a [book] that roars through the [1920s] Windy City's underground on its way to a thunderclap of a conclusion"--

The third in a series of "World Classics" presenting David Mamet's stage plays. Those in this volume date from the 1980s.

The first in a series of volumes presenting Mamet's plays from the 1970s and 1980s, this book includes "Duck Variations", "Sexual Perversity in Chicago", "Squirrels", American Buffalo", "The Water Engine" and "Mr Happiness".