After 2009 -- Utopia Times
Pinter'0? + Mamet'06 Itiopia & Utopia dreams and dreams.vtheatre.net Am I ready for Utopia? I do not know. Anatoly-Lul : summer'09 ... I am ready to say goodbye to POMO.
|
2006 -- 2007
![]() ![]() ![]()
![]() meyerhord.biomechanics ![]() Theatre UAF: Mamet'07 ![]() Bad Subjects, Wrong Theories Who is Afraid of Virginia Woolf I directed as a traditional play. (Not playing out the PM references). Island by concept is postmodern (prisoners playing Medea). As well as Reckless. Connections between Pinter and Mamet? Pages play and dreams for "writing" the show. POMO "instructional" pages (classes) in script.vtheatre.net and film theory. I need to collect all PM pages together! With its own place in dictionary pages. 600 Files: wrong subjects, bad theories
Notes are at vtheatre group : subscription Mamet - Pinter Mamet - Beckett Mamet - Chekhov Mamet - Miller David Mamet: A Research and Production Sourcebook by David K. Sauer, Janice A. Sauer; Praeger, 2003 questia.com All the Erotic Drive of a Donkey Cart Newspaper article; The Evening Standard (London, England), April 23, 2004 Between Men and Women by David Mamet When all is said and done it is, of course, always about sex. What else could it be about? And if it is constantly changing, what else could it do? Cheap entertainments record or counterfeit the sexual act, but that does not get to it, or it only satisfies us to the extent that we deem sex entertainment. The lawyers say it starts in bed and ends in court; and, indeed, the contemporary barrage of pornography is counterbalanced by our brave litigiousness. Dramaormusic canprovoke anear-sexual appreciation in exciting a love of death. Many seek and live to sustain this feeling, as if one could live in abandonment forever--it is the adolescent equivalent to the search for perpetual motion. The child tries to square the circle, thinking, "Many have failed, but I am blessed"; men of more advanced age set out to conquer the world, the land, a skill, one or some women. And women, for their part, what would they be painting and primping for if not to conquer that same man? Where, in this seamlessness, is there room for misery? In the yearning for romance, in the man's Mariolatry and in the woman's hero-worship, is the urge to conquer and the urge to subdue in the ironic operations of chance upon the enthusiastic, in the bitter and protracted conversation of remorse. We are crazed to get into it and crazed to get out of it. We are unbalanced by passion or by the hatred of the passionate. The only control seems a dry unregarding philosophy, practicable only by those pitifully devoid of such gifts of spirit as our own. We find our misplaced passions ludicrous, but not our hatred; and our new painful wisdom, in the termination of the marriage, the affair, the pact or the illusion, frequently finds that new partner of such proverbial unworthiness as to send our friends scurrying for the telephone. Through it all, as audience or actor, we nod ourheads sagely, or shake them in sorrow, and know that in spite we are fated to square the circle, come at the Hesperides, and live both happily and forever. But who would want it if it came to us? In both demands we are as the infant-center of its world--who requires that the world conform to both and each of its two modes: furious, and satiated. And, of course, at the same time, we call it grand. The chance discovery of the old love letter, the personal erotic code, three words or symbols on a florist's card, the note found in a coat unworn these years since the end of the affair that came to a bad end; the anger, the self-loathing, the embarrassment, are confusingly sharp, as are the souvenirs and memories of more successful love--both relics of decision and folly proved by time to've been operating in service not of our own personal dreams but of the mating instinct. There is its stamp, even in the curses of the divorce court, the sex slanders of the popular press, the lawsuits and totalitarian sexual proclamations of freedom: "You have disappointed me. I demand you, your sex, someone, be all-in-all to me, and you have failed. Redress my wrongs, make me complete"--the one sex demands the other make it whole, and even the supposed dry legalistic debate is nothing other than a simulation of the sexual act: "Complete me, release me, make me whole." What a surprise. And the woman can confab with the women and the men herd with the men, as both have always done, and bitch to each other without end, but to consider such affinity other than a counterbalance is to confound the Racing Form with the race. The former can have final interest only to those who have not seen and do not long to see the horses run. What could be more lovely than two folks in love, more sordid than two bickering--that demand that not only their partner but the Community make them complete, as if one were, for all the world, returning a defective item to the place of purchase and exhibiting its shortcoming. As one is. For it was the Group that gave us our choice, and if we are, as we are, not fated for bliss, then surely the Group, in large or small, must bear the fault. We love the wedding, but we adore the divorce. Its entertainment value is protracted through the rift, the threat of reconciliation, the legality and post-mortem recriminations. The wedding proceeds with thoughtless speed from the courtship (in itself a bore to any but the Two) to the ceremony and then to the Comrnunity wait for, and insistence upon, the first offspring. But no, we, speaking as Principal, exclaim, nothing, not birth or parenthood, neither wisdom nor age, will debar us as participants in the drama of sex. We will claim until death at the very least the honorific right of search for bliss. Why with one rather than another? The figure, or the face. Their intellect, or wit, or this-or-that--we fall inevitably back upon "a certain, indisputable something" proclaiming them the one. But how often has that something led us astray--like a compass that is sure of North, but whose North bears no relation to any known Pole. And yet we believe in it, while kindness, courtesy and their sure indications of potential happiness beg for believers. But through much of it we have no goal, only a desire for a state--that state that would amalgamate the thrill of the hunt with the torpor of perfect repletion. What a laugh. I suppose we could strive to maintain our dignity, and some of us do, and most of us do at some time. That dignity might rest on a sense of hurnor and, for the odd instance, an appreciation of tragedy and perhaps some belief in its curative powers. At the end of the day we want someone to hold our hand. If we are happy we want someone to be for us and to whom we can be a hero. In misery we strive to be or find a victim. In either case we,re searching for a partner to share our idea of home. David Mamet is the author of The Cryptogram, Oleanna and Glengarry Glen Ross, among other plays, as well as the novel The Village (Little, Brown). His screenplays include The Untouchables, The Verdict and House of Games. [questia.com] * my notebook * ...
|
I have to "collect" all the pomo elements of my shows (very postmodern idea by intent, "quoting" yourself)...Formal Theatre and PM -- http://homepages.tesco.net/~theatre/tezzaland/webstuff/index.html (take another look!)Good play is an iceberg. Most of drama is hidden, under water. The same with a show. More so. Subtext is the text of drama!
The words are to communicate?
The words are to lie...
without knowing it.
True,
What is truth?
Truth of today, of now...
Your truth or mine?
Don't speak and let me see!
The only truth is silence..."Oleanna" is part II of "Homecoming"? Another Ruth...
http://theatre.harvard.edu/archive/2001-fall/Oleanna/app.html :
‘Oleanna’ *needs* to be shown on college campuses. Whether or not one agrees with Mamet’s arguably political message about higher education, it is without doubt a show that makes you as a college student question the most mundane, basic part of your everyday life - no, beyond that - it makes you question the very premises upon which your participation in any sort of higher education are based. The show continues to give me chills with every read, and really speaks for itself with regard to its merit for this particular audience – it *is* one of Mamet’s best, and Mamet *is* one of the best around.
Above and beyond reading it on the page, however, an intimate personal experience with the play is required to achieve the full effect. Mamet’s dialogue is so realistic as to be clumsy to read, and so much of the play takes place within the physical swell and ultimate explosion which Mamet uses to contrast the intellectual realm in which the characters dwell that merely reading the play on paper cannot approach the power of seeing it on the stage. In person, ‘Oleanna’ is wholly cathartic.
...
Transitions (movement etudes) after scene 1, after 2, ending (bottom video clips)
OLEANNA
David Mamet: A Research and Production Sourcebook
Dedication: to the memory of Michael Merritt
Scene: John's Office
Characters: John, a professor in his 40s; Carol, a college student
Editions:
Oleanna. New York: Pantheon Books, 1992.
Oleanna. New York: Vintage Books, 1993.
Oleanna. New York: Dramatists Play Service, 1993.
Oleanna. London: Methuen Drama with the Royal Court Theatre, 1993.
Oleanna. Dir. David Mamet. Samuel Goldwyn Co., 1994. [film]
David Mamet Plays: 4. London: Methuen, 2002.Plot Outline:
In the opening, John is on the telephone discussing the purchase of a house with his realtor. The telephone interrupts throughout the play. Carol slowly recognizes that he is buying a house, and is near to receiving tenure from the university. She is having trouble in his course. Despite reading his text, and writing down all he says in class, she cannot understand. John tries to explain his course, and when she complains that she must be just stupid, he says he too had trouble in school. He offers to teach her by private tutorials in his office, and to give her an A if she'll come to these meetings. When she becomes upset, he puts his arm around her to console her, and encourages her to tell him what she's never told anyone. As she's about to do so, the phone rings again. There is no problem with the house; his wife was trying to get him to come there for a surprise party. He explains he must go to the party, and leaves. In the second act, a little time has passed and Carol has brought charges against John for sexual harassment. She has come at his request to discuss her charges. She refuses to drop them and admit that she's been wrong. As she starts to leave, he tries to restrain her from leaving and she yells for help.
In the third act he has again requested a meeting. He's been at a hotel for two days; she reveals that she has brought charges against him for battery and attempted rape, and he is crushed realizing he has lost his house and position, Carol, firmly in control, says that she and her group of supporters might drop the charges if he agrees to their list of demands which, he discovers, involves dropping his book. He is outraged and tells her to leave and that he will fight these demands. When his wife calls, he reassures her. As he hangs up, leaving, Carol tells him not to call his wife, “Baby.” At this he snaps, grabs her, hits her, knocks her to the floor, raises a chair to smash her, yelling “I wouldn't touch you with a ten foot pole. You little cunt.” He then catches himself. Stops. “…yes. That's right, ” she says.[ p.222 + ]
... Digital is NEW resurrection of the old world! [From "Manifesto" I do not have. ] Post Postmodernists call it "remodernism"! Two old notes from Rafaela at the bottom (for vtheatre).
Most recent: Chekhov Project and Godot.
Presence of Chekhov in the show based on his own comedies: reflective... His story against his fiction.
[ quote ]
What didn't work? "Educational" tone of "literary composition"?
![]()
"Mini-Chekhov Project" -- Fall 2005 show, but the webpages are still a mess.
I will be working on "Postmodern Project" (working title) in 2007-2008 still? After the shows. Web is a tree, takes years.Well, it's nothing but a process.
I am not done with Beckett, with Godot!
[ image ]
Virtual Theatre w/AnatolyArchives:
Archives: Oscar Wilde: The Importance of Being Earnest* overview of the shows directories: 1999 -- 2006 (one page)
[ list ]
http://lit.lib.ru/s/shestakow_w_p/text_0010.shtml#17 -- ÃËÀÂÀ 7: ËÞÁÎÂÜ, ÑÅÊÑ È ÍÀÑÈËÈÅ Â ÊÓËÜÒÓÐÅ XX ÂÅÊÀ
{Sorokm P. The American Sex Revolution. Boston, 1956}
{Santas G. Plato and Freud Two Theones of Love Oxford, New York, 1988} + Fromm
{Reich W. The Function of Orgasm // Rycroff Ch Reich London, 1979}
Marcuse H. Eros and Civilization. N. Y., 1955.
Brawn N. Love's Body. N. Y., 1966
Gasett, de Shardin
Kristeva J. Tales of Love. N. Y, 1987
Foucault M. The History of Sexuality. An Introduction. N. Y.
Marcuze
htmlgear dangerous liaisons
ЛЕВ КАРСАВИН - Noctes Petropolitanae -- read
.... transitions in Mamet:
1-2-3-4:
The Theatre Banner Exchange
my main theatre glossary + biblio
vTheatre home: appendix * links * references * books * faq * guide * new * glossary * anatoly's blog * flickr: stage * keywords * swicki * vtheatre list: 2006 mamet * virtual theatre domains * calendar * store * map * film600 posthuman feelings * 2008 : my library books.google.com + amazon.com/kindle
* sample : del.icio.us/anatolant/shows (change the last word/tag to get different links) 2006
Film-North * Anatoly Antohin
© 2005 by vtheatre.net. Permission to link is granted *
View My Stats
vt1.jpg notes 2000
End Notes : profile.to/anatoly