Mamet the Solipsist

Christopher Hitchens has a scathing review of David Mamet's latest attempt at narrative essay. The Hitch does an excellent job of exposing in Mamet's latest what I've always believed to be true about the playwright's attempts at playing philosopher.

Mamet's forays into narrative essay have always been lousy (as evidence I recommend his book "Some Freaks" which, if the publisher were honest, should be bound in straw to warn the reader of the quality of Mr. Mamet's premises).

Mamet has been an excellent playwright but a playwright is not a philosopher. A playwright simply is able to bring to life unique people who may not have a thorough understanding of their own psychology and, put these characters into situations that demand they act based on their limited knowledge. Philosophy doesn't work the same way.

Mamet as a philosopher does a good job of evincing flawed dramatic character but, sadly, that becomes incoherent philosophy. Mamet is to narrative philosophy as Eddie Murphy is to pop-singing, a competent artist in one arena believing their talent can translate to all expressions. It is embarrassing.

The theater craft invites the practitioner to remove inhibitions so he or she can take emotional risks. Mamet's Meisner-training is a pretty advanced example of the kind of self-centered and reactive process actors indulge. This can lead to art that is powerful because it makes the illusion of pretend seem real but, can also empower the theater artist to believe their emotional response to external circumstance is reality.

Too often, the theater artist over-trusts his or her emotional guidance system and practices solipsism when they think they are practicing logic.

I quit the theater for 10 years because I saw the same in myself and recognized it may be false and shameful. I hope Mr. Mamet can feel the sting of a similar reality but, fear that his awareness that he is "DAVID MAMET" gets in the way of his thinking.

Why I Love the Theatre - Its Humanism

When I am not expressing political or religious opinions that enflame others and alienate my friends I spend my time writing plays.

I've had a few plays produced and have had some staged readings of other scripts and I study writing at Chicago Dramatists Theater.

I also attend as much theater as I can afford to see (being the Dad of a 9 and 1/2 month old limits my time and discretionary income).

I fell in love with the theater while in college where I experienced an interpretation of Spalding Gray's adaptation of Chekhov's Rivkala's Ring. I was amazed by the willingness of an actor (Jay Magee, who later became my friend and mentor) to stand in an empty space and have a conversation with strangers sitting in the dark.

Theater does what no other medium can do because of its transitory reality. When it is done it is done. No two theater performances are alike and if you have ever worked on a show you will know this (for good and bad). You will also know that despite the attention the actor's receive, the entire company holds a level of mutual respect for one another that I have yet to experience anywhere else. I think this exists because without any one of the many crafts-people that conspire to create theater the transitory moments that make up its magic could not be realized.

David Brooks has an interesting column today in the New York Times where he identifies the nature of humanism science is uncovering comprised of a mash-up between reason and emotion. Brooks's commentary reflects for me the magic of theatre and why I am drawn to it. He writes:

"You get a different view of, say, human capital. Over the past few decades, we have tended to define human capital in the narrow way, emphasizing I.Q., degrees, and professional skills. Those are all important, obviously, but this research illuminates a range of deeper talents, which span reason and emotion and make a hash of both categories:

Attunement: the ability to enter other minds and learn what they have to offer.

Equipoise: the ability to serenely monitor the movements of one’s own mind and correct for biases and shortcomings.

Metis: the ability to see patterns in the world and derive a gist from complex situations.

Sympathy: the ability to fall into a rhythm with those around you and thrive in groups.

Limerence: This isn’t a talent as much as a motivation. The conscious mind hungers for money and success, but the unconscious mind hungers for those moments of transcendence when the skull line falls away and we are lost in love for another, the challenge of a task or the love of God. Some people seem to experience this drive more powerfully than others."

I urge you to go to the theater (or better yet work on a show) and feel the full effects of your own humanism.

H/T Pat Foltz