True and False: Heresy and Common Sense for the Actor

True and False: Heresy and Common Sense for the Actor
by David Mamet

True and False: Heresy and Common Sense for the Actor
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Book Summary Information

Author: David Mamet
Edition: Paperback
Audio: English (Original Language); English (Unknown); English (Published)
Published: 1997-02-22
ISBN: 0679772642
Number of pages: 127
Publisher: Vintage
Product features:
  • ISBN13: 9780679772644
  • Condition: NEW
  • Notes: Brand New from Publisher. No Remainder Mark.

Book Reviews of True and False: Heresy and Common Sense for the Actor

Book Review: Very Insightful
Summary: 5 Stars

I feel like every young actor who has a serious interest in going into the business professionally should read this book. Everyone you talk to has a friend who has an aunt who knows the maid of a broadway star who gives out advice as if they were Streisand or something. I get really sick of that kind of stuff really fast and this book talks very bluntly about the reality of acting on the stage and comes straight from the master, David Mamet.

If you are an actor, read this book. It changed my life and the way I think about the business and my craft for the better.

Summary of True and False: Heresy and Common Sense for the Actor

A guide to the acting profession by a leading American playwright. He advises aspiring actors on topics such as judging a role, approaching the part, working with the playwright, undertaking auditions, and the relationship with agents and the business in general.
To hell with Stanislavsky. To hell with the Method. "The actor is onstage to communicate the play to the audience," says David Mamet. "That is the beginning and the end of his and her job. To do so the actor needs a strong voice, superb diction, a supple, well-proportioned body and a rudimentary understanding of the play." Anything else--"becoming" one's part, "feeling" the character's emotions--devalues the practice of a noble craft and is useless to the play. "The 'work' you do 'on the script' will make no difference," he cautions. "That work has already been done by a person with a different job title than yours. That person is the author."

But True and False does not confine itself to the work done on the actual stage. Its brief essays contain sound advice on how an actor might apply himself or herself to the life of the actor: the proper consideration due the audition process, the selection of parts that one accepts, and so on. Mamet delivers these kernels of wisdom in the taut, no-nonsense prose for which he is justifiably famous, and, ultimately, his core principles are applicable beyond the theater. "Speak up, speak clearly, open yourself out, relax your body, find a simple objective," he instructs. "Practice in these goals is practice in respect for the audience, and without respect for the audience, there is no respect for the theater; there is only self-absorption." Substitute "others" for "the audience" and "life" for "the theater," and could any Taoist say it better? --Ron Hogan

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