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This dissertation examines David Mamet's non-dramatic writings and interview responses to posit in an organized manner his theories about the power and potential of dramatic language in order to clarify his dramatic language strategy to improve the effectiveness of staging his plays. Mamet is a dramatic poet who uses his metaphorical language and speech rhythms to entirely create a new world for his characters to inhabit. Mamet characters create their reality through the use of labels, the physical act of speaking, gossip and lies. These Mamet theories are put to the test in an analysis of the script Speed-the-Plow. Mamet also uses dramatic language to create character. The actor creating a Mamet character focuses his/her analysis on three areas of analysis. The first is what do other characters say about the character? Second, what does the character say about itself? Third, what are the character's speech mannerisms? These areas are illuminated in an analysis of Oleanna. Mamet uses dramatic language to create society. Dramatic language creates a relationship between two characters. That relationship unit uses dramatic language to join a community. Those communities use dramatic language to communicate with other communities and form society. These theories are explored in the analysis of Boston Marriage.
A Dissertation submitted to the School of Theatre in partial fulfillment requirements for the degree of Doctor of Philosophy.
Includes bibliographical references.
Mary Karen Dahl, Professor Directing Dissertation; Karen Laughlin, University Representative; Kris Salata, Committee Member.
Florida State University
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