Mamet has lectured and taught at several universities and colleges, including the University of Chicago, Yale University, New York University, and Columbia University.Mamet's work is often compared to that of English playwright Harold Pinter and Irish playwright Samuel Beckett.
Mamet has lectured and taught at several universities and colleges, including the University of Chicago, Yale University, New York University, and Columbia University.Mamet's work is often compared to that of English playwright Harold Pinter and Irish playwright Samuel Beckett.Oleanna David Mamet The following entry presents criticism of Mamet's play Oleanna (1992).
Scene I begins with Carol coming to John's office to seek help after receiving a failing grade on a paper.
John is busy on the phone with his wife and their real estate agent.
Judging by the conversations I overheard as I left the Orpheum Theater, the play is going to stir up a dollop of controversy. These art genres resort to provocation, he believes, because they have abandoned the principles of “story.” “It is our nature to want to make sense of …
[In the following appraisal, Mufson surveys critical response to Mamet's Oleanna.] In his October 12, 1992, New Republic column, Robert Brustein wrote, “Controversy makes stars of artists for all the wrong reasons, distracting our attention from debates that should be more aesthetic than political.” This comment, typical of Brustein's oft-stated contempt for “activist plays,” becomes more complicated given his role as coproducer of David Mamet's Oleanna, which, from its premiere at the American Repertory Theatre last May to its run in New York this past... Does it need any other qualification to be a favorite choice for nonprofit regional seasons? [In the following essay, Piette maintains that in Oleanna Mamet explores how “political correctness” can deprive language of its power to communicate and inform.] SOURCE: Goggans, Thomas H. “Oleanna, or, The Play of Pedagogy.” In Gender and Genre: Essays on David Mamet, edited by Christopher C.
When Carol finally breaks down and begs him to help her understand, he sympathetically puts his arm around her shoulder to calm her and offers to tutor her.
The second scene of the play shows a shifting of the balance of power between John and Carol.
He is being considered for tenure and plans to buy a new house once he receives the approval of the Tenure Committee—a mere formality, he believes.
John grudgingly agrees to talk to Carol, stating that he is in a hurry.
Throughout the 1980s Mamet wrote and directed numerous films and plays.
He won the Pulitzer Prize for drama, the New York Drama Critics's Circle Award, and a Tony Award nomination in 1984 for Glengarry Glen Ross, which was originally produced in London in 1983.