Download PDF by David Mamet: Race: A Play
By David Mamet
"Gripping. . . . Deep in its intestine, Mamet's new play argues, every thing in America—and this play throws in intercourse, rape, the legislation, employment and relationships—is nonetheless approximately race."—Chicago Tribune
"A dramatist celebrated for introducing expletives to the yankee theatre now tackles a very taboo four-letter observe. . . . so much considering the facility and treachery of language, Mamet continues to be American theatre's such a lot pressing five-letter word."—The Guardian
David Mamet, who took near to sexual harassment along with his 1992 drama Oleanna, has once more ignited controversy, hitting the hot-button factor of our so-called post-racial society. whilst a wealthy white guy is accused of raping a more youthful African American girl, he appears to be like to a multicultural legislation company for his security. yet while his lawyers—one of them white, one other black—begin to strategize, they need to confront their very own biases and assumptions approximately race kin in the United States. presently taking part in to acclaim on Broadway in a construction directed via Mamet, viewers participants can be moved to self-scrutiny via his signature gritty but finely tuned language.
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Extra resources for Race: A Play
4. 5. Personae AWARENESS LEVEL Oppositional MOTIFS Theatrical SEMIOTIC SYSTEMS 6. The six COMMUNICATIVE FUNCTIONS 39 All of these six factors have already been touched on, the last two at some length. A specification in technical detail of the first four dimensions is available in Appendices A through D. Appendix Ε details the method of consistent segmentation into subscenes, which may or may not be con gruent with an Aristotelian Division. In Appendix F, the basis for the selec tion from each play of subscene segments for matrix analysis is outlined.
C. D. E. , curtain) (3) entrances and exits b. expression of body (1) facial mime (2) gesture (3) movement (incl. ensemble, dance) c. external appearance (1) make-up (2) hair style (3) costume 2. outside of actors a. accessories (= props) b. decor (= sets) c. lighting CONTEXTUAL (non-verbal, non-audible, non-visible: implicit or underly ing structures) Configurations of personae Narrative codes Motifs and theme Discourse functions (a la Jakobson-Ubersfeld) Others Figure 3. The elements of the dramatic and the theatrical texts The schema of Figure 3 casts a number of dramatic versus theatrical elements into relief with respect to O'Neill and more generally.
The plays were to be full-length (four acts or the equivalent). The most highly regarded plays from the respective periods were to be chosen — plays which are most often performed. 5 The word periods, above, presupposes that O'Neill's corpus falls into distinct phases along a chronological axis. These phases are confirmed by most critics, though they differ somewhat on which group certain plays fall into and even on how many periods there are (from three to four). Without entering into controvery on these matters, one may note simply that the 26 SEMIOTICS OF THE DRAMA dates of composition of the plays allow a chronologically consistent, or linear, tripartite grouping: the earlier period, with Anna Christie (1920) and Desire Under the Elms (1924: sometimes called O'Neill's naturalistic period); the middle period, with Strange Interlude (1927) and Mourning Becomes Electra (1931: sometimes called O'Neill's expressionistic-experimental period); and the late period, with Long Day's Journey into Night (1941) and A Touch of the Poet (1942: sometimes called O'Neill's realistic period).
Race: A Play by David Mamet