Touted by many reviewers, and certainly by advertisers, as a brilliant exposé of sexual harassment, this 1992 play... “The Modern Academy Raging in the Dark: Misreading Mamet's Political Incorrectness in Oleanna.” College Literature 25, no. [In the following essay, Badenhausen explores the breakdown of language and understanding between teacher and student in Oleanna. [In the following essay, Weber explores the interaction of the “social context” and the “cognitive context” in Oleanna.] INTRODUCTION Oleanna is David Mamet's recent and highly controversial intervention in the political correctness debate. [In the following essay, Bean argues that, rather than depicting gender conflicts, Oleanna portrays a clash between John and the Tenure Committee, in which Carol “suffers the violence inspired by the power struggles between men.”] Although David Mamet's Oleanna (1992) concerns itself with the issue of sexual harassment, criticism of the play has experienced a kind of backlash against interpretations focusing on gender politics. [In the following essay, Nadel describes the differences in tone and action between Mamet's original 1992 production of Oleanna and Harold Pinter's London production the following year.] Bridget in Pinter's Moonlight David Mamet's Oleanna touched an American nerve when it premiered at the Hasty Pudding Theatre in Cambridge, Mass.
[In the following excerpt, Mc Donough contends that Mamet's one-dimensional rendering of Carol in Oleanna reinforces male distrust and resentment of women in the workplace and academia.] The hysterical fear of women and the feminine that pervades the world of Mamet's plays makes hardly surprising his portrait of Carol in Oleanna. “The Playwright as Director: Pinter's Oleanna.” The Pinter Review: Annual Essays (2002): 121-28.
Judging by the conversations I overheard as I left the Orpheum Theater, the play is going to stir up a dollop of controversy. These art genres resort to provocation, he believes, because they have abandoned the principles of “story.” “It is our nature to want to make sense of …
[In the following appraisal, Mufson surveys critical response to Mamet's Oleanna.] In his October 12, 1992, New Republic column, Robert Brustein wrote, “Controversy makes stars of artists for all the wrong reasons, distracting our attention from debates that should be more aesthetic than political.” This comment, typical of Brustein's oft-stated contempt for “activist plays,” becomes more complicated given his role as coproducer of David Mamet's Oleanna, which, from its premiere at the American Repertory Theatre last May to its run in New York this past... Does it need any other qualification to be a favorite choice for nonprofit regional seasons? [In the following essay, Piette maintains that in Oleanna Mamet explores how “political correctness” can deprive language of its power to communicate and inform.] SOURCE: Goggans, Thomas H. “Oleanna, or, The Play of Pedagogy.” In Gender and Genre: Essays on David Mamet, edited by Christopher C.
Second, it has raked in profits from commercial productions in New York, on tour, and in London. [In the following essay, Katz claims that Mamet's depiction of sexual harassment, the search for truth, and gender relations in Oleanna does not effectively translate into real-life situations and actually reinforces stereotypes of female aggression.] David Mamet's play Oleanna hit the stage in the aftermath of the confirmation hearings of Clarence Thomas in 1992-93. John is about to be granted tenure and, on the strength of... “Postmodernism and Violence in Mamet's Oleanna.” Modern Drama 43, no. [In the following essay, Porter examines how the gender, education, class, and viewpoint differences between John and Carol inexorably lead to their failure to reach true communication and eventually result in violence.] SOURCE: Skloot, Robert. “A Few Good Men: Collusion and Violence in Oleanna.” In Gender and Genre: Essays on David Mamet, edited by Christopher C.
[In the following review, Solomon questions the moral perspective of Oleanna and the negative view it takes regarding women and sexual abuse.] First of all, it's cheap: two actors, one simple set, no technical effects. “David Mamet: The Search for Masculine Space.” In Staging Masculinity: Male Identity in Contemporary American Drama, pp. Badenhausen appraises John's inability and unwillingness to effectively educate and listen to Carol, and draws parallels between this situation and real events that happen in academic circles.] In discussing the 1992 debut of David Mamet's Oleanna, audiences and critics tended to highlight two features of the play: its indictment of political... “Three Models of Power in David Mamet's Oleanna.” In Exploring the Language of Drama: From Text to Context, Edited by Jonathan Culpepper, Mick Short, and Peter Verdonk, pp. It stages a confrontation between a male professor, John, and his female student, Carol. [In the following essay, Skloot assesses Oleanna as a play about the educational system's custom of pitting the power and inflexibility of the teacher against the insecurity and marginalization of the student and one possible outcome if these roles are reversed.] SOURCE: Bean, Kellie. in May 1992 and in New York where it opened the following October. She pleads for him to help her understand his class.She states that the books he assigns (one of which is a textbook he himself has written) and the class discussions are over her head and she can't grasp the subject matter.He attended the Neighborhood Playhouse School of the Theater in New York for a year and then enrolled in Goddard College in Vermont, where he studied literature and drama.Mamet taught for one year at Marlboro College in Vermont, where he wrote his first play, Lakeboat (1970), which his students eventually staged.Scene I begins with Carol coming to John's office to seek help after receiving a failing grade on a paper.John is busy on the phone with his wife and their real estate agent.Written during the Anita Hill-Clarence Thomas sexual harassment scandal, this play about a female student accusing her male professor of sexual impropriety divided audiences between those who were angered by what they perceived as fabricated sexual harassment charges used as a tool to gain power and those who viewed the image of a scheming, manipulative woman as an attack on the right of women to defend themselves from improper sexual advances.Biographical Information Mamet was born in Chicago and raised in a Jewish community on the city's south side.After his parents divorced, he lived with his mother in Olympia Fields, a Chicago suburb.As a young man he was a busboy at Second City comedy club and worked at the Hull House Theatre.