BURIED CHILD: Know-The-Show Guide

Total Page:16

File Type:pdf, Size:1020Kb

BURIED CHILD: Know-The-Show Guide The Shakespeare Theatre of New Jersey BURIED CHILD: Know-the-Show Guide Buried Child By Sam Shepard Directed by Paul Mullins Know-the-Show Audience Guide Researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork by Scott McKowen. The Shakespeare Theatre of New Jersey BURIED CHILD: Know-the-Show Guide In This Guide – The Life of Sam Shepard ....................................................................................... 2 – Sam Shepard & Buried Child ................................................................................ 4 – Buried Child: A Synopsis ...................................................................................... 5 – Who’s Who in Buried Child ................................................................................. 6 – Quotable Shepard ................................................................................................ 7 – The Plays of Sam Shepard .................................................................................... 8 – Sam Shepard: Selected Filmography .................................................................... 8 – Explore Online: Links .......................................................................................... 9 – Commentary and Criticism ................................................................................ 10 – In This Production .............................................................................................. 11 – Sources and Further Reading ............................................................................. 12 1 The Shakespeare Theatre of New Jersey BURIED CHILD: Know-the-Show Guide later say of the event, “I walked out of that house into the unknown, and The Life it scared the sh*t out of me, but the adventure of hitting life straight on was a thrill I’ll never forget.” He was quickly cast in a traveling acting troupe called The Bishop’s Company, and they performed in towns all over the country. When they reached Brooklyn, Sam got off the bus and Sam Shepard stayed. Times were tough, and Shepard notes that he even had to sell a pint of blood to be able to afford a cheeseburger. Eventually he made of Samuel Shepard connections and was working with other creative theater makers and Rogers was born in artists who had started Theatre Genesis in St. Mark’s Church. His first Chicago, Illinois on plays, Cowboys and The Rock Garden, were performed there in the fall November 5, 1943 of 1964. He began writing plays constantly; churning them out, one after to Jane and Sam the other. “He finished plays like others finished a grocery list,” said Joyce Rogers. His father Aaron, Shepard’s girlfriend at the time. was a World War II pilot, and his mother As his career began to flourish, he won three consecutive OBIE Awards Sam Shepard, New York, was a teacher. After (1966-68) for Distinguished Plays. In 1969, he married O-Lan Jones, photographed by Brigitte Lacombe, 2010. the war, the family an actress who he met at a residency in Pennsylvania. The couple was settled in California, where Jane had some family, and both parents quickly expecting, and they welcomed their first and only child Jesse took positions as high school teachers. Unfortunately, the image of the Mojo Shepard in May, 1970. happy family that was presented to the world was far from the reality at home. Sam Rogers was an alcoholic, and his son bore the brunt of his Less than a year later, alcoholic rages. In spite of this, young Sam did well at school; he was while playing a gig part of the drama club, basketball team, track team and led cheers at with The Holy Modal school games. After graduating high school in 1961, he went to Mount Rounders, Shepard San Antonio College, unsure whether to pursue veterinary studies or met Patti Smith, the something more creative. He found himself more and more drawn acclaimed icon of the to the drama department, and there he was introduced to the works NYC punk rock scene. of Samuel Beckett which would prove to be a major influence on his The connection was approach to language and writing. instantaneous, and, though still married, In early 1963, a violent altercation with his father drove Sam from the he moved into Patti’s family home. He packed everything into his car and left. He would room at the Hotel Sam Shepard and Patti Smith, The Chelsea Hotel, 1971. 2 The Shakespeare Theatre of New Jersey BURIED CHILD: Know-the-Show Guide Chelsea. Their infamous affair inspired Patti’s music, but the wanderer It was at this point that in Shepard could not be quelled. In 1971, he broke up with her and Shepard’s work as a film actor moved to London with his young family where he met and worked began to take off. This did with Peter Brook, Stephen Rea and Nancy Meckler. These relationships not, however, stop him from shaped Shepard’s writing forever. He spoke about their influences writing. Shepard always carried after he directed his play Geography of a Horse Dreamer at the Royal a notebook and pen wherever Court Theatre: “It was a great experience, which changed the way I he went, allowing him to jot approached writing, because I started writing for the actors. I’d shape down thoughts, ideas, and things and move them around and realize what was possible or not small sketches. He would go on possible. You understand the rhythmic structures much better when to publish poetry and prose in Sam Shepard and Jessica Lange in a still from you work directly with actors. It’s like a piece of music, it shifts and addition to his plays. In 2012, Frances, 1982. changes.” he was awarded an honorary doctorate from Trinity College Dublin, the alma mater of Samuel Beckett, In 1974, the family left London and moved to California with whom he so admired. O-Lan’s mother and stepfather. It was here that Shepard established a relationship with The Magic Theatre in San Francisco where his Pulitzer Despite his many career successes, Shepard faced several personal Prize-winning play Buried Child would premiere in 1978. Prior to this demons and a serious alcohol problem. He was arrested for drunk success however, Joe Papp, founder of The Public Theatre in New York, driving in 2009 and then again in 2015. Shortly after his first drunk commissioned Shepard to write five new plays for his theatre; one of driving incident, Shepard and Lange split, and he established a new which became The Curse of the Starving Class (1978) and another True home in Kentucky. In the years that followed, Shepard was diagnosed West (1980). Shepard would never fulfill his promise to write five plays with ALS, though he never let that get in the way of anything he wanted for The Public, however, after casting disputes related to the transfer of to do. True West to The Public. On July 17, 2017, Sam Shepard passed away as a result of his One year later in 1981, Shepard met Jessica Lange. The two fell in love degenerative disease. He was surrounded by his family. His longtime while filming Frances (1982) and his play Fool for Love (1983) was born friend Patti Smith wrote about that evening, “The rain fell when he took out of their affair. In 1983, he left his family for Lange but carried the his last breath, quietly, just as he would have wished. Sam was a private guilt with him for the rest of his life. Less than a year later, however, his man. I know something of such men. You have to let them dictate how father was killed crossing a busy street while intoxicated in Santa Fe, things go, even to the end.” New Mexico. Even though he had not seen his father in several months, Sam’s last memory of him was a drunken man ranting and raving about his life. 3 The Shakespeare Theatre of New Jersey BURIED CHILD: Know-the-Show Guide dark haired man… having excelled as a student and athlete, he was Sam Shepard and admired by many.” Another uncle became involved with the mob in Chicago. Shepard conflates these two men to become one, as can be seen in Halie’s depictions of her dead son Ansel: “He was smart. The smartest probably. I think he probably was… It’s not fitting for Buried Child a man like that to die in a motel room… Ansel played basketball “Theater is a place to bring stuff from your life better than anyone… Of course, he’d still be alive today if he hadn’t experience. You bring it and you send this telegraph married into the Catholics. The Mob. How in the world he never and then you get out.” opened his eyes to that is beyond me.” – Sam Shepard In 1966, Shepard took a road trip to his home in Bradbury, The inspiration for Buried Child has its origins long before Sam California from New York with his then girlfriend Joyce Aaron. It Shepard was born, with his great-great-grandfather, a man by was this trip that inspired the Vince and Shelly story – a young man the name of Lemuel P. Dodge who ran a wheat farm in rural returning home for the first time in a few years with his girlfriend Illinois. This family farm was lost in the Great Depression who can’t wrap her mind around his home. by Shepard’s grandfather, whom he described in detail in an interview: “Sometimes he coughs so violently that his whole The first seeds of this play were planted when Shepard wrote The body doubles over, and he can’t catch his breath for a long time. Last American Gas Station in 1974 while on vacation in Nova His world is circumscribed around the sofa. Everything he needs Scotia. That play details the cross country travels of Halie, Dodge, is within a three-foot range.” One of those items within range and their son Eamon (who only has one leg). Dodge has a persistent would certainly have been alcohol. Shepard came from a long cough and claims that the government is trying to steal his land. line of male alcoholics, which included his father. As Shepard While this may not be exactly what would become Buried Child, remembers, when his father went to see Buried Child, “he was one sees several key elements take root: a family in crisis, a father rolling drunk and started talking to the characters and stood up with a persistent cough, and an injured son.
Recommended publications
  • DISTINGUISHED ALUMNI As of 3/1/2017
    University of Northern Colorado School of Theatre Arts and Dance DISTINGUISHED ALUMNI as of 3/1/2017 Broadway – 25 Performers (55 Productions) Josh Buscher – West Side Story 2009 (OC), Pricilla Queen of the Desert (OC), Big Fish (OC) Ryan Dinning – Machinal (OC) Jenny Fellner – Wicked, Mamma Mia, The Boyfriend, Pal Joey (OC) Scott Foster – Forbidden Broadway (Alive and Kicking) 2013, Brooklyn (OC), Forbidden Broadway (Alive and Kicking) 2014 Greg German – Assassins (OC), Biloxi Blues (OC), Boeing/Boeing Patty Goble – Bye Bye Birdie 2009 (OC), Curtains (OC), The Woman in White (OC), La Cage Aux Follies 2004 (OC), Kiss Me Kate 1999 (OC), Ragtime (OC), Phantom of the Opera Derek Hanson – Anything Goes (Sutton Foster), Side Show (2014 Revival), An American in Paris (2016), Tamara Hayden – Les Miz, Cabaret Autumn Hulbert – Legally Blonde Aisha Jackson – Beautiful: The Carol King Musical, Waitress (OC) Ryan Jesse – Jersey Boys Patricia Jones – Buried Child (OC), Indiscretions (w/Kathleen Turner) Andy Kelso – Mamma Mia, Kinky Boots (OC) Beth Malone – Ring of Fire (OC), Fun Home (OC)+ Victoria Matlock – Million Dollar Quartet (OC) Jason Olazabal – Julius Caesar (OC) (w/Denzel Washington) Laura Ryan – Country Roads The John Denver Musical (OC) Lisa Simms – A Chorus Line Andrea Dora Smith – Tarzan, Motown (OC) Erica Sweany – Honeymoon in Vegas – The Musical (OC) Jason Veasey – The Lion King Jason Watson – Mamma Mia Aléna Watters – Sister Act (OC), Adams Family Musical (OC), West Side Story 2009, Wysandria Woolsey – Chess, Parade, Beauty and the
    [Show full text]
  • The 200 Plays That Every Theatre Major Should Read
    The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986)
    [Show full text]
  • Undergraduate Play Reading List
    UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M.
    [Show full text]
  • 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.
    [Show full text]
  • Sam Shepard - Kenneth Tynan - Clare Pollard
    incorporating writing Issue 3 Vol 4 PLAYWRIGHTS & CRITICS Wrestling with the writer: Playwrights get dirty COMPETITION GIVEAWAY PAGE 4 Sam Shepard - Kenneth Tynan - Clare Pollard Incorporating Writing Contents (ISSN 1743-0380) Editorial Team Page Editorial Managing Editor Playwrights and Critics 3 Bixby Monk G.P. Kennedy looks at being a critic and being appointed as an Editor. Guest Editor Chaz Brenchley Interviews The Right Stuff 13 Articles Editor Kevin Berger talks with playwright and Fiona Ferguson actor, Sam Shepard. Interviews Editor Articles Andrew Oldham Wrestling with the writer 7 John Terry climbs into the mind of the Reviews Editor playwright and the raucous theatre. G.P.Kennedy Columnists Early Stages 33 Andrew ODonnell, George Wallace, Clare Pollard looks at the experience of Dave Wood, Sharon Sadle writing for the Royal Court. Contributors Kenneth Tynan 45 John Terry, Kevin Berger, Clare Pollard, The first man to swear on television cut Kate Parrinder, Clare Reddaway, a critical swathe through popular culture. Bridget Whelan, Cath Nichols, Jess Greenwood Columns Cover Art ODonnell on Donaghy 11 Lisha Aquino Rooney Andrew ODonnell discusses the work of Michael Donaghy. Design Marsh Thomas Cubicle Escapee 25 Sharon Sadle drifts down the greatest Contact Details river of all. http://www.incwriters.com [email protected] Artwork Perfect Eye 29 Cover artist, Lisha Rooney exhibits some of her work. Incorporating Writing is an imprint of The Incwriters Society (UK). The magazine is managed by an editorial team independent of The Societys Constitution. Nothing in this magazine may be reproduced in whole or part without Reviews 35 permission of the publishers.
    [Show full text]
  • Shepard & Dark
    Presents SHEPARD & DARK A DOCUMENTARY BY TREVA WURMFELD 92 min., U.S., 2012 OFFICIAL SELECTION – 2012 TORONTO INTERNATIONAL FILM FESTIVAL OFFICIAL SELECTION – 2013 CANNES CLASSICS – CANNES FILM FESTIVAL WINNER BEST DOC FEATURE – 2012 WOODSTOCK FILM FESTIVAL To download hi-res images and video clips, please visit: http://www.musicboxfilms.com/shepard---dark-movies-71.php Publicity/Marketing Contact: Distribution Contact: Brian Andreotti Andrew Carlin 312-508-5361 312-508-5360 [email protected] [email protected] Rebecca Gordon 312-508-5362 [email protected] Press Contact: Lindsay Firestone 212-373-6131 [email protected] Marian Koltai-Levine 212-373-6130 [email protected] SUMMARY Sam Shepard and Johnny Dark met in Greenwich Village in the early 1960s and, despite leading very different lives, remained close friends ever since. Shepard became a Pulitzer Prize winning playwright (Buried Child) and an Academy Award-nominated actor (THE RIGHT STUFF), while Dark was a homebody who supported himself with odd jobs. Through the decades, they stayed bonded by family ties. Dark married an older woman named Scarlett and Shepard married her daughter. For years, the two couples lived together, until Shepard broke away for a relationship with Jessica Lange in 1983, leaving Johnny to help father his first son. Nevertheless, he and Dark continued writing to each other, amassing hundreds of letters. Director Treva Wurmfeld began filming the two friends in 2010 during a period of transition and reflection for Shepard. At the time, he had quietly ended his relationship with Lange and agreed to publish his correspondence with Dark. The task required them to meet and sift through years of their shared history, stirring memories both good and bad.
    [Show full text]
  • UNIVERSIDADE DE SÃO PAULO Faculdade De Filosofia, Letras E Ciências Humanas Departamento De Teoria Literária
    UNIVERSIDADE DE SÃO PAULO Faculdade de Filosofia, Letras e Ciências Humanas Departamento de Teoria Literária Lígia Razera Gallo O desequilíbrio familiar e a identidade americana nas peças de Sam Shepard São Paulo 2011 1 UNIVERSIDADE DE SÃO PAULO Faculdade de Filosofia, Letras e Ciências Humanas Departamento de Teoria Literária Lígia Razera Gallo O desequilíbrio familiar e a identidade americana nas peças de Sam Shepard (versão corrigida) São Paulo 2011 Ligia Razera Gallo O desequilíbrio familiar e a identidade americana nas peças de Sam Shepard Tese apresentada ao Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, como parte dos requisitos para a obtenção do título de Mestre na área de Teoria Literária e Literatura Comparada, sob a orientação do Prof. Dr. Fábio Rigatto de Souza Andrade. (versão corrigida) “de acordo” _____________________________________________________ SÃO PAULO 2011 Serviço de Biblioteca e Documentação da Faculdade de Filosofia, Letras e Ciências Humans da Universidade de São Paulo. Gallo, Ligia Razera O desequilíbrio familiar e a identidade americana nas peças de Sam Shepard / Ligia Razera Gallo; orientador Fábio Rigatto de Souza Andrade.─ São Paulo, 2011. 200 f. Tese (Mestrado – Programa de Pós-Graduação em Teoria Literária e Literatura Comparada. Área de concentração: Teoria Literária e Literatura Comparada) – Departamento de Teoria Literária da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. (versão corrigida) 1. Teatro norte-americano – Século 20. 2. Identidade americana 3. Crítica teatral FOLHA DE APROVAÇÃO LIGIA RAZERA GALLO O desequilíbrio familiar e a identidade americana nas peças de Sam Shepard Tese apresentada ao Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, como parte dos requisitos para a obtenção do título de Mestre na área de Literatura Comparada, sob a orientação do Prof.
    [Show full text]
  • 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.
    [Show full text]
  • 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 .....................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • A Critical Study of the Family Crises in Sam Shepard’S Buried Child and True West
    ABSTRACT RITUALS AND MYTHS: A CRITICAL STUDY OF THE FAMILY CRISES IN SAM SHEPARD’S BURIED CHILD AND TRUE WEST In this thesis, I examine two plays by Sam Shepard, Buried Child and True West, and how the family crises in each culminate in an act of ritual. Applying the framework of Rene Girard, I explore how these two plays express Girard’s theory of the role of ritual sacrifice in communities—specifically, that rituals can be traced back to an ancient act of sacrifice in which a community killed a scapegoated victim to maintain social cohesion and de-escalate the growing antagonism that threatened their society. Writing in the late 70s, Shepard’s work can be seen as a commentary on the Vietnam War. His work at this time reflects an American society that was increasingly aware of the sacrifices deemed necessary to maintain American exceptionalism. Shepard’s plays depict moments of ritual, but also confront the audience with their inherent violence and injustice. He works to deconstruct social myths that conceal this truth, particularly the “social myth” of traditional family roles. Ultimately, Shepard exposes the violence weaved into the social fabric of America, but also confronts the chaos that could erupt if that social fabric were to unravel. Nicholas Wogan May 2019 RITUALS AND MYTHS: A CRITICAL STUDY OF THE FAMILY CRISES IN SAM SHEPARD’S BURIED CHILD AND TRUE WEST by Nicholas Wogan A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English in the College of Arts and Humanities California State University, Fresno May 2019 APPROVED For the Department of English: We, the undersigned, certify that the thesis of the following student meets the required standards of scholarship, format, and style of the university and the student's graduate degree program for the awarding of the master's degree.
    [Show full text]
  • 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.
    [Show full text]