Adaptive Collaboration, Collaborative Adaptation: Filming the Mamet Canon
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Edmond Press
International Press International Sales Venice: wild bunch The PR Contact Ltd. Venice Phil Symes - Mobile: 347 643 1171 Vincent Maraval Ronaldo Mourao - Mobile: 347 643 0966 Tel: +336 11 91 23 93 Email: [email protected] Email: [email protected] Fax: 041 5265277 Carole Baraton 62nd Mostra Venice Film Festival: Tel: +336 20 36 77 72 Hotel Villa Pannonia Email: [email protected] Via Doge D. Michiel 48 Gaël Nouaile 30126 Venezia Lido Tel: +336 21 23 04 72 Tel: 041 5260162 Email: [email protected] Fax: 041 5265277 Silva Simonutti London: Tel: +33 6 82 13 18 84 The PR Contact Ltd. Email: [email protected] 32 Newman Street London, W1T 1PU Paris: Tel: + 44 (0) 207 323 1200 Wild Bunch Fax: + 44 (0) 207 323 1070 99, rue de la Verrerie - 75004 Paris Email: [email protected] tel: + 33 1 53 01 50 20 fax: +33 1 53 01 50 49 www.wildbunch.biz French Press: French Distribution : Pan Européenne / Wild Bunch Michel Burstein / Bossa Nova Tel: +33 1 43 26 26 26 Fax: +33 1 43 26 26 36 High resolution images are available to download from 32 bd st germain - 75005 Paris the press section at www.wildbunch.biz [email protected] www.bossa-nova.info Synopsis Cast and Crew “You are not where you belong.” Edmond: William H. Macy Thus begins a brutal descent into a contemporary urban hell Glenna: Julia Stiles in David Mamet's savage black comedy, when his encounter B-Girl: Denise Richards with a fortune-teller leads businessman Edmond (William H. -
Ebook Download the Plays, Screenplays and Films of David
THE PLAYS, SCREENPLAYS AND FILMS OF DAVID MAMET PDF, EPUB, EBOOK Steven Price | 192 pages | 01 Oct 2008 | MacMillan Education UK | 9780230555358 | English | London, United Kingdom The Plays, Screenplays and Films of David Mamet PDF Book It engages with his work in film as well as in the theatre, offering a synoptic overview of, and critical commentary on, the scholarly criticism of each play, screenplay or film. You get savvy industry tips and strategies for getting your screenplay noticed! Mamet is reluctant to be specific about Postman and the problems he had writing it, explaining. He shrugs off the whispers floating up and down the Great White Way about him selling out and going Hollywood. Contemporary playwright David Mamet's thought-provoking plays and screenplays such as Wag the Dog , Glengarry Glen Ross for which he won the Pulitzer Prize , and Oleanna have enjoyed popular and critical success in the past two decades. The Winslow Boy, Mamet's revisitation of Terence Rattigan's classic play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. House of Games is a psychological thriller in which a young woman psychiatrist falls prey to an elaborate and ingenious con game by one of her patients who entraps her in a series of criminal escapades. Paul Newman plays Frank Calvin, an alcoholic and disgraced Boston lawyer who finds a shot at redemption with a malpractice case. I Just Kept Writing. The impressive number of essays , novels , screenplays , and films that Mamet has produced They might be composed and awesome on the battlefield, but there is a price, and that is their humanity. -
Hdounderstandingbalancing Seminar
Dr. E.M. Richmond-Garza Parlin 119, 512-232-5708 [email protected] Understanding and Balancing Motivations Focus: Ethics and Leadership 16 September 2016 Overview: Literature, especially performance, provides concrete and practical cases that help us to understand how ethical decisions are made and to see how ethics and leadership intersect. This professional seminar will use performance texts and approaches to question the nature of the ethical challenges we face in today’s diverse and dynamic workplace. We will focus on competing motivations, using methods and cases studies with practical applications. We will investigate examples, both artistic and actual, presented in a multimedia environment. These cases allow us to recognize and understand varied and competing identities and motivations. We will explore how to achieve balance so as to ensure successful management in the modern workplace. We will develop strategies for asking ourselves productive questions which lead to positive outcomes for conflicted situations in which competing ethical and personal agendas might otherwise lead to negative, or even tragic, consequences. The goal is to develop attentiveness to those patterns of motivational conflict, which might jeopardize the health and productivity of the organization and/or community in question, and to experiment with approaches for managing them. Hands-on experience with analyzing fictional conflicts will allows us to develop our own strategies for responding to real-life tensions and pressures in a self-aware and constructive manner. Exercises will involve applying Stanislavski’s system and developing ways of defining and negotiating competing motivations and ethics, while remaining aware of the subject position of each of us in the process. -
David Mamet - Edited by Christopher Bigsby Excerpt More Information
Cambridge University Press 0521894689 - The Cambridge Companion to David Mamet - Edited by Christopher Bigsby Excerpt More information 1 CHRISTOPHER BIGSBY David Mamet In 1974, a play set in part in a singles bar, laced with obscene language and charged with a seemingly frenetic energy, was voted Best Chicago Play. Transferred to Off Off and Off Broadway it picked up an Obie Award. Sexual Perversity in Chicago was not David Mamet’s first play, but it did mark the beginning of a career that would astonish in both its range and depth. The following year American Buffalo opened at Chicago’s Goodman The- atre in an “alternative season.” It was well received and opened on Broadway fifteen months later where it won the New York Drama Critics Circle Award. It ran for 135 performances, hardly a failure but in the hit or miss world of New York, not a copper-bottomed success either. Nonetheless, in three years he had announced his arrival in unequivocal terms. David Mamet came as something of a shock, not least because his first public success, Sexual Perversity in Chicago, seemed brutally direct in terms of its language and subject, as did American Buffalo. But it was already clear to many that here was a distinctive talent, albeit one that some critics found difficult to assess, not least because of his characters’ scatological language and fractured syntax, along with the apparent absence, in his plays, of a conventional plot. They praised what they took to be his linguistic naturalism, as though his intent had been to offer an insight into the cultural lower depths while capturing the precise rhythms of contemporary speech (though he did invoke Gorky’s The Lower Depths as being, like a number of his own plays, a study in stasis). -
Libro:Maquetación 1.Qxd
Actividades Académicas, Conferencias, Cursos, Congresos, Seminarios Nota del editor Como norma general se ha respetado la lengua en la que se ha recibido la información en la Secretaría. Se ha seguido igualmente un criterio cronológico en la confección de este listado, desde lo más próximo en el tiempo hasta lo más tardío. Teaching and Enjoying the Words and Music of Bob Dylan, Leonard Cohen and Joni Mitchell FAZEKAS MIHALY GIMNAZIUM, HORVÁTH TÉR 8, 1082 BUDAPEST 1st-2nd March 2008 This is the 2008 Event of IATEFL LMCS SIG (International Association of Teachers of English as a Foreign Language, Literature Media & Cultural Studies, Special Interest Group). Plenary Speakers: David Boucher, Professorial Fellow, School of European Studies, University of Cardiff, UK (author of Dylan & Cohen: Poets of Rock & Roll, Continuum 2004); Jim Scrivener, Bell Educational Trust, London, UK. Further information about the event: Venue: Fazekas Mihaly Gimnazium, Horváth tér 8, 1082 Budapest (carefully modernized Art Nouveau style school on the edge of central Pest). Exhibition of materials on the three musicians, plus DVDs of performance. *** On Whose Terms?: Critical Negotiations in Black Irish Literature and the Arts GOLDSMITHS COLLEGE, UNIVERSITY OF LONDON (UK) 13th-14th March 2008 This conference focuses upon local, international and transnational engagements with Black British literature and the arts – in relation to its production, reception and cultural position. Through the multiple disciplines of the arts, it creates a meeting-point for prominent and emerging scholars, writers and practitioners in order to explore the 29 impact of this field, both at home and abroad. The context is one of critical investigation and celebration; a journey along diasporic and aesthetic routes. -
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 Min)
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 min) Directed by Jim Jarmusch Original Music by Neil Young Cinematography by Robby Müller Johnny Depp...William Blake Gary Farmer...Nobody Crispin Glover...Train Fireman John Hurt...John Scholfield Robert Mitchum...John Dickinson Iggy Pop...Salvatore 'Sally' Jenko Gabriel Byrne...Charlie Dickinson Billy Bob Thornton...Big George Drakoulious Alfred Molina...Trading Post Missionary JIM JARMUSCH (Director) (b. James R. Jarmusch, January 22, 1981 Silence of the North, 1978 The Last Waltz, 1978 Coming 1953 in Akron, Ohio) directed 19 films, including 2013 Only Home, 1975 Shampoo, 1972 Memoirs of a Madam, 1970 The Lovers Left Alive, 2009 The Limits of Control, 2005 Broken Strawberry Statement, and 1967 Go!!! (TV Movie). He has also Flowers, 2003 Coffee and Cigarettes, 1999 Ghost Dog: The Way composed original music for 9 films and television shows: 2012 of the Samurai, 1997 Year of the Horse, 1995 Dead Man, 1991 “Interview” (TV Movie), 2011 Neil Young Journeys, 2008 Night on Earth, 1989 Mystery Train, 1986 Down by Law, 1984 CSNY/Déjà Vu, 2006 Neil Young: Heart of Gold, 2003 Stranger Than Paradise, and 1980 Permanent Vacation. He Greendale, 2003 Live at Vicar St., 1997 Year of the Horse, 1995 wrote the screenplays for all his feature films and also had acting Dead Man, and 1980 Where the Buffalo Roam. In addition to his roles in 10 films: 1996 Sling Blade, 1995 Blue in the Face, 1994 musical contributions, Young produced 7 films (some as Bernard Iron Horsemen, 1992 In the Soup, 1990 The Golden Boat, 1989 Shakey): 2011 Neil Young Journeys, 2006 Neil Young: Heart of Leningrad Cowboys Go America, 1988 Candy Mountain, 1987 Gold, 2003 Greendale, 2003 Live at Vicar St., 2000 Neil Young: Helsinki-Naples All Night Long, 1986 Straight to Hell, and 1984 Silver and Gold, 1997 Year of the Horse, and 1984 Solo Trans. -
Series 28: 7) John Cassavetes, KILLING of a CHINESE BOOKIE (1976, 135 Minutes)
March 11, 2014 (Series 28: 7) John Cassavetes, KILLING OF A CHINESE BOOKIE (1976, 135 minutes) Directed by John Cassavetes Cinematography by Mitch Breit Ben Gazzara ... Cosmo Vittelli Timothy Carey ... Flo Al Ruban ... Marty Reitz JOHN CASSAVETES (director) (b. John Nicholas Cassavetes, December 9, 1929 in New York City, New York—d. February 3, 1989 (age 59) in Los Angeles, California) directed 16 films and TV shows, which are 1986 Big Trouble, 1984 Love Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of a Chinese Bookie, 1974 A Woman Under the Influence, 1972 “Columbo” (TV Series), 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob Hope Presents the Chrysler Theatre” (TV Series), 1962-1963 “The Lloyd Bridges Show” (TV Series), 1963 A Child Is Waiting, 1961 Too Late Blues, 1959-1960 “Johnny Staccato” (TV Series), and 1959 Shadows. He also wrote 14 films and TV shows—2010 Antes del estreno (original story), MITCH BREIT (cinematography) has been cinematographer for 1999 Gloria (1980 screenplay), 1997 She's So Lovely, 1984 Love 2 films: 1976 The Killing of a Chinese Bookie and 1974 A Streams, 1980 Gloria, 1977 Opening Night, 1976 The Killing of Woman Under the Influence. a Chinese Bookie, 1974 A Woman Under the Influence, 1971 Minnie and Moskowitz, 1970 Husbands, 1968 Faces, 1966 “Bob BEN GAZZARA ... Cosmo Vittelli (b. Biagio Anthony Gazzara, Hope Presents the Chrysler Theatre” (TV Series), 1961 Too Late August 28, 1930 in New York City, New York—d. February 3, Blues, and 1959 Shadows—and edited 2—1968 Faces and 1959 2012 (age 81) in New York City, New York) appeared in 133 Shadows. -
David Mamet in Conversation
David Mamet in Conversation David Mamet in Conversation Leslie Kane, Editor Ann Arbor Copyright © by the University of Michigan 2001 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2004 2003 2002 2001 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data David Mamet in conversation / Leslie Kane, editor. p. cm. — (Theater—theory/text/performance) Includes bibliographical references and index. ISBN 0-472-09764-4 (cloth : alk. paper) — ISBN 0-472-06764-8 (pbk. : alk. paper) 1. Mamet, David—Interviews. 2. Dramatists, American—20th century—Interviews. 3. Playwriting. I. Kane, Leslie, 1945– II. Series. PS3563.A4345 Z657 2001 812'.54—dc21 [B] 2001027531 Contents Chronology ix Introduction 1 David Mamet: Remember That Name 9 Ross Wetzsteon Solace of a Playwright’s Ideals 16 Mark Zweigler Buffalo on Broadway 22 Henry Hewes, David Mamet, John Simon, and Joe Beruh A Man of Few Words Moves On to Sentences 27 Ernest Leogrande I Just Kept Writing 31 Steven Dzielak The Postman’s Words 39 Dan Yakir Something Out of Nothing 46 Matthew C. Roudané A Matter of Perception 54 Hank Nuwer Celebrating the Capacity for Self-Knowledge 60 Henry I. Schvey Comics -
David Mamet's Drama, Glengarry Glen Ross, and Three Iconic Forerunners
Ad Americam. Journal of American Studies 20 (2019): 5-14 ISSN: 1896-9461, https://doi.org/10.12797/AdAmericam.20.2019.20.01 Robert J. Cardullo University of Kurdistan, Hewlêr [email protected] https://orcid.org/0000-0003-0816-9751 The Death of Salesmen: David Mamet’s Drama, Glengarry Glen Ross, and Three Iconic Forerunners This essay places Glengarry Glen Ross in the context of David Mamet’s oeuvre and the whole of American drama, as well as in the context of economic capitalism and even U.S. for- eign policy. The author pays special attention here (for the first time in English-language scholarship) to the subject of salesmen or selling as depicted in Mamet’s drama and earlier in Arthur Miller’s Death of a Salesman, Eugene O’Neill’s The Iceman Cometh, and Tennes- see Williams’ A Streetcar Named Desire—each of which also features a salesman among its characters. Key words: David Mamet; Glengarry Glen Ross; American drama; Selling/salesmanship; Americanism; Death of a Salesman; The Iceman Cometh; A Streetcar Named Desire. Introduction: David Mamet’s Drama This essay will first placeGlengarry Glen Ross (1983) in the context of David Mamet’s oeuvre and then discuss the play in detail, before going on to treat the combined subject of salesmen or selling, economic capitalism, and even U.S. foreign policy as they are depicted or intimated not only in Glengarry but in earlier American drama (a subject previously undiscussed in English-language scholarship). I am thinking here of Arthur Miller’s Death of a Salesman (1949), Eugene O’Neill’s The Iceman Co- meth (1946), and Tennessee Williams’ A Streetcar Named Desire (1947)—each of which also features a salesman among its main characters. -
Cambridge Marriage: Mamet at the A.R.T
far left: William H. Macy and David Mamet in rehearsal for Mamet’s Oleanna, photo: Brigitte Cambridge Marriage: Lacombe; bottom left: Felicity Huffman and Shelton Dane in the A.R.T.’s production of The Crytogram, photo: Henry Horenstein; left: Felicity Huffman and Rebecca Pidgeon in the Mamet at the A.R.T. A.R.T.’s production of Boston Marriage, photo: Richard Feldman; below: Brooke Adams and Tony Shalhoub in the A.R.T.’s production of The By Sean Bartley Old Neighborhood, photo: Richard Feldman Times and engaged academics in heated of the most fascinating women on the debate. No other Mamet play has inspired contemporary American stage. As Felicity critics to spill so much ink. Huffman, who played the mother, told the After a performance, a female student Boston Herald: asked the playwright whose side he was on, the strutting macho professor’s or “He writes difficult, challenging roles the guerilla feminist’s. “I’m an artist,” for women, but he also writes difficult, Mamet replied. “I write plays, not political challenging roles for men. No one’s the propaganda. If you want easy solutions, hero. There wasn’t a hero in The Cryp- turn on the boob tube. Social and political togram, but it has a brilliant part for a issues on TV are cartoons; the good guy woman. No one’s the hero in Speed-the- wears a white hat, the bad guy a black hat. Plow. He gives his women, along with Cartoons don’t interest me.” the men, really difficult jobs to do, and DAVID MAMET’S MARRIAGE with the “I write plays, not political propaganda. -
Laura Eason's Sex with Strangers Directed By
Media Contact: Katy Sweet & Associates Public Relations [email protected]/310.479.2333 LAURA EASON’S SEX WITH STRANGERS DIRECTED BY KIMBERLY SENIOR CAST FEATURES STEPHEN LOUIS GRUSH AND REBECCA PIDGEON MARCH 1 TO APRIL 10 (OPENING NIGHT IS MARCH 9, 2016) IN THE AUDREY SKIRBALL KENIS THEATER AT THE GEFFEN PLAYHOUSE LAURA EASON (photo credit: Meredith Zinner) KIMBERLY SENIOR (photo credit: Brandon Dahlquist) LOS ANGELES (January 21, 2016) – Geffen Playhouse announces the cast for its production of Sex With Strangers written by Laura Eason. Kimberly Senior (director of the 2013 Pulitzer Prize winning play Disgraced by Ayad Akhtar) directs Sex With Strangers starring Stephen Louis Grush as Ethan and Rebecca Pidgeon as Olivia. When frustrated novelist Olivia meets fast-talking blogger Ethan – known more for his sexual prowess than his prose – she worries she will become just another chapter in his little black book. Their funny and flirty union blurs the lines between rewrites, romance and royalties – proving you can’t judge a book by its author. “A compelling, comic drama. An incisive look at the double edged quest for artistic validation in the digital era.” – Newsweek Tickets currently priced from $60 to $82 are available in-person at the Geffen Playhouse box office, via phone at 310.208.5454 or online at www.geffenplayhouse.com. Fees may apply. SEX WITH STRANGERS Written by Laura Eason Directed by Kimberly Senior Previews: Tuesday, March 1 – Tuesday, March 8 Opening Night: Wednesday, March 9 Closing Night: Sunday, April 10 CAST Stephen -
La Diabla NÚMERO 9TEMPORADA 2012
REVISTA PEDAGÓGICA DEL TEATRO ESPAÑOL La Diabla NÚMERO 9TEMPORADA 2012 ANTECEDENTES ENTREVISTAS CURIOSIDADES RECURSOS Presentación El Teatro Español pone en marcha La Diabla, revista pedagógica, desde su interés por acercar el teatro a todo tipo de comunidades: educativas, lúdicas, culturales... de una forma amena, abierta y entretenida. Cada número de La Diabla está dedicado a una obra de producción propia del Teatro Español, donde se hará un análisis de la misma y se explicarán los pasos realizados para su puesta en escena, a la vez que se ofrecen recursos pedagógicos, con el fin de: 1.- Ofrecer actividades y herramientas a profesores y alumnos, que podrán adaptar a sus necesidades, para conseguir los objetivos didácticos específicos dentro del currículum de la enseñanza, de una forma práctica, integradora y significativa. 2.- Aportar información de cómo analizar una obra de teatro y el proceso de creación de una puesta en escena para formar espectadores teatrales críticos. 3.- Proporcionar a los jóvenes la semilla que produzca nuevos espectadores teatrales capaces de reconocer la valía del teatro desde varios aspectos: lúdico, educativo, cultural... 4.- Ofertar una serie de recursos teatrales aplicables en talleres, aulas, grupos de teatro… de fácil ejecución, así como ricos en contenidos. 5.- Ofrecer información a todo tipo de colectivos que estén interesados en el mundo teatral y deseen saber más sobre la obra y los detalles de la producción. Qué es La Diabla 1. Hilera de luces similar a las candilejas, colgada de una vara, generalmente escondida detrás de una bambalina. 2. Revista pedagógica del TEATROESPAÑOL. Edición: Josema Díez-Pérez Diseño y maquetación: Juan Pablo Rada / Paso de Zebra Fotos del escena y retratos: Javier Naval Dep.