True and False: Heresy and Common Sense for the Actor

by David Mamet

Overview

One of our most brilliantly iconoclastic playwrights takes on the art of profession of acting with these words: invent nothing, deny nothing, speak up, stand up, stay out of school. Acting schools, “interpretation,” “sense memory,” “The Method”—David Mamet takes a jackhammer to the idols of contemporary acting, while revealing the true heroism and nobility of the craft. He shows actors how to undertake auditions and rehearsals, deal with agents and directors, engage audiences, and stay faithful to the script, while rejecting the temptations that seduce so many of their colleagues. Bracing in its clarity, exhilarating in its common sense, True and False is as shocking as it is practical, as witty as it is instructive, and as irreverent as it is inspiring.

Product Details

ISBN-13:	9780679772644
Publisher:	Knopf Doubleday Publishing Group
Publication date:	02/22/1999
Pages:	144
Sales rank:	442,557
Product dimensions:	5.10(w) x 8.00(h) x 0.40(d)

About the Author

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 Winslow Boy, Wag the Dog, and the Oscar-nominated The Verdict. His more than twenty plays include Oleanna, The Cryptogram, Speed-the-Plow, American Buffalo, Sexual Perversity in Chicago, and the Pulitzer Prizewinning Glengarry Glen Ross. Born in Chicago in 1947, Mamet has taught at the Yale School of Drama, New York University, and Goddard College, and is a founding member of the Atlantic Theater Company.

Editorial Reviews

"Mamet manages to demolish the myths...that pass for theory with regard o acting and directing. . . True and False is a revealing book of the highest order and a pleasure to read"—Anthony Hopkins
 
"Hard-edged, pragmatic and idealistic. . . . Every actor or would-be actor should read this book."—Chicago Tribune 
 
"Trenchant...Meet’s pared-down, occasionally cryptic prose can make powerful sense."—The New York Times
 
"This book should be read and considered by everyone who acts."—Steve Martin 

From the Publisher

"The job of the actor is to communicate the play to the audience, not to bother it with his or her good intentions and insights and epiphanies about the ways this or that character might use a handkerchiefthese are the concerns of second-class minds." So writes Mamet, the Pulitzer Prize-winning playwright, director and teacher in this extremely blunt, unorthodox and shocking treatise on the profession of acting. He remarks that "Stanislavsky was essentially an amateur" and goes on to attack method acting and its proponents. He challenges the performer to be a daring individualist by staying away from formal acting schools: "Part of the requirements of a life in the theater is to stay out of school....Formal education for the player is not only useless, but harmful." And he goes on to say, "Let me be impolite: most teachers of acting are frauds." Mamet stresses that there are no set rules and refuses to define what talent is: "I don't know what talent is, and, frankly, I don't care. I do not think it is the actor's job to be interesting. I think that is the job of the script. I think it is the actor's job to be truthful and brave." This controversial book will anger many in the profession but may also inspire because of its brashness and daring. (Oct.)

Publishers Weekly - Publisher's Weekly

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.

Library Journal