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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 ..................................................................................................... -
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. -
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. -
Note to Users
NOTE TO USERS This reproduction is the best 'copy available National Library Bibliothèque nationale 1+1 ,,,a du Canada Acquisitions and Acquisitions et Bibliographie Services senrices bibliographiques 395 Weliingîon Street 395. nre Wellington Ottawa ON K1A ON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or selI reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la fome de microfiche/fïlm, de reproduction sur papier ou sur format électronique. The author retaùls ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protege cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être impkés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Contents .. - Contents u List of Abbreviations Introduction 1 "1'11 believe in the tnith. It's Iess confuskg." -Identity and the Instability of the Sign in Fool for Love True West -ldentity Goes National 15 Identity as bricolage in The Tooth of Crime The Tooth of Crime and Music Identity as Performance: Sam Shepard's "True Dylan" 49 "Defmed Presence": Ongin and Authenticity in Dylan's Performance Art 61 "1 had to re-arrange their faces": Renaldo and Clara and its Intertext 80 Masks in the Construction and Deconstruction of the hblic and îhe Private 91 Commedia to Cnielty: Traces of Theatrical Antecedents in Rolling Thunder 102 " Some kinda' ship": (American) Myths Revisited "Brownsville Girl" -A Conclusion Works Cited and Consulted 126 List of Abbreviations TC Sam Shepard. -
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 ............................................................................ -
ABSTRACT a Director's Approach to Sam Shepard's True West Rob Yoho, MFA Mentor
ABSTRACT A Director’s Approach to Sam Shepard’s True West Rob Yoho, M.F.A. Mentor: David J. Jortner, Ph.D. Sam Shepard’s True West is a black comedy that tells the story of Austin and Lee, two brothers leading vastly different lives who meet unexpectedly at their mother’s home in suburban Los Angeles, and through a series of increasingly surreal events, attempt to assume the identity of the other. This thesis surveys and critiques the research and practical phases of Baylor University’s May, 2015 mainstage production of this play. Chapter One examines the life and works of Sam Shepard with special attention given to True West’s critical legacy and major productions. Chapter Two analyzes Shepard’s play and applies relevant critical theory to his text. Chapters Three and Four chronicle the application of this analysis and theory to directing the play and collaborating with actors and designers. Finally, Chapter Five assesses the production’s strengths and weaknesses. A Director's Approach to Sam Shepard's True West by Rob Yoho, B.A. A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee David J. Jortner, Ph.D., Chairperson DeAnna M. Toten Beard, M.F.A., Ph.D. Marion D. Castleberry, Ph.D. Christopher M. Rios, Ph.D. Accepted by the Graduate School August 2015 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. -
Visions of the True West: Sam Shepard, Identity and Myth Juan A
nº 17, November 2004 Departamento de Filología Inglesa Universidad de Alicante ISSN 0214-4808 ● CODEN RAEIEX Editor Emeritus Pedro Jesús Marcos Pérez Editors José Mateo Martínez and Francisco Yus Assistant Editor Judith Williams Editorial Board Asunción Alba (UNED) ● Enrique Alcaraz Varó (University of Alicante) ● Román Álvarez (University of Salamanca) ● Norman F. Blake (University of Sheffi eld) ● Juan de la Cruz (University of Málaga) ● Bernd Dietz (University of La Laguna) ● Angela Downing (University of Madrid, Complutense) ● Francisco Fernández (University of Valen cia) ● Fernando Galván (University of Alcalá) ● Francisco García Tortosa (University of Seville) ● Pedro Guardia (University of Barcelona) ● Ernst-August Gutt (SIL) ● Pilar Hidalgo (Univer sity of Málaga) ● Ramón López Ortega (University of Extremadura) ● Catalina Montes (Uni versity of Salamanca) ● Susana Onega (University of Zaragoza) ● Julio C. Santoyo (University of León) ● John Sinclair (Uni versity of Birmingham) Advisory Board Manuel Almagro Jiménez (University of Seville) ● José Antonio Álvarez Amorós (University of La Coruña) ● José Ramón Belda Medina (University of Alicante) ● Antonio Bravo García (University of Oviedo) ● Miguel Ángel Campos Pardillos (University of Alicante) ● Silvia Caporale (University of Alicante) ● Fernando Cerezal (University of Alcalá) ● Ángeles de la Concha (UNED) ● José Carnero González (Universi ty of Seville) ● Isabel Díaz Sánchez (University of Alicante) ● Teresa Gibert Maceda (UNED) ● Teresa Gómez Reus (University of Alicante) ● -
Rosen, Carol. Sam Shepard: a 'Poetic Rodeo.' New York: Palgrave Macmillan, 2004
Book reviews Rosen, Carol. Sam Shepard: A 'Poetic Rodeo.' New York: Palgrave Macmillan, 2004. Pp. 282, illustrated. Callens, Johan. Dis/Figuring Sam Shepard. Brussels: P.I.E. Peter Lang, 2007. Pp. 276, illustrated. Published within a time distance of two years and a half, these valuable additions to Shepard criticism come from two scholars who have contributed decisively to fashioning this particular discourse ever since its emergence. In their respective efforts to account for and do justice to the nature of Shepard's explorations, Carol Rosen and Johan Callens employ a variety of critical methods and often propose opposed approaches. Reading the two books comparatively reveals an implied dialogue between them, as often, the one critic seems to be pursuing an argument from where the other leaves off. In Sam Shepard: A 'Poetic Rodeo,' Rosen directs her efforts towards a comprehensive review of Shepard's multisided artistic activities and constructs a critical language attuned to Shepard's idiosyncratic dramatic idiom. The critic resorts to a series of descriptive devices that appear to have been conceived solely for Shepard's work. Thus, Rosen traces the particulars in the playwright's life that drove him to start "drumming out plays" (3), and moves on to "early, free-wheeling plays" (1) that, as she puts it, often " explode (and sometimes fizzle) like fire-crackers in a summer sky" (27). She discusses the output of "a writer with the imagination the size of a drive-in screen" (4) and looks closely into pieces of dramatic art that "yield terrific sure-fire speeches for actors" (205). -
Sam Shepard Edited by Matthew Roudane Frontmatter More Information
Cambridge University Press 0521771587 - The Cambridge Companion to Sam Shepard Edited by Matthew Roudane Frontmatter More information THE CAMBRIDGE COMPANION TO SAM SHEPARD Few American playwrights have exerted as much influence on the contempo- rary stage as Sam Shepard. His plays are performed on and off Broadway and in all the major regional American theatres. They are also widely performed and studied in Europe, particularly in Britain, Germany, and France, finding both a popular and scholarly audience. In this collection of seventeen original essays, American and European authors from different professional and aca- demic backgrounds explore the various aspects of Shepard’s career – his plays, poetry, music, fiction, acting, directing, and film work. The volume covers the major plays, including Curse of the Starving Class, Buried Child, and True West, as well as other lesser known but vitally important works. A thorough chronology of Shepard’s life and career, together with biographical chapters, a note from the legendary Joseph Chaikin, and an interview with the play- wright, give a fascinating first-hand account of an exuberant and experimental personality. © Cambridge University Press www.cambridge.org Cambridge University Press 0521771587 - The Cambridge Companion to Sam Shepard Edited by Matthew Roudane Frontmatter More information THE CAMBRIDGE COMPANION TO SAM SHEPARD EDITED BY MATTHEW ROUDANE´ Georgia State University © Cambridge University Press www.cambridge.org Cambridge University Press 0521771587 - The Cambridge Companion