The Effect of Rewinding in Sam Shepard's La Turista and the Unseen Hand
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Sam Shepard One Acts: War in Heaven (Angel’S Monologue), the Curse of the Raven’S Black Feather, Hail from Nowhere, Just Space Rhythm
Sam Shepard One Acts: War in Heaven (Angel’s Monologue), The Curse of the Raven’s Black Feather, Hail from Nowhere, Just Space Rhythm Resource Guide for Teachers Created by: Lauren Bloom Hanover, Director of Education 1 Table of Contents About Profile Theatre 3 How to Use This Resource Guide 4 The Artists 5 Lesson 1: Who is Sam Shepard? Classroom Activities: 1) Biography and Context 6 2) Shepard in His Own Words 6 3) Shepard Adjectives 7 Lesson 2: Influences on Shepard Classroom Activities 1) Exploring Similar Themes in O’Neill and Shepard 16 2) Exploring Similar Styles in Beckett and Shepard 17 3) Exploring the Influence of Music on Shepard 18 Lesson 3: Inspired by Shepard Classroom Activities 1) Reading Samples of Shepard 28 2) Creative Writing Inspired by Shepard 29 3) Directing One’s Own Work 29 Lesson 4: What Are You Seeing Classroom Activities 1) Pieces Being Performed 33 2) Statues 34 3) Staging a Monologue 36 Lesson 5: Reflection Classroom Activities 1) Written Reflection 44 2) Putting It All Together 45 2 About Profile Theatre Profile Theatre was founded in 1997 with the mission of celebrating the playwright’s contribution to live theater. To that end, Profile programs a full season of the work of a single playwright. This provides our community with the opportunity to deeply engage with the work of our featured playwright through performances, readings, lectures and talkbacks, a unique experience in Portland. Our Mission realized... Profile invites our audiences to enter a writer’s world for a full season of plays and events. -
Sam Shepard's Dramaturgical Strategies Susan
Fall 1988 71 Estrangement and Engagement: Sam Shepard's Dramaturgical Strategies Susan Harris Smith Current scholarship reveals an understandable preoccupation with and confusion over Sam Shepard's most prominent characteristics, his language and imagery, both of which are seminal features of his technical innovation. In their attempts to describe or define Shepard's idiosyncratic dramaturgy, critics variously have called it absurdist, surrealistic, mythic, Brechtian, and even Artaudian. Most critics, too, are concerned primarily with his themes: physical violence, erotic dynamism, and psychological dissolution set against the cultural wasteland of modern America (Marranca, ed.). But in focusing on Shepard's imagery, language, and themes, some critics ignore theatrical performance. Beyond observing that many of Shepard's role-playing characters engage in power struggles with each other, few critics have concerned themselves with Shepard's structural strategies or with the ways in which he manipulates his audience. One who has addressed the issue, Bonnie Marranca, writes: Characters often engage in, "performance": they create roles for themselves and dialogue, structuring new realities. ... It might be called an aesthetics of actualism. In other words, the characters act themselves out, even make them• selves up, through the transforming power of their imagina• tion. An Assistant Professor of English at the University of Pittsburgh and the author of Masks in Modern Drama, Susan Harris Smith is currently working on a book on American drama. A shorter version of this article was presented at the South• eastern Modern Languages Association in 1985. 72 Journal of Dramatic Theory and Criticism Because the characters are so free of fixed reality, their imagination plays a key role in the narratives. -
True West Study Guide in Context 2
True West Study Guide by Course Hero who long to change their lives. This West is a rugged, romantic, What's Inside but often violent place where people are free to reinvent themselves. The play questions whether this idealized version of the West is real or true and ultimately suggests that the idea j Book Basics ................................................................................................. 1 of a true west is a fantasy. d In Context ..................................................................................................... 1 a Author Biography ..................................................................................... 3 d In Context h Characters .................................................................................................. 4 k Plot Summary ............................................................................................. 7 Shepard's "Double Nature" c Scene Summaries .................................................................................. 12 Austin and Lee, the brothers and main characters in True West, g Quotes ........................................................................................................ 25 are often considered one another's "doubles," or two sides of l Symbols ...................................................................................................... 27 the same person. "I wanted to write a play about double nature," Shepard said about the writing of True West. He m Themes ..................................................................................................... -
Buried Child by Sam Shepard
MEDIA CONTACT: Bernie Fabig, Marketing & Publicity Manager 310-756-2428 • [email protected] The third production of A Noise Within’s 2019-2020 Season: THEY PLAYED WITH FIRE Buried Child By Sam Shepard Directed by Julia Rodriguez-Elliott Oct. 19 – Nov. 23, 2019 Pasadena, Calif. (Oct. 19, 2019) – A Noise Within (ANW), California’s acclaimed classic repertory theatre company, is proud to present Sam Shepard’s Pulitzer Prize-winning Buried Child, directed by ANW Producing Artistic Director Julia Rodriguez-Elliott. Shepard’s remarkable masterpiece Buried Child will run Oct. 13 through Nov. 23, 2019 with press performances on Saturday, Oct. 19 at 8 p.m. and Sunday, Oct. 20 at 2 p.m. Set in America’s heartland, Sam Shepard’s powerful Pulitzer Prize-winning play details, with wry humor, the disintegration of the American Dream. When 22-year-old Vince unexpectedly shows up at the family farm with his girlfriend Shelly, no one recognizes him. So begins the unraveling of dark secrets. A surprisingly funny look at disillusionment and morality, Shepard’s masterpiece is the family reunion no one anticipated. “Buried Child is wickedly funny,” said Producing Artistic Director Julia Rodriguez-Elliott. “Sam Shepard has an uncanny way of bringing out the humor in dysfunction. There’s something familiar, yet not familiar about this family. It’s at once disconcertingly recognizable and inexplicably strange.” - more - MEDIA CONTACT: Bernie Fabig, Marketing & Publicity Manager 310-756-2428 • [email protected] In Buried Child, comedy meets the absurd in a bizarre twist on the family drama that scorches with a powerful commentary on the “American Dream” and what happens when a community simmers in neglect, resentment, and disowned memory. -
The Inventory of the Sam Shepard Collection #746
The Inventory of the Sam Shepard Collection #746 Howard Gotlieb Archival Research Center Shepard, Srun Sept,1~77 - Jan,1979 Outline of Inventory I. MANUSCRIPTS A. Plays B. Poetry c. Journal D. Short Prose E. Articles F. Juvenilia G. By Other Authors II. NOTES III. PRINTED MATTER A, By SS B. Reviews and Publicity C. Biographd:cal D. Theatre Programs and Publicity E. Miscellany IV. AWARDS .•, V. FINANCIAL RECOR.EB A. Receipts B. Contracts and Ageeements C. Royalties VI. DRAWINGS AND PHOTOGRAPHS VII. CORRESPONDENCE VIII.TAPE RECORDINGS Shepard, Sam Box 1 I. MANUSCRIPTS A. Plays 1) ACTION. Produced in 1975, New York City. a) Typescript with a few bolo. corr. 2 prelim. p., 40p. rn1) b) Typescript photocopy of ACTION "re-writes" with holo. corr. 4p. marked 37640. (#2) 2) ANGEL CITY, rJrizen Books, 1976. Produced in 1977. a) Typescript with extensive holo. corr. and inserts dated Oct. 1975. ca. 70p. (ft3) b) Typescript with a few holo. corr. 4 prelim. p., 78p. (#4) c) Typescript photocopy with holo. markings and light cues. Photocopy of r.ouqh sketch of stage set. 1 prelim. p., 78p. ms) 3) BURIED CHILD a) First draft, 1977. Typescript with re~isions and holo. corr. 86p. (#6) b) Typescript revisions. 2p. marked 63, 64. (#6) 4) CALIFORNIA HEART ATTACK, 1974. ,•. ' a) Typescript with holo. corr. 23p. (#7) ,, 5) CURSE OF THE STARVING CLASS, Urizen Books, 1976. a) Typescript with holo. corr. 1 prelim. p., 104p. ms) b) Typescript photocopy with holo. corr. 1 prelim. p. 104p. (#9) c) Typescript dialogue and stage directions, 9p. numbered 1, 2, and 2-8. -
Sam Shepard's Master Class in Playwriting
Sam Shepard’s Master Class in Playwriting Brian Bartels 7 2 THE MISSOURI REVIEW / SPRING 2007 ( i n t e r v i e w ) Cherry Lane eater, in Manhattan’s West Village, is not located on Cherry Lane at all, but on Commerce Lane (nowhere near the Financial District of Lower Manhattan). It’s a venerable the- ater company that has been around for years, not very big, nowhere near Broadway, tucked in a corner on one of the most beautiful neighborhoods in New York: an urban paradise. It would seem wrong if anything other than a theater company were in this location. After everything is gone, this place feels like it will still be here, waiting for an audience. Monday, November 6, 2006, 7:46 .. Excitement hovers. e crowd is your standard theater audience: median age, late forties, and I am, as always, one of the Photograph by Joan Marcus SPRING 2007 / THE MISSOURI REVIEW 7 3 youngest people in the room. Women dominate the group: sweet, good-natured ladies who all seem to know one another. People meander inside Cherry Lane’s second-stage space, which seats about fi fty or sixty; every seat is taken. Some people are dressed like characters in one of Sam Shepard’s plays. e event is being videotaped: a surprise, given Shepard’s record of determined privacy. He doesn’t do press junkets or interviews for the fi lms he acts in. is is written into his contracts. Nor does he really like fl ying all that much. He has, however, in recent years, opened up somewhat, off ering glimpses into his artistic and personal life such as he’s generally shied away from. -
Signótica 17 V. 1
FIGURAL FORMS OF KNOWLEDGE: A STUDY OF THE SHORT PROSE OF SAM SHEPARD RICARDO DA SILVA SOBREIRA* ABSTRACT The paratactical style and the indeterminacies are literary strategies that resist the conventional impulse of totalizing the elements projected by the text, because instead of selecting the aspects of reality and subordinating the images and perceptions into a hierarchy, the use of these techniques favors the juxtaposition of multiple perspectives and the frustration of narrative closure. Thus, the use of parataxis and indeterminacies in the collection of short stories Great Dream of Heaven (2002), by the American author Sam Shepard, tends to challenge the process of meaning production through the progressive erasure of narrative “certainties”. K EY WORDS : Postmodern, indeterminacy, parataxis, narrative, Sam Shepard. Because of its careful strategies of omission and delicate condensation of meaning, the short forms of prose have always challenged authors, readers, and, above all, critics. As the theories designed for longer forms such as the novel do not seem to fit well the short stories, the critics have realized that it was necessary to develop separate theories that could apply to these cultural products. Since then, theorists as diverse as Vladimir Propp, Ian Reid, Leonard Ashley, Julio Cortázar, Nádia Gotlib, among many others have tried to analyze the specific narrative procedures of the short story. But some of the fiction produced during the last three decades seem to offer interesting challenges to those strategies of interpretation. This may sound somewhat awkward since there are not any absolutely * Doutorando na Universidade Estadual Paulista (São José do Rio Preto, SP). -
About the True West PLAY GUIDE
PLAY GUIDE Production support provided by: ABOH UT T E TABLE OF CONTENTS TRUE WEST PLAY GUIDE 3 True West Synopsis, Character List and Setting 4 About Sam Sheppard, About Adam Rapp 5 Truly American: Sam Sheppard’s Aesthetic This play guide is a standards-based resource designed to enhance your theatre experience. Its goal is twofold: to nurture 6-7 An Interview with Adam Rapp the teaching and learning of theatre arts and to encourage 8 The Myth of the American Dream IN TRue West essential questions that lead to enduring understandings of the play’s historical meaning and relevance. Inside you will 9 Bridgework find history/contextual information and vocabulary that lay 10 Communication Portfolio and other readings the groundwork of the story and build anticipation for the performance. Oral discussion and writing prompts encourage 11 Glossary and Works Cited your students to reflect upon their impressions and to analyze and relate key ideas to their personal experiences and the world around them. These can easily be adapted to fit most writing objectives. The Bridgework connects theatre elements with ideas for drama activities in the classroom as well as integrated curriculum. We encourage you to adapt and extend the material in any way to best fit the needs of your community of learners. Please feel free to make copies of this guide, or you may download it from our website: ActorsTheatre.org. We hope this material, combined with our pre-show workshops, will give you the tools to make your time at Actors Theatre a valuable learning experience. -
Collection of Playwright Sam Shepard Obtained by University of Texas Libraries AUSTIN, Texas–An Archival Collection of Materia
For more information contact: Travis Willmann 495-4644 [email protected] or Doug Barnett 512-495-4388 [email protected] Collection of playwright Sam Shepard obtained by University of Texas Libraries AUSTIN, Texas–An archival collection of materials by Pulitzer Prize-winning playwright, actor and author Sam Shepard has been acquired by the University of Texas Libraries. The archive contains materials from the latter part of Shepard’s career as author, playwright and actor, roughly from the late 1970s to the present, and includes manuscripts, film scripts, correspondence, volumes from his personal library, awards and other personal items. The archive will be part of the Fine Arts Library special collections. “Sam Shepard is an American original, a vision and voice that for 40 years has been unconfined by genre or convention,” says interim Dean of the College of Fine Arts Doug Dempster. “The University of Texas at Austin is thrilled to have the Shepard archive available for research and for use in our theatre and play writing programs.” Shepard has written more than 40 plays and five screenplays, receiving numerous accolades, including eleven Obie Awards. Among his most notable dramas are “Buried Child (1979),” “La Turista” (1967), “Curse of the Starving Class” (1978) and “True West” (1980). Though considered one of the preeminent contemporary American playwrights, Shepard is perhaps better known for his various acting roles in such notable films as “Days of Heaven” (1978), “The Right Stuff” (1983) and “Crimes of the Heart” (1987). For his role as Chuck Yeager in “The Right Stuff,” Shepard was nominated for the Best Supporting Actor award by the Academy of Motion Picture Arts and Sciences. -
Fool for Love Ripcord
FOR IMMEDIATE RELEASE: December 3, 2014 Contact: Chris Boneau/ Aaron Meier/ Emily Meagher/Michelle Farabaugh Follow MTC on Twitter: @MTC_NYC (#TheCountryHouse) or on Facebook Follow BBB on Twitter: @BBBway and on Facebook Manhattan Theatre Club Announces Two Productions For 2015-2016 Season On Broadway at MTC’s Samuel J. Friedman Theatre Fool for Love By Sam Shepard Directed by Daniel Aukin Starring Nina Arianda and Sam Rockwell Presented in Association with Williamstown Theatre Festival At New York City Center – Stage I Ripcord World Premiere Comedy By David Lindsay-Abaire Directed by David Hyde Pierce Starring Marylouise Burke and Mary Louise Wilson Lynne Meadow (Artistic Director) and Barry Grove (Executive Producer) are pleased to announce the first two productions of Manhattan Theatre Club’s 2015-2016 season. MTC’s Broadway season at the Samuel J. Friedman Theatre (261 West 47th Street) will begin next fall with the Broadway premiere of Williamstown Theatre Festival’s acclaimed production of Fool for Love by Pulitzer Prize winner Sam Shepard, directed by Obie Award winner Daniel Aukin, starring Tony Award winner Nina Arianda and Sam Rockwell. MTC’s season at New York City Center – Stage I (131 West 55th Street) will feature the world premiere of Ripcord, the new comedy by Pulitzer Prize winner David Lindsay-Abaire, directed by Tony and Emmy Award winner David Hyde Pierce starring Drama Desk Award winner Marylouise Burke and Tony Award winner Mary Louise Wilson. ON BROADWAY AT MTC’S SAMUEL J. FRIEDMAN THEATRE Fool for Love Broadway Premiere of Sam Shepard’s Acclaimed Play Directed by Daniel Aukin Starring Nina Arianda and Sam Rockwell Presented in Association with Williamstown Theatre Festival Previews Begin: Tuesday, September 15, 2015 Opening Night: Thursday, October 8, 2015 Holed up in a seedy motel on the edge of the Mojave Desert, two former lovers unpack the deep secrets and dark desires of their tangled relationship, passionately tearing each other apart. -
Articles and Studies
Spring 1990 3 Articles and Studies Spring 1990 5 The Future of Avant-Garde Theatre and Criticism: The Case of Sam Shepard William W. Demastes Throughout his nearly three decades of playwriting, Sam Shepard has expanded the frontiers of American drama with an energy and inventiveness to rival even Eugene O'Neill. Considering the degree to which Shepard has expanded these frontiers, critics have frequently applied the term "avant-garde" to him and his works. But what precisely is, or should be, the role of the avant-garde in theatre today? And where does Shepard fit in? One particularly informative perspective on the American avant-garde derives from Richard Schechner, who creates a framework that embraces and categorizes a large spectrum of recent avant-garde writers and performers. Scheduler's framework becomes particularly intriguing when one tries to find a place in it for Shepard, because the effort reveals that Shepard's agenda is fundamentally different from what the bulk of avant-garde criticism advocates. In fact, Shepard's agenda seems even different from what Shepard criticism generally reports. It is an agenda that suggests a more fruitful path for avant-garde theatre (and theatre in general) than is currently being advocated by critics or pursued by practitioners, including Schechner himself. I. In his 1982 assessment of American avant-garde theatre and performance entitled The End of Humanism, Schechner observes that there are two kinds of avant-garde: the historical avant-garde and the experimental avant-garde. William Demastes teaches drama and dramatic theory in the English Department at Louisiana State University. -
Buried Child Background Pack
Education Buried Child Background Pack Contents Introduction 2 What is Buried Child About? 4 Themes within the Text 5 Rehearsal Diary 9 The Director: Interview with Matthew Warchus 13 The Actor: Interview with Sam Troughton 16 Chronology and Play Summary 19 For Discussion 24 Child Practical Exercises 25 Written Work and Research 26 Related Materials 27 Buried Sam Shepard’s ferocious comedy Buried Child Background pack Director NT Education Background pack written by by Sam Shepard © Samantha Potter and Matthew Warchus National Theatre Samantha Potter, the National Theatre South Bank Staff Director on Buried Child Further production details: The views expressed in this London SE1 9PX Editor www.nationaltheatre.org.uk background pack are not T 020 7452 3388 Emma Thirlwell necessarily those of the F 020 7452 3380 Design National Theatre E educationenquiries@ Alexis Bailey nationaltheatre.org.uk Introduction and short synopsis The National Theatre’s production of Buried was a pilot during World War II and remained in Child by Sam Shepard, is in the Lyttelton the forces during Sam’s childhood, and so the Theatre from 29 September to 15 December family moved about a lot when he was young, 2004. eventually coming to live in Duarte, California where they bought an avocado farm. He left Cast home at the age of 16 to join a touring theatre Shelly Lauren Ambrose company, the Bishop’s Company Repertory Tilden Brendan Coyle Players, arriving in New York in 1963 to work as Halie Elizabeth Franz a bus boy and waiter. In 1964 he changed his Bradley Sean Murray name to Sam Shepard and had his first two Father Dewis John Rogan one-act plays, Cowboys and The Rock Garden, Vince Sam Troughton produced at St.