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The Anarchist
 
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The Anarchist [Format Kindle]

David Mamet

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Présentation de l'éditeur

Nothing is quite what it seems in Mamet’s latest work. With a nod to his mentor, Harold Pinter, Mamet employs his signature verbal jousting in The Anarchist, which centers on two women: a prison governor and a prisoner with a life sentence trying to make the case that she merits parole. The Broadway premiere stars Patti LuPone and Debra Winger.

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Amazon.com: 3.5 étoiles sur 5  4 commentaires
5 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Flip floppin' 4 février 2013
Par Christopher King - Publié sur Amazon.com
Format:Broché|Achat vérifié
Just as with Mamet's Oleanna, I found myself flip-flopping between the two perspectives at times believing in Cathy's sincerity and other times following Ann's skepticism. Mamet leads you on in either direction by offering insights (on faith, on law) that are genuinely inspiring. Classic Mamet. As brilliant as ever. I'm going to sit down and read it again.
5 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Mamet gets it right 21 mai 2013
Par Martin Kemp - Publié sur Amazon.com
Format:Broché|Achat vérifié
The Anarchist is a very intelligent play. And unlike most plays that deal with political-moral concepts, it get sthe morality right: terrorism is evil. But then, we expect no less of Mamet, the Playwright Who Has Seen The Light.
1 internautes sur 1 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 A PLAY THAT IS BOTH VERY GOOD AND FRUSTRATINGLY BAD 17 juin 2014
Par David Keymer - Publié sur Amazon.com
Format:Broché|Achat vérifié
The Anarchist is very good theater sitting in the middle of a h*ll of a mess. The good is a lot better than the bad so let's concentrate on that first.

In The Anarchist, Mamet, a brilliant dramatist who uses theater to make us think as well as feel, has written a play about the confrontation of two world views.

There are two characters. CATHY has been in prison for the last thirty-five years. In the 70s, she and her girlfriend lover executed two policemen during a botched robbery. She's requesting a pardon again, claiming she's already served far longer than other people convicted of similar crimes. More important, she has changed. She's embraced Jesus, done good works in prison, written about her conversion. It's time to stop punishing her, to set her free. ANN is a prison official. This will be her last time to meet with CATHY. She's retiring. But she still holds CATHY's future in her hands: it is upon her recommendation that CATHY will be released or held. Thus begins a seventy-minute dance, ANN and CATHY around each other, because ANN doesn't believe CATHY has changed a bit. She's just gaming the system. What happens is dramatic and brilliant, and shouldn't be spoiled by a review.

This play opened on Broadway with a stellar cast: Patti LuPone as Cathy, Debra Winger as Ann. David Mamet directed. It received almost unanimously negative reviews and its closing was announced the next day. After only twenty-three preview performances and seventeen post-opening performances it was dead in the water.

Why? Mamet is a distinguished playwright and LuPone and Winger established stars. Most concurred it was the language. It didn't help that Winger was new to Broadway but the root problem was language. The actors sank and drowned in a sea of excess verbiage. Another problem may be that nothing much happens physically on stage. They sit, they talk, a phone rings, they talk some more. There are verbal fireworks but no physical ones.

Lastly, at certain points not only is there a lot of language but the dialogue is murky. It reminds me a bit of my reaction when I saw Edward Albee's bomb, Tiny Alice, years ago (1965), a play so hard to figure out that its lead, John Gielgud, later said he never knew what was going on in it. Mamet's dialogue isn't that obscure but it's not clean. As several critics noted, Mamet seems to have difficulty writing dialogue for women characters. Men speak elliptically in Mamet's plays (think American Buffalo) but the language they talk is forceful. The women in Mamet's plays --certainly Cathy and Ann in this play--speak too much in Big Concepts. As a result, much of the dialogue seems manufactured.

Still, at the heart of this messy writing is a good play and a very strong dramatic moment. And the ideas that are talked about are important ones. What do we do when Christian and American ideals of forgiveness are pitted against our need to protect ourselves against violence? How shall we determine the truthfulness of a person who, because of her situation, has reason to deceive sand has a past of unrepentant violence?

That's a gross reduction of the complexities raised in this thoughtful drama but it gives some hint of how rich -in ideas, not language--this play is. The play needs a Script Doctor but it's got something valuable to offer. Something I'd like to see presented on stage.
2 internautes sur 10 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Blah, blah, blah 14 avril 2013
Par Rob McCabe - Publié sur Amazon.com
Format:Format Kindle|Achat vérifié
To this day, I will NEVER understand the appeal of David Mamet. I wanted to like this play, but came away frustrated and not caring about either of the characters. Maybe if I had seen it performed, it might have had a different effect on me. I think Mamet is better seen than read.
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