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David Mamet’s play Oleanna may be infamous for reasons that do not do justice to the play’s real accomplishments. One reason for the controversy is the author’s apparent focus on sexual harassment. The play is not about sexual harassment. It is about power. And in particular the power of language to shape relationships within social environments such as universities. First published and performed in 1992 - at a time when many were outraged by the Clarence Thomas - Anita Hill debate - the playwright himself was compelled to deny his play was about sexual aggravation. Mamet’s Oleanna serves to in- struct us about the power dynamics within one of our most vital institutions. The aim of this article is to take a dedicated look at this dramatic spectacle to see if we cannot uncover something about leadership and the mechanics of power and communication in higher education that is intellectually riveting, as well as socially constructive. Resume La reputation d’ Oleanna , piece de David Mamet, ne rend pas justice aux accomplissements reels de l’œuvre. C’est qu’elle a suscite la controverse en traitant du harcelement sexuel, du moins si l’on en croit tout ce qui a ete ecrit a son sujet. Erreur, puisque le theme est celui du pouvoir, en particulier du pouvoir du langage dans les relations au sein de nos grandes institutions sociales, comme les colleges et les universites. Apres la presentation initiale en 1992 (pendant le scandale entourant l’affaire Clarence Thomas-Anita Hill), l’auteur a nie avoir ecrit sur le harcelement sexuel. Reposant sur le jeu de deux acteurs, la piece en trois actes ratisse plus large. Elle revele la dynamique du pouvoir dans l’enseignement superieur, un fleuron institutionnel. Notre analyse porte sur le regard stimulant et constructif que pose Mamet sur ce milieu : ses instances dirigeantes, son evolution, sa mecanique du pouvoir et ses communications.

Power play: The dynamics of power and interpersonal communication in higher education as reflected in David Mamet’s Oleanna