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Oleanna

A Play

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eBook published by Vintage (Knopf Doubleday Publishing Group)

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About This Book
In David Mamet’s latest play, a male college instructor and his female student sit down to discuss her grades and in a terrifyingly short time become the participants in 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. 
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In David Mamet’s latest play, a male college instructor and his female student sit down to discuss her grades and in a terrifyingly short time become the participants in 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. 
Product Details
eBook (96 pages)
Published: March 28, 2012
Publisher: Knopf Doubleday Publishing Group
Imprint: Vintage
ISBN: 9780307817617
Other books byDavid Mamet
  • The Secret Knowledge

    The Secret Knowledge
    On the Dismantling of American Culture
    David Mamet has been a controversial, defining force in nearly every creative endeavor-now he turns his attention to politics. In recent years, David Mamet realized that the so-called mainstream media outlets he relied on were irredeemably biased, peddling a hypocritical and deeply flawed worldview. In 2008 Mamet wrote a hugely controversial op-ed for the Village Voice, "Why I Am No Longer a 'Brain-Dead Liberal'", in which he methodically attacked liberal beliefs, eviscerating them as efficiently as he did Method acting in his bestselling book True and False. Now Mamet employs his trademark intellectual force and vigor to take on all the key political issues of our times, from religion to political correctness to global warming. The legendary playwright, author, director, and filmmaker pulls no punches in his art or in his politics. And as a former liberal who woke up, Mamet will win over an entirely new audience of others who have grown irate over America's current direction.

    Romance

    Romance
    Pulitzer Prize—winning playwright David Mamet’s Romance is an uproarious, take-no-prisoners courtroom comedy that gleefully lampoons everyone from lawyers and judges, to Arabs and Jews, to gays and chiropractors. It’s hay fever season, and in a courtroom a judge is popping antihistamines. He listens to the testimony of a Jewish chiropractor, who’s a liar, according to his anti-Semitic defense attorney. The prosecutor, a homosexual, is having a domestic squabble with his lover, who shows up in court in a leopard-print thong. And all the while, a Middle East peace conference is taking place. Masterfully wielding the argot of the courtroom, David Mamet creates a world in microcosm in which shameless fawning, petty prejudices, and sheer caprice hold sway, and the noble apparatus of law and order degenerates into riotous profanity.

    The Cabin

    The Cabin
    Reminiscence and Diversions
    In these mordant, elegant, and often disquieting essays, the internationally acclaimed dramatist creates a sort of autobiography by strobe light, one that is both mysterious and starkly revealing. The pieces in The Cabin are about places and things: the suburbs of Chicago, where as a boy David Mamet helplessly watched his stepfather terrorize his sister; New York City, where as a young man he had to eat his way through a mountain of fried matzoh to earn a night of sexual bliss. They are about guns, campaign buttons, and a cabin in the Vermont woods that stinks of wood smoke and kerosene -- and about their associations of pleasure, menace, and regret. The resulting volume may be compared to the plays that have made Mamet famous: it is finely crafted and deftly timed, and its precise language carries an enormous weight of feeling.

    Theatre

    Theatre
    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, either actors are 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, teachers, 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.

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