Mamet

Oleanna, a play by David Mamet, is a drama play that focuses on two characters; John, a University Professor and Carol, one of his students that accuses him of sexual misconduct. Throughout the three acts of Oleanna, the developmental changes in each character leads to a gradual power shift from John to Carol. This can be seen through the John’s preset authority as a professor at the beginning, Carol’s gradual acquisition of the power by adjusting her behavior to John’s, and John’s inevitable downfall

male patriarchy. Hegemony is displayed in these two characters through consent and resistance to patriarchy. Tameem is a gay Muslim from the play A Long Bridge Over Deep Water by James Still and Susan is the black woman from the play Race by David Mamet. They both appear different on the surface, but as the layers are pulled back the struggles are alike. Tameem struggles with conflicting identities when his family and religion are prejudice against his sexual orientation. The White male patriarchy

salesman such as “sharks”, “cons”, “thieves” etc., and these words have stuck with the profession throughout the century. Two very realistic depictions of such phonies can be seen in Death of A Salesman by Arthur Miller and Glengarry Glen Ross by David Mamet. They depict the styles of two salesmen who have very similar selling techniques, but at the same time can be contrastingly

Through italics, capitalization, and length of discourse per character, Mamet’s play Oleanna develops the universal idea of power as a constant struggle amplified by gender tension and the human tendency to crave power. Mamet uses length of speech and interruptions to demonstrate that people become desperate when powerless and will do anything to regain power. The play begins with a long monologue by John. He talks on the phone and completely ignores Carol, because she holds little power in the

In Christine Macleod’s essay, “The Politics of Gender, Language and Hierarchy in Mamet’s ‘Oleanna’”, she uses an approach that differs from the common belief by critics that supports the idea in which David Mamet comments about political correctness in his play titled, “Oleanna”. Through the analysis of the play, along with numerous sources, Macleod argues her own idea that describes usual spectators of the theatrical often dwelling on the antagonist’s – Carol’s – advantage over the protagonist,

penitent. Who implores your forgiveness. Plead for me, not for my worth, I have none. For yours. Forward your merit in my case. Bear my petition. Child: Ah, that is why you have appeared today. Faustus: … today. Child: Today is the day of atonement (Mamet, Faustus 80). The child’s proclamation is a direct reference to the Day of Atonement Yom Kippur liturgy. The holiest day of the Jewish year, Yom Kippur is a time for Jewish people to atone for their transgressions and violations, and enter the new

In Christine Macleod’s essay, “The Politics of Gender, Language and Hierarchy in Mamet’s Oleanna”, she uses an approach that differs from the common belief by critics that David Mamet comments about political correctness in his play titled, “Oleanna”. Through the analysis of the play along with numerous sources, Macleod argues her idea that the spectators of the play seem to dwell on the antagonist’s – Carol’s – advantage over the protagonist, John, as a result of her gender. In fact, Macleod argues

The playwrights we discussed after Tennessee Williams have adapted disparate elements of postmodernism to undermine the modernist assumptions undergirding O’Neill’s, Glaspell’s, Wilder’s, Miller’s and Williams’ plays. I will use Fences, The Hungry Woman, Topdog/Underdog, Glengarry Glen Ross, Six Degrees of Separation, and The Heidi Chronicles to support my claim. To start off, I will come up with working definitions of modernism and post-modernism. Modernism is a movement in culture that seeks to

spotted, but the more complex relationships, such as the relationship between men and women and the stereotypes that come with each gender, are only found after deeper examination. In the play Trifles by Susan Glaspell and the play Oleanna by David Mamet, the two writers explore and explain the stereotypes associated with the relationship of gender. In Trifles, Glaspell uses the stereotypes that women are only capable

This is the first Mamet play I have read (sacrilege, I know) and I was pleasantly surprised. My only prior experience was a production of Sexual Perversity in Chicago which I found to be dated (reasonable) and stilted (unacceptable). I also find it annoying that actors, in general find his writing to be so brilliant. Plus the scenes I have seen people do never sound natural: too many cryptic pauses and unfinished thoughts, not enough contractions, and Mamet's penchant for saying "do you see?" instead