Brilliant playwright with interesting insights and guidance. ( )

Mamet, in his new role as apostate, explores the theatre, starting from the time of Stanislavsky and Chekov, whose plays needed to be secretive, first because of the totalitarian czars, then because of the totalitarian Bolsheviks. So nothing was explicit. But this tradition he says has carried on erroneously into the present, with bad consequences for the health of theatre.

He lambasts "Method" acting, since in his view there are no hidden lives to the characters other than what is made explicit by the words they actually say, as well as all the machinery and bureaucracy of modern theatre. He also demotes directing, since, for him, it's all up to the actors and the script, and the director has little role except for blocking the scenes.

It's a nice little read. In the section I found most interesting, he likens a good dramatic play to a communal and instinctual hunt, with the audience repeatedly asking, "Then what?"

He makes the ultimate point that it's the irrationality of a theatre audience that a good drama taps into; that it's about turning off one's rationality and getting back into something more primitive and deeply satisfying for a bit of time. ( )

Essays by the writer and director on staging a play based on his life-long experiences. Interesting and very direct opinions on schools of acting and directing, the value - or lack of value - in the rehearsal process . The primary importance of the text, particular plot. A short, entertaining read. ( )