Diss--Kiel--Univ., 1992. / Bibliogr. p. 211-229.

Thesis (M.F.A.)--West Virginia University, 2005. / Title from document title page. Document formatted into pages; contains v, 32 p. Includes abstract. Includes bibliographical references (p. 32).

Thesis (M. Phil.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

Akademisk avhandling--Humanistiska fakulteten--Åbo, 1993. / Bibliogr. p. 218-233.

Although David Mamet is one of the most frequently studied of the postmodern American playwrights, scholarly criticism has neglected to examine the dynamic that is unique to his two-person plays, or duologues. This study explores various aspects of that duologic dynamic, concentrating on two of Mamet's two-person plays, A Life in the Theatre and Oleanna. The relationships in both plays are sustained by the characters' desire for power. As is typical of a Mametian play, power is obtained through language and dialogue. The fact that there are two characters in each of the plays serves to intensify the conflict and to remind the audience of the binary nature inherent in drama. / Department of English

David Mamet is best known as a playwright, but he also has a thriving film career, both as screenwriter and as director. He has taken very seriously each of these roles, formulating theories that, he suggests, account for the creative choices he makes. Though Mamet sometimes contradicts himself, as when he suggests that viewers should have the satisfaction of constructing their own meaning of a work, but at the same time is devoted to montage, which works by juxtaposing images that lead to a single interpretation, he clearly sees the story as a critical avenue into the spectator's unconscious, where he hopes it will resonate with a truth that speaks directly to the individual. His films House of Games, Things Change, and Homicide clearly reflect his ideas on the best ways of conveying a story on film. In House of Games, Mamet draws on Bruno Bettelheim's theories to construct a fairy tale designed to act on adult viewers in the same way that fairy tales act on the child. In Things Change, he creates a fable that explores issues of friendship and honor within the milieu of the gangster genre. And in Homicide, Mamet uses the expectations viewers bring to the theatre in anticipation of a genre film to explore themes of loyalty and identity. In Oleanna, however, Mamet relies heavily on exposition and dialogue, rather than the visual elements that separate the film from drama, which renders the film the antithesis of his long-held philosophy of film narrative. Mamet's best film work, in House of Games and Homicide, has been innovative and thought-provoking, bringing depth to the new noir and redefining the cop film. His work in Oleanna, though it may prove to be an anomaly, may suggest a surrender of his principles of filmmaking or a reformulation of them to fit some new vision.

Reproduction de : Thèse de doctorat : Langues, littératures et civilsations étrangères : Paris 4 : 2006. / Titre provenant de l'écran titre. 222 références bibliographiques.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 251-271). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 251-271). Also available on the Internet.

THIS PAPER AIMS to research historical artistic events such as Theatre and Cinema, theater text Oleanna by David Mamet (1992), as well as the film adaptation (1994) and the stage adaptation Brazilian (1995) by Ulysses Cruz. Through the work and its adaptations is made a detailed analysis of each language and the context in which they were reworked. For this it was necessary to think of the role of the author and theater director and film as well as the aesthetic and thematic choices in making an adaptation, among the questions: who wins materiality in this process? Moreover, among the discussions, such work also focuses the thematic study of the work, involving topics such as: the power, the politically correct, the student-teacher ratio in university and the issue of harassment, which allow us to think in contemporary society while a society increasingly fragmented and individualized, in which conflicts are increasingly evident, particularly the lack of otherness. In this context, where the ideals of social transformation? Where are the utopias? These are some more of the issues present in this work. / O PRESENTE TRABALHO tem como proposta a investigação histórica de manifestações artísticas como o Teatro e o Cinema, através do texto teatral Oleanna de David Mamet (1992), bem como a adaptação cinematográfica (1994) e a adaptação para o palco brasileiro (1995) por Ulysses Cruz. Através da obra e suas adaptações é feita a análise minuciosa de cada linguagem e o contexto em que foram reelaboradas. Para isso foi necessário pensar no papel do autor e diretor teatral e cinematográfico, bem como nas escolhas estéticas e temáticas na feitura de uma adaptação, considerando, entre outras questões: o que ganha materialidade nesse processo? Além disso, o trabalho se debruça também no estudo temático da obra, que envolve temas como: o poder, o politicamente correto, a relação professor-aluno nas universidades e a questão do assédio, que nos permitem pensar na sociedade contemporânea como cada vez mais fragmentada e individualizada, apresentando conflitos cada vez mais evidentes, sobretudo pela falta de alteridade. Nesse contexto, onde estão os ideais de transformação social? Onde estão as utopias? Essas são mais algumas das questões presentes neste trabalho. / Mestre em História