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While such moments of enlightenment appear sporadically throughout, Mamet’s arguments lack any sense of nuance and his writing style does not help him support his opinions. If anything, his trademark style comes off as supercilious in the context of nonfiction. There is some value to the incendiary...

Author: By Matthew C. Stone, CONTRIBUTING WRITER | Title: David Mamet’s Overstated ‘Theatre’ | 4/13/2010 | See Source »

These are lofty topics, to be sure, and he makes quite a number of lofty claims about them. While there’s nothing inherently wrong with a book taking on such a grand scope, Mamet does so without any sense of rigor. In “Theatre,â?...

Author: By Matthew C. Stone, CONTRIBUTING WRITER | Title: David Mamet’s Overstated ‘Theatre’ | 4/13/2010 | See Source »

His actual critique of Stanislavsky, however, is mostly based on an uncharitable, oversimplified reading of the director’s prolific work: “Stanislavsky’s famed (if essentially hypothetical) system, then, was and is the dissection of the motives and emotions of the character. One hundred...

Author: By Matthew C. Stone, CONTRIBUTING WRITER | Title: David Mamet’s Overstated ‘Theatre’ | 4/13/2010 | See Source »

Brevity is another key factor to Mamet’s writing—chapters are rarely longer than four or five pages, and paragraphs are often only a sentence or two. The trouble is that this concise style renders his arguments insufficient. To dismiss Stanislavski’s entire body...

Author: By Matthew C. Stone, CONTRIBUTING WRITER | Title: David Mamet’s Overstated ‘Theatre’ | 4/13/2010 | See Source »

The Harvard Crimson: Why did you decide to incorporate more unconventional music styles, like rap, into your work?

Author: By Thomas J. Snyder, CONTRIBUTING WRITER | Title: SPOTLIGHT: Lin-Manuel Miranda | 4/13/2010 | See Source »

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