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If one of the jobs of poetry is to enact moral, spiritual, political or psychological tensions through the rigor of patterned language, then by all accounts David Mamet is a poet of the theatre. Ever since his breakthrough play American Buffalo hit the boards in 1975 with its roaring, funny-sad, angular take on violence, masculinity and the bonds of friendship and betrayal that exist between men, Mamet’s work has been known for its bracing and equivocal approach to theatrical language (spoken and otherwise).
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