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The Cruelty of American Apocalypse in Sam Shepard's Kicking a Dead

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The Cruelty of American Apocalypse in Sam Shepard's Kicking a Dead ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 7 No 4 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2016 The Cruelty of American Apocalypse in Sam Shepard’s Kicking a Dead Horse Yasser Fouad Selim, PhD Sohag University, Egypt Email: [email protected] Doi:10.5901/mjss.2016.v7n4p Abstract Sam Shepard’s Kicking a Dead Horse (2007) has been censured by many critics for its repetition of Shepard’s favorite theme of the American legendry West and the playwright’s recurrent experimentation with Samuel Beckett’s theatre of absurd dramaturgy. This study argues that the play garners its uniqueness from two aspects: The prophetic vision of America’s decline, which links the play to the genre of apocalyptic writing, and the resurrection of Antonin Artaud’s theatre of cruelty, which involves the audience emotionally and makes them positive viewers of the potential decline. This reading of the play emphasizes Shepard’s thematic and theatrical innovation and his ability to dig deep into the American psyche to address critical concerns of the new millennium America. Keywords: Sam Shepard, Kicking a Dead Horse, Theatre of Cruelty, Antonin Artaud, American Drama 1. Introduction In his essay “Born Injured: The Theatre of Sam Shepard,” American drama critic Christopher Bigsby (2002) notes that Shepard’s theatre is concerned with “an engagement with America, with its myths, its failed utopianism, its spiritual attenuation, an engagement which hints at conservative radicalism as he challenges America with its rhetoric of innocence” (p. 8). The confrontation between America’s realities and myths and the exploration of the American identity conflict are defining elements of Shepard’s oeuvre. The family tragedies in Shepard’s celebrated trilogy Curse of the Starving Class (1976), Buried Child (1979), and True West (1980) are emblems of a broader tragedy of a country failing to face its history while often celebrating its questionable innocence. In the later phase of Shepard’s career, critics say very little when it comes to praise the playwrights’ thematic and theatrical innovations. Kicking a Dead Horse (2007) has been censured by many critics for its recycling of Shepard’s favorite theme of the American legendry West, the play’s autobiographical repercussions, and the playwright’s recurrent reworking with theatre of absurd aesthetics. Kicking a Dead Horse, as I will argue in this paper, garners its uniqueness from two aspects: the prophetic vision of America’s decline which links the play to the genre of apocalyptic writing, and the resurrection of Antonin Artaud’s theatre of cruelty which connects the spectators emotionally to the American apocalypse. The paper is structured into three parts. The first part will survey the critical reception and the scholarly attention given to Kicking a Dead Horse. The second part will present a close reading of the play as an apocalyptic drama, and the third will investigate the theatrical aesthetics in the play in an attempt to demonstrate that Shepard instigates the audience’s sense of fear over America’s decline through his resurrection of Antonin Artaud’s theatre of cruelty. 2. Kicking a Dead Horse: Critical Reception A lonely aged man, Hobart Struther, is busy on stage digging a grave in a no-where desert to bury his dead horse which he is frequently kicking for leaving him alone in the remote prairie. Hobart indulges in various monologues to the audience and dialogues with his alter-ego about his past and America’s history before he finally kicks the horse into the grave and sleeps alongside in the same hole. The death of the horse deprives Hobart from pursuing his trip to the American west to find what he calls “AUTHENTICITY” (Shepard 2007, p. 12).This is the core theme of Sam Shepard’s play Kicking a Dead Horse. The play was first performed at the Peacock Theatre, Dublin, Ireland on 12 March 2007. Four days after the first performance of the play, Variety magazine reviewer Karen Fricker (2007) wrote that the play is “altogether a strange beast” as it carries “autobiographical material that seems a halfhearted attempt on Shepard’s part to unload old creative baggage.” The play’s production on New York Public Theater in 2008 received similar criticism over its autobiographical nature. Toby Zinman (2008) of Philadelphia Inquirer argues that Shepard is “far more despairing and far less funny but 601 ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 7 No 4 ISSN 2039-9340 (print) MCSER Publishing, Rome-Italy July 2016 just as autobiographical as his great play, ‘True West’ written 28 years ago.” For Peter Santilli, the play is a “cerebral little drama” in which “the iconic writer treads on familiar ground—the wide-open frontiers of the American West.” Malcom Johnson (2008) expresses his discontent with the play in a short expressive phrase: “Good ride, but a bit repetitive.” It is not only Shepard’s failure to find a new thematic venue that disappoints critics of the play, but also the playwright’s recurrent experimentation with Samuel Beckett’s dramaturgy. Shepard’s interest in Beckett’s aesthetics started as early as his theatrical production Cowboys (1964) which was his first reflection upon his life in California and fascination with the cowboy mythology. The quasi-surrealist theatricalization of Kicking a Dead Horse, the play’s sole character talking to himself and addressing the audience every now and then, and the staging of a horse and a pit that recreate the bare and unparticularized setting in Beckett’s plays—all reflect a Beckettian absurdist ambiance. Stephen Rea, the Irish actor who played the character of Hobart Struther in the play, observes that both Shepard and Harold Pinter “claim the Beckettian existential space and re-locate it in rooms, ranches, prairies, badlands” (2007, p. x). Hobart, for many critics, seems to be coming out from a Beckettian drama and his meditation on his destiny in the vast prairie seems as absurd as Beckett’s Vladimir and Estragon’s dialogues in Waiting for Godot. Commenting on Hobart’s comic wrestling with his circumstances and the surreal climate in the play, Sarah Hemming (2008) expounds that Hobart “could be a distant relative of Beckett’s characters. So too the metaphysical implications of the play.” Charles Isherwood (2008) proclaims that the play is “a conscious homage to Beckett.” Stephen Bottoms (2015) goes further when he concludes, “Kicking a Dead Horse is Shepard’s most knowingly Beckettian play to date” (p. 97). Shepard’s play was also poorly received in academic and scholarly criticism. To the best of my knowledge, there are only four published articles on the play, which focus primarily on metaphorical interpretations of Hobart’s journey to the old West and the aesthetic connections to Samuel Beckett. The first scholarly article is a book chapter written by Terrence Hartnett (2009) and titled “Cowboy Consensus Or How we Learned to Stop Worrying and Love the War on Terror: Sam Shepard’s Kicking a Dead Horse”. As the chapter’s title suggests, Hartnett interprets the play in the light of America’s post-9/11 war on terror and makes parallels between Hobart Struther as a cowboy and George W. Bush, Jr. as a president from Texas. Like Hobart, the author argues, Bush presents himself as a cowboy personae and tries to breath new life into the American frontiers’ mythos of expansion to unify the nation, claim political power after the terroristic attacks, and justify the occupation of overseas countries. The second essay is “Kicking a Dead Horse Horse: Burials and Resurrections” written by Gabriella Varró (2010) who reads the play as a daramatization of the playwrights’ self. Varró’s contribution to the play’s criticism is represented in her valid argument that Shepard resurrects three theatrical figures in the play: Arthur Miller, William Shakespeare, and Samuel Beckett. Varró finds parallels between Hobart’s shattered aspirations and Miller’s characters’ pipe dreams. She also makes references to King Lear’s fool and Hobart’s divided self, as well as Hamlet’s gravediggers and Hobart’s clownish behaviours. Furthermore, she reads Hobart’s absurd situation to be equivalent to the characters’ lives in Beckett’s plays. The third article “ ‘Semtimental Claptrap’: Lost Cowbosy, Dead Horses, and the Discarded in Sam Shepard’s Kicking a Dead Horse” offers a differnt reading of the play. The article’s author Blake Westerlund (2015) elaborates in his long essay how Shepard trashes the American myths and images of the old west in oder to celebrate the endurance and resilience of music, dance, and art. Westerlund (2015) wrote another short essay titled “Cowgirl of the Prairie: Sam Shepard’s Kicking a Dead Horse and an Enigmetic Appartition” in which he gives comments on the development of Shepard’s treatment of women characters in the play. I am not trying in this study to negate the different interpretations of the play. My reading is an attempt to present a different view that emphasizes Shepard’s thematic and dramaturgical innovation and his ability to dig deep into American psyche and address critical concerns of the new millenium America. I suggest that Shepard puts a finger on the ignored violence and exclusionism of America and faces the nation with the fatal consequences of its imperialist mentality. Kicking a Dead Horse is not a lamentaion of American utopia, it is rather an excavation of a dystopia that is more threatening than nostalgic. I concur with The Financial Times critic John Murray Brown (2007) who remarks that the play reminds the American government of the shame brought by occupying sovereign nations like Iraq. Brown writes: “It is tempting to see political impulses in this latest work too — a plea that the US administration might reach some point of self knowledge and recognise it is ‘kicking a dead horse’ in Iraq.” I would add that the play surpasses the denouncement of the occupation of Iraq to the criticism of America’s long imperial history and the potential of America’s decline and demise.
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