THIS EPIGGRAPH IS ELEVATED from Harry Elam's article “'Only in America': Contemporary American Theater and the Power of Performance,” in which many questions arose about how the theater is a place in to which American identity can be deconstructed and to what extent it is possible to question given assumptions and move beyond the mainstream. I begin with this quote in my attempt to approach Mamet as a playwright who questions the guarantees of the norm and society and calls for a critical evaluation of the basic assumptions of American society through his plays. In the seventies, events occurred that contributed decisively to a new configuration of the United States as a whole. America was dealing with the cultural and political consequences of Richard Nixon's presidency, the Watergate scandal, and the war in Vietnam. Beyond that, America was suffering the effects of the free-market economy governed by capitalism that helped shape the nation: a greater division between social classes and a growing number of the dispossessed and powerless. In this sense, the American dream had been corrupted because success was required but was not available to all strata of society. My particular emphasis on the decay of the American dream and capitalism is significant for the purposes of this article, since the works of David Mamet that will be analyzed arose as a reflection of American society and many of the concerns they display are the direct result of the socio-political and economic climate of the time. It is at this point that we should approach Mamet's works and, in this context, the works want to show how the American dream failed. He therefore tries to convey his personal vision...... middle of the paper ......it is not about what was said but about what was not revealed through words, that is, Mamet's dialogue it highlights not only what is spoken in the dialogue, but what remains unsaid. It is within this minimalist approach and its economy of efficient consumption and efficient articulation that it produces its reminder: the unsaid. One of the most powerful and moving examples of this can be found in the play Edmond: “EDMOND: […] it is more comfortable to accept a law than to question it and live your life. All of us. All of us. We took the life out of ourselves. And we live in the fog. We live in a dream. Our life is a school and we are dead.[…]EDMOND: I have lived in the fog for thirty-four years. I have to live most of my life. It's no longer there. It's no longer there. I wasted it. Because I didn't know. And do you know what the answer is? To live. (Pause)” (Edmond: 67; original emphasis).