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Home , Family Trilogy, Fool for Love (play), Joseph Chaikin, La Turista, Magic Theatre, Sam Shepard

Notes

Introduction

1. Michiko Kakutani, “Myths, Dreams, Realities—’s America,” New York Times, January 29, 1984, 26. 2. Bernard Weiner, “Sam Shepard’s —a Major, Bitter New Play,” San Francisco Chronicle, August 6, 1978, 19. 3. Susan Harris Smith, “Estrangement and Engagement: Sam Shepard’s Dramaturgical Strategies,” Journal of Dramatic Theory and Criticism 3.1 (Fall 1988): 79. 4. Bonnie Marranca, “Alphabetical Shepard: The Play of Words,” in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications, 1981), 15. 5. Ibid. 6. Sam Shepard, interview with Gwynne Watkins, “Sam Shepard Gives a Rare Interview, Thinks Safe House Could’ve Been Better,” GQ Magazine, June 11, 2012. Accessed January 31, 2013. http://www.gq.com/entertainment/tv /blogs/the-stream/2012/06/sam-shepard-interview-safe-house.html. 7. In Gay Gibson Cima, “Shifting Perspectives: Combining Shepard and Rauschenberg,” Theatre Journal 38, no. 1 (1986): 68. 8. Stephen J. Bottoms, The Theatre of Sam Shepard: States of Crisis (Cambridge: Cambridge University Press, 1998), 25. 9. , “Sam Shepard: The All American Cultural Icon at 50,” Arena, May/June 1994, 69. 10. , Tal Coat, in dialogue with Georges Duthuit, Proust and Three Dialogues with Georges Duthuit (London: John Calder, 1999), 103. 11. Sam Shepard, States of Shock in Sam Shepard: Plays 3 (London: Methuen Drama, 1996), 152. 12. Samuel Beckett, Proust, in Proust and Three Dialogues with Georges Duthuit (London: John Calder, 1999), 13.

1 Surrealism and Sam Shepard’s Early Plays: 1964–1967

1. Pete Hamill, “The New American Hero,” New York 16 (1983): 98. 172 Notes

2. Sam Shepard, Icarus’s Mother in Sam Shepard: Plays: 1 (London: Methuen, 1996), 75. (All subsequent references to the play will be incorporated into the text.) 3. In Michael Almereyda, “Sam Shepard: The All American Cultural Icon at 50,” Arena (May/June 1994): 66. 4. Ibid., 90. 5. Christopher Bigsby, A Critical Introduction to Twentieth-Century American Drama: Volume Three, Beyond Broadway (Cambridge: Cambridge UP, 1985), 224. 6. Almereyda, “Sam Shepard,” 69. 7. Bradford R. Collins, “Modern Romance: Lichtenstein’s Comic Book Paintings,” American Art 17 (2003): 77. 8. Ibid., 79–80. 9. Luther S. Luedtke, “From Fission to Fusion: Sam Shepard’s Nuclear Families,” in New Essays on American Drama, ed. Gilbert Debusscher and Henry I. Schvey (Amsterdam: Rodopi, 1989), 143. 10. Pamela M. Homer and Lynn R. Kahle, “A Social Adaptation Explanation of the Effects of Surrealism on Advertising,” Journal of Advertising 15 (1986): 50–51. 11. Ibid. 12. Ibid., 80. 13. Salvador Dalí, “The Moral Position of Surrealism,” in Oui: The Paranoid- Critical Revolution, ed. Robert Descharnes (Boston: Exact Change, 1971), 112. 14. Sam Shepard, Red Cross, in Sam Shepard: Plays 1 (London: Methuen, 1996), 139–140. (All subsequent references to the play will be incorporated into the text.) 15. Dalí, “The Moral Position of Surrealism,” 112. 16. Ibid., 116. 17. Salvador Dalí, “The Rotting Donkey,” in Oui: The Paranoid-Critical Revolution, ed. Robert Descharnes (Boston: Exact Change, 1971), 116. 18. Ibid., 118. 19. Ibid., 119. 20. Keir Elam, The Semiotics of Theatre and Drama (London: Routledge, 1991), 17–18. 21. Ibid., 17. 22. Ibid., 19. 23. Sam Shepard, Fourteen Hundred Thousand, in Sam Shepard: Plays 1 (London: Methuen, 1996), 120. (All subsequent references to the play will be incorporated into the text.) 24. In Lydia Goehr, “Hardboiled Disillusionment: Mahagonny as the Last Culinary Opera,” Cultural Critique 68 (2008): 16. 25. Ibid., 8. 26. In Goehr, “Hardboiled Disillusionment,” 5. 27. Ibid., 3–4. 28. Bertolt Brecht, Journals: 1932–1955 (New York: Routledge, 1996), 84. Notes 173

29. In John Willett. The Theatre of Bertolt Brecht: A Study from Eight Aspects (London: Methuen, 1967), 173. 30. Sam Shepard, , in Sam Shepard: Plays Two (London: Faber and Faber, 1997), 262. 31. Sam Shepard, The Holy Ghostly in Sam Shepard: Plays 1 (London: Methuen, 1996), 203. 32. Sam Shepard, interview with Kenneth Chubb et al., “Metaphors, Mad Dogs and Old Time Cowboys” in American Dreams: The Imagination of Sam Shepard (New York: Performing Arts Journal Publications), 193. 33. Ellen Oumano, Sam Shepard: The Life and Work of an American Dreamer (London: Virgin, 1987), 13. 34. Sam Shepard, interview with Carol Rosen. Sam Shepard: A Poetic Rodeo (Basingstoke: Palgrave Macmillan, 2004), 243. 35. Jennifer Mundy, “The Art of Friendship,” in Duchamp, Man Ray, Picabia, ed. Mundy (London: Tate Publishing, 2008), 43. 36. David Hopkins, “Male Poetics,” in Duchamp, Man Ray, Picabia, ed. Jennifer Mundy (London: Tate Publishing, 2008), 81. 37. RoseLee Goldberg, Performance: Live Art 1909 to the Present (London: Thames and Hudson, 1979), 52. 38. Sam Shepard, The Rock Garden in Plays 1 (London: Methuen, 1996), 41. (All subsequent references to the play will be incorporated into the text). 39. Sam Shepard, Motel Chronicles (San Francisco: City Lights Book, 1982), 53. 40. Samuel Beckett, Proust and Three Dialogues with Georges Duthuit (London: John Calder, 1965), 67. 41. Shepard returned to the theme of childbirth for his 1974 play Little Ocean, directed by , his only play featuring an all-female cast. 42. Robert Hughes, The Shock of the New: Art and the Century of Change (New York: McGraw Hill, 1991), 422. 43. Ibid., 45. 44. Sam Shepard, in Plays 3 (London: Methuen, 1996), 80–81. 45. Luedtke, “From Fission to Fusion: Sam Shepard’s Nuclear Families,”146. 46. Dalí, “The Rotting Donkey,” 118. 47. Ibid. 48. Willett, The Theatre of Bertolt Brecht, 172. 49. David J. DeRose, “Sam Shepard as Musical Experimenter,” in The Cambridge Companion to Sam Shepard, ed. Matthew Roudané (Cambridge: Cambridge UP, 2002), 233. 50. Ibid., 77.

2 Myth, Ritual, and a Search for Selfhood: 1969–1972

1. Hank Hine, Pollock to Pop: America’s Brush with Dalí (St Petersburg: Salvador Dalí Museum Publication, 2005), 26. 174 Notes

2. Sam Shepard, , in Fool of Love and Other Plays (New York: Dial Press, 2006), 157. 3. Susan Harris Smith, Masks in Modern Drama (Berkeley: University of California Press, 1984), 13. 4. Michael Almereyda, “Sam Shepard: The All American Cultural Icon at 50,” Arena (May/June 1994): 69. 5. Harris Smith, Masks in Modern Drama, 13. 6. Christopher Innes, Avant Garde Theatre (New York: Routledge, 1993), 26. 7. Jean Baudrillard and Philippe Petit, Paroxysm: Interviews with Philippe Petit, trans. Chris Turner (London: Verso, 1998), 49. 8. Sam Shepard, Operation Sidewinder, in Sam Shepard: Plays 1 (London: Methuen, 2002), 258. (All subsequent references to the play will be incor- porated into the text.) 9. Baudrillard, Simulations, trans. Paul Foss, Paul Patton, and Philip Beitchman (New York: Semiotext(e), 1983), 142. 10. Ibid. 11. Wayne Stengel, “The Inside Outside World of Sam Shepard’s La Turista,” Publications of the Arkansas Philological Association (1987): 49. 12. Leonard Wilcox, “Modernism vs. Postmodernism: Shepard’s and the Discourses of Popular Culture,” Modern Drama 30, no. 4 (December 1987): 570. 13. Martin Esslin, The (New York: Vintage Books, 2004), 22. 14. Sam Shepard, The Unseen Hand, in Sam Shepard: Plays 1 (London: Methuen, 2002), 10. (All subsequent references to the play will be incorpo- rated into the text.) 15. Ron Mottram, Inner Landscapes: The Theater of Sam Shepard (Columbia: University of Missouri Press, 1984), 70. 16. RoseLee Goldberg, Performance: Live Art 1909 to the Present (London: Thames and Hudson, 1979), 59. 17. Sam Shepard and , Cowboy Mouth, in and Other Plays (New York: Dial Press, 2006), 147. (All subsequent references to the play will be incorporated into the text.) 18. Stephen Watt, Beckett and Contemporary Irish Writing (Cambridge: Cambridge UP, 2009), 186. 19. Ibid. 20. Robert Hughes, The Shock of the New: Art and the Century of Change (London: Thames and Hudson, 2002), 241. 21. Stengel, “The Inside Outside World of Sam Shepard’s La Turista,” 55. 22. Michael Gould, Surrealism and the Cinema: Open Eyed Screening (New York: Barnes, 1976), 16. 23. Sam Shepard, Shaved Splits in The Unseen Hand and Other Plays (Indianapolis/New York: Bobbs-Merrill, 1972), 172–173. (All subsequent references to the play will be incorporated into the text.) 24. Natalya Lusty, Surrealism, Feminism, Psychoanalysis (Hampshire: Ashgate, 2007), 51. Notes 175

25. Gould, Surrealism and the Cinema, 21–22. 26. Ibid., 22. 27. Ibid., 21. 28. Ibid. 29. Sam Shepard, The Tooth of Crime, in Sam Shepard: Plays 2, intro. Richard Gilman (London: Faber and Faber, 1997), 230. (All subsequent references to the play will be incorporated into the text.) 30. Bottoms, The Theatre of Sam Shepard, 69. 31. , The Jet of Blood in Antonin Artaud: Selected Writings, ed. Susan Sontag (Berkeley: University of California Press, 1988), 75. 32. Ibid., 73. 33. Christopher Innes, Holy Theatre: Ritual and the Avant Garde (New York: Cambridge UP, 1984), 66. 34. Antonin Artaud, “The Theatre of Cruelty: First Manifesto,” in Modern Theories of Drama: A Selection of Writings on Drama and Theatre, 1840– 1990, ed. George W. Brandt (Oxford: Clarendon Press, 1998), 190. Emphasis mine. 35. Bottoms, The Theatre of Sam Shepard, 61. 36. Peter Collier and Edward Timms, Visions and Blueprints: Avant-Garde Culture and Radical Politics in Early Twentieth-Century Europe (Manchester: Manchester UP, 1988), 44. 37. Michael Smith, “Theatre: Cowboys and The Rock Garden,” Village Voice, October 22, 1964, 13. 38. Roger Caillois, “The Function of Myth,” in The Edge of Surrealism: A Roger Caillois Reader, ed. Claudine Frank (Durham: Duke UP, 2003), 119. 39. Michael Richardson, introduction to The Absence of Myth by Georges Bataille (London: Verso, 1994), 14. 40. Carol Rosen, “Emotional Territory: An Interview with Sam Shepard,” Modern Drama 36 (1993): 5. 41. Christopher Bigsby, “: All True Stories,” in Modern American Drama 1945–2000, ed. Christopher Bigsby (New York: Cambridge UP, 2000), 200. Emphasis mine. 42. In Gerard Weales, “The Transformation of Sam Shepard,” in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Publications, 1981), 41. 43. Georges Bataille, “The Absence of Myth,” in The Absence of Myth: Writings on Surrealism, ed. Michael Richardson (London: Verso, 1994), 48. 44. Richardson, introduction to the The Absence of Myth, 13. 45. Ibid. 46. Ibid., 14. 47. Roland Barthes, “Myth Today,” in A Roland Barthes Reader, ed. Susan Sontag (London: Vintage, 1993), 131. 48. Ibid., 119. 49. Ibid., 118. 50. Shepard, “Metaphors, Mad Dogs,” 202. 176 Notes

51. Jeanette R. Malkin, Verbal Violence in Contemporary Drama: From Handke to Shepard (Cambridge: Cambridge UP, 1992), 207. 52. Antonin Artaud, The Theater and Its Double (New York: Grove Press, 1997), 72. 53. Don Shewey, Sam Shepard (New York: Dell, 1985), 89. 54. Bruce W. Powe, “The Tooth of Crime: Sam Shepard’s Way With Music,” Modern Drama 1 (March 1981): 16. 55. Ibid., 17. 56. Shepard, “Metaphors, Mad Dogs,” 197. 57. Richard Schechner, Performance Theory (London: Routledge, 1994), 74. 58. Patti Smith, Just Kids (London: Bloomsbury, 2010), 180. 59. Shewey, Sam Shepard, 78. 60. Ibid., 185. 61. Stephen J. Bottoms, The Theatre of Sam Shepard: States of Crisis (Cambridge: Cambridge UP, 1998), 65. 62. Sam Shepard, interview with Kenneth Chubb et al., “Metaphors, Mad Dogs and Old Time Cowboys” in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications), 201. 63. Wilcox, “Modernism vs. Postmodernism,” 568. 64. Shepard, “Metaphors, Mad Dogs,” 207. 65. Wilcox, “Modernism vs. Postmodernism,” 570. 66. Ibid., 572. 67. Gregory W. Lanier, “The Killer’s Ancient Mask: Unity and Dualism in Shepard’s The Tooth of Crime,” Modern Drama 36, no. 1 (March 1993): 58.

3 Surrealism and Sam Shepard’s Family Plays: Representing Gender

1. James F. Schlatter, “Some Kind of a Future: The War for Inheritance in the Work of Three American Playwrights of the 1970s,” South Central Review 7, no. 1 (1990): 60. 2. Sam Shepard, , in Sam Shepard: Plays 2, intro. Richard Gilman (London: Faber and Faber, 1997), 3–4. (All subsequent references to the play will be incorporated into the text.) 3. Quoted in Stephen J. Bottoms, Who’s Afraid of Virginia Woolf (Cambridge: Cambridge UP, 2000), 123. 4. Charles R. Lyons, “Shepard’s and the Conventions of Modern Realism,” in Rereading Shepard: Contemporary Critical Essays on the Plays of Sam Shepard, ed. Leonard Wilcox (New York: St. Martin’s Press, 1993), 118. 5. Brian Bartels, “Sam Shepard’s Master Class in Playwriting,” The Missouri Review 30, no. 2 (2007): 85. 6. Leslie A. Wade, Sam Shepard and the American Theatre (Westport, CT: Praeger, 1997), 94. Emphasis mine. Notes 177

7. Sam Shepard, Buried Child, in Sam Shepard: Plays 2, intro. Richard Gilman (London: Faber and Faber, 1997), 63. (All subsequent references to the play will be incorporated into the text.) 8. Johan Callens, Dis/Figuring Shepard (: P.I.E. Peter Lang, 2007), 47. 9. Quoted in John Dugdale, File on Shepard (London: Methuen Drama, 1989), 39. 10. Robert Coe, “Saga of Sam Shepard,” Magazine November 23, 1980, carton 4, folder 4.55. Coll. BANC MSS 81/184 c, The Records, Bancroft Library, University of California, Berkeley. 11. Nancy Meckler, quoted in the San Francisco Sunday Examiner and Chronicle, September 14, 1980 by Bernard Weiner, carton 4, folder 4.55. Coll. BANC MSS 81/184 c, The Magic Theatre Records, Bancroft Library, University of California, Berkeley. 12. Callens, Dis/Figuring Shepard, 47. 13. Richard Halpern, Norman Rockwell: The Underside of Innocence (Chicago: University of Chicago Press, 2006), 2. 14. Clarissa J. Ceglio, “Complicating Simplicity,” American Quarterly 54, no. 2 (2002): 301. 15. Louis Aragon, Paris Peasant (London: Pan Books, 1980), 217. 16. Una Chaudhuri, Staging Place: The Geography of Modern Drama (Ann Arbor, University of Michigan Press, 1995), 109–113. 17. Ibid., 110–111. 18. Silvano Levy, “René Magritte: Representing Iconoclasm,” in Surrealism: Surrealist Visuality, ed. Silvano Levy (Edinburgh: Keele UP, 1997), 15. 19. Hal Foster, Compulsive Beauty (Cambridge: MIT Press, 2000), 178. 20. Ibid. 21. Katherine Conley, “Safe as Houses: Anamorphic Bodies in Ordinary Spaces: Miller, Varo, Tanning, Woodman,” in Angels of Anarchy: Women Artists and Surrealism, ed. Patricia Allmer (Munich: Prestel, 2009), 50. 22. Paula Lumbard, “Dorothea Tanning: On the Threshold to a Darker Place,” Woman’s Art Journal 2, no. 1 (1981): 52. 23. Anneleen Masschelein. “A Homeless Concept: Shapes of the Uncanny in Twentieth-Century Theory and Culture,” Image & Narrative no. 5 (2003). Accessed 21/08/2014, http://www.imageandnarrative.be/inarchive/uncanny /anneleenmasschelein.htm. 24. Ibid. 25. Ernst Fischer, “Writing : Post-Modern Melancholia and the Uncanny Space of Living-Room Theatre,” in Psychoanalysis and Performance, eds. Patrick Campbell and Adrian Kear (London: Routledge, 2001), 119. 26. Ibid., 47–48. 27. Lynda Hart, Sam Shepard’s Metaphorical Stages (New York: Greenwood Press, 1987), 69. 28. Sam Shepard, interview with Newsweek Magazine on July 26, 1976, carton 4, folder 4.54. Coll. BANC MSS 81/184 c, The Magic Theatre Records, Bancroft Library, University of California, Berkeley. 178 Notes

29. Sam Shepard, Curse of the Starving Class, in Sam Shepard: Plays 2, intro. Richard Gilman (London: Faber and Faber, 1997), 135. (All subsequent references to the play will be incorporated into the text.) 30. Edwin Wilson, “Sam Shepard: Bleeding in Red, White and Blue,” The Wall Street Journal, April 3, 1980, carton 4, folder 4.55. Coll. BANC MSS 81/184 c, The Magic Theatre Records, Bancroft Library, University of California, Berkeley. 31. Wade, Sam Shepard and the American Theatre, 98. 32. Richard Eder, New York Times, March 3, 1978, carton 4, folder 4.55. Coll. BANC MSS 81/184 c, The Magic Theatre Records, Bancroft Library, University of California, Berkeley. 33. Wade, Sam Shepard and the American Theatre, 99. 34. . Quoted in , September 10, 2012. “The Theatre: Mother Knows Best: The Women Take Control in Heartless” by Hilton Als, 106. 35. Shepard’s mother-in-law Scarlett Johnson and his close friend and collabo- rator suffered strokes respectively in 1979 and 1984 and were rendered aphasic as a result. Chaikin’s aphasia is discussed in detail in chapter 5. Shepard seems to have used both of these instances as inspiration for Beth’s character. 36. Sam Shepard, A Lie of the Mind, in Sam Shepard: Plays 3 (London: Methuen Drama, 1996), 10. (All subsequent references to the play will be incorpo- rated into the text.) 37. Susan Gubar, “Representing Pornography: Feminism, Criticism, and Depictions of Female Violation,” Critical Inquiry 13, no. 4 (1987): 723. 38. Callens, Dis/Figuring Shepard, 67. 39. Ibid. 40. James Penner, review of Fool for Love by Sam Shepard, Theatre Journal 52, no. 1 (2000): 117. 41. Sam Shepard, Fool for Love, in Fool for Love and Other Plays (New York: Dial Press, 2006), 19. (All subsequent references to the play will be incor- porated into the text.) 42. Robert Asahina, “The Real Stuff,” The Hudson Review (Spring 1984) carton 4, folder 4.57. Coll. BANC MSS 81/184 c, The Magic Theatre Records, Bancroft Library, University of California, Berkeley. 43. Ibid. 44. Mottram, Inner Landscapes: The Theater of Sam Shepard (Columbia: University of Missouri Press, 1984), 153. 45. Christopher Bigsby, A Critical Introduction to Twentieth-Century American Drama: Volume Three—Beyond Broadway (Cambridge: Cambridge UP, 1985), 148. 46. Wendy Lesser, “True Shepard,” The Threepenny Review 4 (1981): 18. 47. Robert Coe, “Saga of Sam Shepard,” New York Times Magazine, November 23, 1980, carton 4, folder 4.55. Coll. BANC MSS 81/184 c, The Magic Theatre Records, Bancroft Library, University of California, Berkeley. Notes 179

48. Bigsby, A Critical Introduction to Twentieth-Century American Drama, 170. Emphasis mine. 49. David Savran, A Queer Sort of Materialism: Recontextualizing American Theatre (Ann Arbor, MI: The University of Michigan Press, 2003), 134. 50. Jonathan P. Eburne, Surrealism and the Art of Crime (New York: Cornell UP, 2008), 4. 51. Naomi Greene, “Antonin Artaud: Metaphysical Revolutionary,” Yale French Studies 39 (1967): 193. 52. Peter L. Hays, “Child Murder and Incest in American Drama,” Twentieth Century Literature 30 (1990): 443. 53. Freud, The Interpretation of Dreams, 234. 54. Freud, Totem and Taboo: Resemblances Between the Psychic Lives of Savages and Neurotics (New York: Vintage Books, 1946), 7–8. 55. Ibid., 17. 56. Henrik Ibsen, Ghosts, trans. William Archer (Charleston, SC: Bibliobazaar, 2007), 88. 57. Ibid., 90. 58. Robert W. Corrigan, “The Sun Always Rises: Ibsen’s Ghosts as Tragedy?” Educational Theatre Journal 11, no. 3 (October 1959): 171. 59. Foster, Compulsive Beauty, 79. 60. Sam Shepard, The Holy Ghostly, in Sam Shepard: Plays 1 (London: Methuen, 1996), 216. (All subsequent references to the play will be incorporated into the text.) 61. Charlotte Stokes, “Surrealist Persona: Max Ernst’s ‘Loplop, Superior of Birds,’” Simiolus: Netherlands Quarterly for the History of Art 13, no. 3/4 (1983): 231. 62. Rudolf E. Kuenzli, “Surrealism and Misogyny,” in Surrealism and Women, ed. Mary Ann Caws, Rudolf Kuenzli, and Gwen Raaberg (Cambridge, MA: MIT Press, 1993), 19. 63. Natalya Lusty, Surrealism, Feminism, Psychoanalysis (Hampshire: Ashgate, 2007), 8. 64. Ibid., 9. 65. Kuenzli, “Surrealism and Misogyny,” 17. 66. Robert J. Belton, “Speaking with Forked : ‘Male’ Discourse in ‘Female’ Surrealism?” in Surrealism and Women, ed. Mary Ann Caws, Rudolf Kuenzli, and Gwen Raaberg (Cambridge, MA: MIT Press, 1993), 10. 67. Sue Taylor, “Hans Bellmer in The Art Institute of Chicago: The Wandering Libido and the Hysterical Body,” Art Institute of Chicago Museum Studies 22, no. 2 (1996): 151. 68. Sam Shepard, The Tooth of Crime, in Sam Shepard: Plays 2, intro. Richard Gilman (London: Faber and Faber, 1997), 246. (All subsequent references to the play will be incorporated into the text.) 69. Callens, Dis/Figuring Shepard, 157. 70. Ibid. 180 Notes

71. David Savran, “The Sadomasochist in the Closet: Sam Shepard, Robert Bly, and the New White Masculinity,” in A Queer Sort of Materialism: Recontextualizing American Theatre by David Savran (Ann Arbor: University of Michigan Press, 2003), 147. 72. Foster, Compulsive Beauty, 264. 73. Sigmund Freud, Civilisation and its Discontents (Connecticut: Martino Publishing, 2010), 77 n.1. 74. Bonnie Marranca, “Alphabetical Shepard: The Play of Words,” in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications, 1981), 31. 75. Savran, “The Sadomasochist in the Closet,” 145. 76. Ibid., 148. 77. Brenda Murphy, “Shepard Writes about Writing,” in The Cambridge Companion to Sam Shepard, ed. Matthew Roudané (Cambridge: Cambridge UP, 2002), 134. 78. Susan Bennett, “When a Woman Looks: The ‘Other’ Audience of Shepard’s Plays,” in Rereading Shepard: Contemporary Critical Essays on the Plays of Sam Shepard, ed. Leonard Wilcox (New York: St. Martin’s Press, 1993), 171. 79. Lynda Hart, “Sam Shepard’s Spectacle of Impossible Heterosexuality: Fool for Love,” in Feminist Rereadings of Modern American Drama, ed. June Schleuter (Cranbury, NJ: Associated University Presses, 1989), 224. 80. Conley, “Safe as Houses,” 1. 81. Ibid., 11. 82. Kuenzli, “Surrealism and Misogyny,” 19. 83. Callens, Dis/Figuring Shepard, 56. 84. Marjorie Garber, Vested Interests: Cross Dressing and Cultural Anxiety (New York: Routledge, 2011), 94. 85. In Bennett, “When a Woman Looks,” 176. 86. Florence Falk. “Men without Women: The Shepard Landscape,” in American Dreams: The American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications, 1981), 99. 87. Marranca, “Alphabetical Shepard,” 31. 88. James A. Schlatter, “Some Kind of Future: The War for Inheritance in the Work of Three American Playwrights of the 1970s,” South Central Review 7, no. 1 (1990): 61. 89. Hughes, The Shock of the New, 255. 90. Sam Shepard, La Turista, in Sam Shepard: Plays Two (London: Faber and Faber, 1997), 262. 91. Patti Smith, “Jag-Arr of the Jungle,” published in CREEM, January 1973. 92. Hughes, The Shock of the New, 249. 93. Susan Gubar, “Representing Pornography: Feminism, Criticism, and Depictions of Female Violation,” Critical Inquiry 13, no. 4 (1987): 722–723. Notes 181

94. Ibid. Emphasis mine. 95. Ibid., 723. 96. Lusty, Surrealism, Feminism, Psychoanalysis, 134. 97. Ibid., 135. 98. Lusty, Surrealism, Feminism, Psychoanalysis, 135–136. 99. Ibid., 131. 100. Foster, Compulsive Beauty, 109. 101. Stephen Watt, “Simulation, Gender, and Postmodernism,” Perspectives on Contemporary Literature 13 (1987): 80–81. 102. Ibid. 103. The influence of the plays of Beckett on Shepard’s theatre will be analyzed in greater detail in chapter 5. 104. Callens, Dis/Figuring Shepard, 53. 105. Carla J. McDonough, Staging Masculinity: Male Identity in Contemporary American Drama (Jefferson, NC: McFarland, 1997), 38. 106. Ibid.

4 A Comparative Study of Sam Shepard’s and Luis Buñuel and Salvador Dalí’s Un chien andalou

1. Michael Almereyda, “Sam Shepard: The All American Cultural Icon at 50,” Arena, May/June 1994, 69. 2. Christopher Bigsby, “Blood and Bones Yet Dressed in Poetry: The Drama of Sam Shepard,” Contemporary Theatre Review 8, no. 3 (1998): 29. Emphasis mine. 3. Linda Williams, Figures of Desire: A Theory and Analysis of Surrealist Film (Berkeley and Los Angeles: University of California Press, 1992), 55. 4. Ibid., 70–71. 5. Ibid., 65. 6. Ibid., 68. 7. Ibid., 72. 8. Ibid., 73. 9. Christian Metz, Psychoanalysis and Cinema: The Imaginary Signifier, trans. Celia Britton et al. (London: Macmillan, 1982), 58. 10. Ibid., 59. 11. Peter William Evans and Isabel Santaolalla, Luis Buñuel: New Readings (London: British Film Institute, 2004), 1–2. 12. Rebecca Schneider, The Explicit Body in Performance (London: Routledge, 1997), 82. 13. James Knowlson. Damned to Fame: The Life of Samuel Beckett (New York: Grove Press, 1996), 425. 14. Susan C. W. Abbotson, “Sam Shepard: A Bibliographic Essay and Production Overview,” in The Cambridge Companion to Sam Shepard, ed. Matthew Roudané (Cambridge: Cambridge UP, 2002), 307. 182 Notes

15. Charlotte Chandler, I, Fellini (New York: Random House, 1995), 21. 16. Sam Shepard. Geography of a Horse Dreamer, in Fool for Love and Other Plays (New York: Dial Press, 2006), 280. (All subsequent references to the play will be incorporated into the text.) 17. Joel Schechter, review of Angel City by Sam Shepard, Educational Theatre Journal 26, no. 3 (1974): 401. 18. Sam Shepard, The Rolling Thunder Logbook (London: Sanctuary, 2005), 175. 19. Ibid., 177. 20. Ibid., 15. 21. Michael J. Gilmour, The Gospel According to : The Old, Old Story of Modern Times (Louisville, KY: John Knox, 2011), 12. 22. Ibid., 13. 23. Sam Shepard, Angel City, in Fool for Love and Other Plays (New York: Dial Press, 2006), 62. (All subsequent references to the play will be incorpo- rated into the text.) 24. Christopher Bigsby, A Critical Introduction to Twentieth-Century American Drama: Volume Three—Beyond Broadway, (Cambridge: Cambridge UP, 1985), 76. 25. Shepard, Rolling Thunder Logbook, 98. 26. Ibid., 44. 27. Quoted in Stephen J. Bottoms, The Theatre of Sam Shepard: States of Crisis (Cambridge: Cambridge UP, 1998), 126. 28. Patrick J. Fennell, review of Angel City by Sam Shepard, Educational Theatre Journal 29.1 (1977): 112. 29. Hal Foster, Compulsive Beauty (Cambridge: MIT Press, 2000), 19. 30. Sam Shepard, interview with Newsweek Magazine, July 26, 1979, carton 4, folder 4.54. Coll. BANC MSS 81/184 c, The Magic Theatre Records, Bancroft Library, University of California, Berkeley. 31. Keir Elam, The Semiotics of Theatre and Drama (London: Routledge, 1991), 52. 32. Jack Undank, “The Violence of Signs,” review of Un Chien Andalou by Luis Buñuel and Salvador Dalí, The French Review 50, no. 3 (1997): 486–487. 33. Toby Silverman Zinman, “Shepard’s Theatre of the First Wall,” Theatre Journal 40, no. 4 (1988): 514. 34. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” in Film Theory and Criticism: Introductory Readings, eds. Leo Braudy and Marshall Cohen (New York: Oxford UP, 1999), 836. 35. Metz, Psychoanalysis and Cinema, 67. 36. Ibid., 68. 37. Florence Falk, “The Role of Performance in Sam Shepard’s Plays,” Theatre Journal 33, no. 2 (1981): 183–184. 38. Ibid., 184. 39. This recalls Joyce’s words “roll away the reel world, the reel world, the reel world” (64.25) in Finnegans Wake, a book he described as an “imitation of Notes 183

the dream-state” as quoted in Don Gifford, Zones of Re-Membering: Time, Memory, and (un)Conscious (Amsterdam: Rodopi, 2011), 109. 40. Juan Roberto Mora Catlett, “Buñuel, the Realist: Variations of a Dream,” in Luis Buñuel’s The Discreet Charm of the Bourgeoisie, ed. Marsha Kinder (Cambridge: Cambridge University Press, 1999), 44. 41. Sigmund Freud, The Interpretation of Dreams (Herfordshire: Wordsworth, 1997), 15. 42. Ibid., 5. 43. Falk, “The Role of Performance in Sam Shepard’s Plays,” 183. 44. Undank, “The Violence of Signs,” 487. 45. Ibid., 486. 46. Luis Buñuel, My Last Breath, trans. Abigail Israel (London: Jonathan Cape, 1985), 104. 47. Marsha Kinder, “The Nomadic Discourse of Luis Buñuel: A Rambling Overview,” in Luis Buñuel’s The Discreet Charm of the Bourgeoisie, ed. Marsha Kinder (Cambridge: Cambridge UP, 1999), 5. 48. Ross Wetzsteon, “Looking a Gift Horse in the Mouth,” in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications, 1981), 135. 49. Kinder, “The Nomadic Discourse of Luis Buñuel,” 9 and n.16. 50. In Gwynne Edwards, A Companion to Luis Buñuel (Woodbridge: Tamesis, 2005), 26. 51. Freud, The Interpretation of Dreams, 17. 52. Ibid. 53. Ibid., 16. 54. J. F. Pagel, C. Kriatkowski, and K. E. Broyles, “Dream Use in Film Making,” Dreaming: Journal of the Association for the Study of Dreams 9, no. 4 (1999): 248. Emphasis mine. 55. Sylvie Drake, “Sam Shepard: A Play for Every Life Style,” Los Angeles Times, October 21, 1979, 62. 56. André Breton, “As in Wood,” The Shadow and Its Shadow: Surrealist Writings on the Cinema, ed. Paul Hammond (San Francisco: City Lights, 2000), 73–74. 57. Elizabeth H. Lyon, “Luis Buñuel: The Process of Dissociation in Three Films,” Cinema Journal 13, no. 1 (1973): 46. 58. Metz, Psychoanalysis and Cinema, 50. 59. Ibid., 50–51. 60. Frank D. McConnell, The Spoken Seen: Film and the Romantic Imagination (Baltimore, MD: Johns Hopkins UP, 1975), 17. 61. Foster, Compulsive Beauty, 23. 62. Ibid., 25. 63. Ibid., 28. 64. Ibon Izurieta, “Performativity in Buñuel’s The Phantom Liberty and The Discreet Charm of the Bourgeoisie,” Modern Language Review 103, no. 3 (2008): 754. 65. Buñuel, My Last Breath, 107. 184 Notes

66. Metz, Psychoanalysis and Cinema, 201. 67. Lyon, “Luis Buñuel,” 48. 68. Ibid. 69. Williams, Figures of Desire, 100–101. 70. Mora Catlett, “Buñuel, the Realist,” 46–47. 71. Kinder, “The Nomadic Discourse of Luis Buñuel,” 20. 72. Buñuel, My Last Breath, 93. 73. Ibid., 94–95. 74. Julie Jones, “‘Long Live Death!’ The End of Revolution in Luis Buñuel’s The Phantom of Liberty,” Cinema Journal 42, no. 4 (2003): 72–73. 75. Foster, Compulsive Beauty, 28. 76. Mora Catlett, “Buñuel, the Realist,” 56. 77. Ibid. 78. Jones, “Long Live Death!” 73. 79. Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1982), 9. 80. Ibid., 89.

5 Tongues, Savage/Love, and The War in Heaven: Angel’s Monologue: Joseph Chaikin and Sam Shepard in Collaboration

1. Eileen Blumenthal, “Sam Shepard and Joseph Chaikin: Speaking in Tongues,” in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications, 1981), 142–143. 2. Hans-Thies Lehmann, Postdramatic Theatre, trans. Karen Jürs-Munby (Oxon: Routledge, 2006), 166. 3. Sam Shepard, Tongues in Sam Shepard: Plays 2, intro. Richard Gilman (London: Faber and Faber, 1997), 302. (All subsequent references to the play will be incorporated into the text.) 4. Blumenthal, “Sam Shepard and Joseph Chaikin,” 136. 5. William Kleb, “Shepard and Chaikin Speaking in Tongues,” Theater 10 (Fall 1978): 66. 6. J. L. Styan, Modern Drama in Theory and Practice. Volume 2. Symbolism, Surrealism and the Absurd (Cambridge: Cambridge UP, 1981), 156. 7. Stephen J. Bottoms, “Sam Shepard and Off-Off Broadway: The Unseen Hand of ,” in The Cambridge Companion to Sam Shepard, ed. Matthew Roudané (Cambridge: Cambridge UP, 2002), 35. 8. Ibid., 30. 9. Christopher Bigsby, Twentieth Century American Drama, Volume 3. Beyond Broadway (Cambridge: Cambridge UP, 1985), 46. 10. David G. Zinder, The Surrealist Connection: An Approach to a Surrealist Aesthetic of Theatre (Ann Arbor, Michigan: UMI Press, 1980), 127. Notes 185

11. John Tytell, : Art, Exile and Outrage (London: Methuen Drama, 1997), 13–14. 12. Ibid., 263. 13. , The Empty Space (Middlesex: Penguin, 1980), 70–71. 14. Joseph Chaikin, “The Open Theatre,” The Tulane Drama Review 9 (Winter 1964), 196. 15. Obituary, n.a., , June 26, 2003 [http://www.guardian.co.uk /news/2003/jun/26/guardianobituaries1]. 16. Shomit Mitter, “Inner and Outer: ‘Open Theatre’ in Peter Brook and Joseph Chaikin,” Journal of Dramatic Theory and Criticism 3 (Fall 1988): 48. 17. Ibid., 54. 18. Johan Callens, Dis/Figuring Sam Shepard (Brussels: P.I.E. Peter Land, 2007), 129. 19. Joseph Chaikin, The Presence of the Actor (New York: Theatre Communica- tions Group, 1991), 130–131. 20. Ellen Oumano, Sam Shepard: The Life and Work of an American Dreamer (London: Virgin, 1986), 52. 21. Leslie A. Wade, Sam Shepard and the American Theatre (Westport: Praeger, 1997), 78. 22. Ibid. 23. Sam Shepard, Killer’s Head in Sam Shepard: Plays 1 (London: Methuen, 1996), 381. (All subsequent references to the play will be incorporated into the text.) 24. Anthony Cronin, Samuel Beckett: The Last Modernist (London: HarperCollins, 1996), 387. 25. Leonard Wilcox, “Modernism vs. Postmodernism: Shepard’s The Tooth of Crime and the Discourses of Popular Culture,” Modern Drama 30, no. 4 (1987), 562. 26. Sam Shepard, “Directors Statement,” in carton 4, folder 4.55. Coll. BANC MSS 81/184 c, The Magic Theatre Records, Bancroft Library, University of California, Berkeley. 27. Ibid. 28. Ibid. 29. Karen Ann Quinlan was a 21-year old from Pennsylvania who had been left in a comatose state after her brain was deprived of oxygen following a collapse at a party in 1975. Her parents launched an extensive legal battle over her “right to die” and the case opened up a controversial discussion on euthanasia in the at the time. 30. William Kleb, “Sam Shepard’s Inacoma at the Magic Theatre.” Theatre 9 (Fall 1977): 59–64. 31. Sam Shepard, Mill Valley, California, May 23, 1977 in Joseph Chaikin and Sam Shepard: Letters and Texts, 1972–1984, ed. Barry Daniels (New York: Theatre Communications Group, 1994), 18. 32. Ibid., 35. 33. Ibid., 40. 186 Notes

34. Carlos Castaneda, The Second Ring of Power (London: Hodder and Stoughton, 1977), 227. 35. Theodore Shank, American Alternative Theatre (London: Macmillan, 1982), 39. 36. Sam Shepard, Tongues in Sam Shepard Plays:2 (London: Faber and Faber, 1997), 300–301. 37. Ibid., 48. 38. Ibid., 57. 39. E. F. Kaelin, “On ‘Form’ and ‘Content’: An Essay in Meta-Criticism,” review of Existential Thought and Fictional Technique: Kierkegaard, Sartre, Beckett, by Edith Kern, Boundary 2 1 (1973): 735. 40. Joseph Chaikin, “Introduction to Savage/Love,” in Joseph Chaikin and Sam Shepard: Letters and Texts, 1972–1984, ed. Barry Daniels (New York: Theatre Communications Group, 1994), 107. (All subsequent references to the play will be incorporated into the text.) 41. John Fletcher, Samuel Beckett’s Art (London: Chatto and Windus, 1967), 25. 42. Daniel Albright, Beckett and Aesthetics (Cambridge: Cambridge UP, 2003), 10. 43. David Bradby, Beckett: Waiting for Godot (Cambridge: Cambridge UP, 2001), 22. 44. Albright, Beckett and Aesthetics, 11. 45. Ibid., 12. 46. Ibid., 10. 47. Christopher Bigsby, Dada and Surrealism. (London: Methuen, 1972), 79–82. 48. Ibid., 80. 49. Ibid., 81–82. 50. Anna McMullan, Theatre on Trial: Samuel Beckett’s Later Drama (London: Routledge, 1993), 49. 51. Samuel Beckett, That Time in Samuel Beckett: The Complete Dramatic Works (London: Faber and Faber, 2006), 388. 52. Callens, Dis/Figuring Sam Shepard, 148–149. 53. Ulrika Maude, Beckett, Technology and the Body (Cambridge: Cambridge UP, 2009), 13. 54. Amy Lyford, “The Aesthetics of Dismemberment: Surrealism and the Musée du Val-de-Grâce in 1917,” Cultural Critique 46 (Autumn 2000): 53. 55. S. Pridmore, “Download of Psychiatry, Chapter 26,” Last modified October 2010, accessed 02/10/2012 16.57. 56. Ibid., 65. 57. Blumenthal, “Sam Shepard and Joseph Chaikin,” 143. 58. André Breton, “Manifesto of Surrealism,” in Manifestoes of Surrealism, trans. Richard Seaver and Helen R. Lane (Ann Arbor: Universtiy of Michigan Press, 1972), 21–22. 59. André Breton, “Avis au Lecteur,” preface to Max Ernst’s La Femme 100 Têtes, quoted in Lyford p. 53. Notes 187

60. Lyford, “The Aesthetics of Dismemberment,” 56. 61. Callens, Dis/Figuring Sam Shepard, 133. 62. Samuel Beckett, Fizzle 4, in Samuel Beckett: The Complete Short Prose 1929–1989 (New York: Grove Press, 1995), 234. 63. Samuel Beckett, The Complete Dramatic Works (London: Faber and Faber, 2006), 376. 64. Daniels, 43. 65. Samuel Beckett, How It Is (London: Faber and Faber, 2009), 39. 66. Ibid., 3. 67. Flore Chevaillier, “‘Something Wrong There’: Punning in Comment C’est” Journal of Modern Literature 31 (2008): 134. 68. , “Directing the Plays of Harold Pinter,” in The Cambridge Companion to Harold Pinter, ed. Peter Raby (Cambridge: Cambridge UP, 2001), 148. 69. Sheila Rabillard, “Sam Shepard: Theatrical Power and American Dreams,” Modern Drama 30, no. 1 (1987): 60. 70. Ibid., 61. 71. This point was suggested to me by Prof Anthony Roche and was clari- fied by Dhirendra Verma’s Word Origins (New Delhi: Sterling Paperbacks, 1998), 35. 72. Matthew Gale, Dada and Surrealism (New York: Phaidon, 2006), 222. 73. Callens, Dis/Figuring Sam Shepard, 146. 74. Antonin Artaud, The Theater and Its Double (New York: Grove Press, 1997), 72. 75. André Breton, “Manifesto of Surrealism,” in Manifestoes of Surrealism (Ann Arbor: Michigan University Press, 1972), 34. 76. Ibid., 35. 77. Ibid., 34. 78. Benjamin Keatinge, “Beckett and Language Pathology,” Journal of Modern Literature 31 (2008): 87. 79. Ibid., 90. 80. Lyford, “The Aesthetics of Dismemberment,” 65. 81. Quoted in Daniels, 154. 82. Breton, “Manifesto of Surrealism,” 22–23. 83. Blumenthal, “Sam Shepard and Joseph Chaikin,” 139. 84. John Beattie, “Spirit Mediumship as Theatre,” RAIN (Royal Anthropological Institute News) 20 (June 1977): 2. 85. Ibid. 86. Robert Goldberg, “Sam Shepard: Off Broadway’s Street Cowboy,” Rolling Stone College Papers, (Winter 1980): 44; quoted in Daniels, 27. 87. David Lomas, “‘Modest Recording Instruments’: Science, Surrealism and Visuality,” Art History 27, no. 4 (2004): 638. 88. Sam Shepard, “Language, Visualization and the Inner Library,” in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications, 1981), 215. 89. Callens, Dis/Figuring Sam Shepard, n.8 141. 188 Notes

90. Martin Esslin, The Theatre of the Absurd (London: Penguin, 1991), 26. Emphasis mine. 91. Breton, “On Surrealism in Its Living Works,” 297. 92. Dawn Ades, “Dada and Surrealism,” in Concepts of Modern Art: From Fauvism to Postmodernism (London: Thames and Hudson, 2003), 126. 93. Marc Robinson, “Joseph Chaikin and Sam Shepard in Collaboration,” The Cambridge Companion to Sam Shepard, ed. Matthew Roudané (Cambridge: Cambridge UP, 2002), 98. 94. In Marc Robinson, The Other American Drama (Baltimore and London: Johns Hopkins University Press, 1997), 77. 95. Samuel Beckett, Three Novels: Molloy; Malone Dies; The Unnamable, trans. Patrick Bowles and Samuel Beckett (New York: Grove, 1965), 218. 96. Anna McMullan, Performing Embodiment in Samuel’s Drama (London: Routlegde, 2010), 105–106. 97. McMullan, Performing Embodiment in Samuel’s Drama, 108. 98. Ibid., 108. 99. Susan Harris Smith, “Estrangement and Engagement: Sam Shepard’s Dramaturgical Strategies,” Journal of Dramatic Theory and Criticism 3, no. 1 (Fall 1988): 80. 100. Rabillard, “Sam Shepard,” 66. 101. Wayne Stengel, “The Inside Outside World of Sam Shepard’s La Turista,” Publications of the Arkansas Philological Association (1987): 54–55. 102. Callens, Dis/Figuring Sam Shepard, 147. 103. Gene A. Plunka, “Staging Aphasia: Jean-Claude Van Itallie’s The Traveller.” Journal of Dramatic Theory and Criticism 1 (1991): 5. 104. Aleen Agranowitz and Milfred Riddle McKeown, Aphasia Handbook for Adults and Children (Springfield, IL: Charles C. Thomas, 1970), 17. 105. Daniels, 111. 106. Ibid., 120. 107. Ibid., 117. 108. Ibid., 121. 109. Ibid., 126. 110. Plunka, “Staging Aphasia,” 6. 111. Agranowitz and McKeown, Aphasia Handbook for Adults and Children, 7. 112. Lomas, “‘Modest Recording Instruments,’” 629. 113. Ibid., 630. 114. Daniels, 186. 115. Robert Everett-Green, “Chaikin Speaks in the Voice of an Angel,” The Globe and Mail (Toronto), June 13, 1986, in Daniels, 186–187. 116. Roman Jakobson, Studies on Child Language and Aphasia (The Hague: Mouton, 1971), 67. 117. Ibid., 70. 118. Ibid., 63–64. 119. Ibid., 84–85. 120. Ibid., 84. 121. Pridmore, “Download of Psychiatry, Chapter 26,” 9. Notes 189

122. John Milton, Paradise Lost (Los Angeles: Indo-European Publishing, 2010), 140. 123. Ibid. 124. Ibid., 167. 125. Samuel Beckett, Waiting for Godot in The Complete Dramatic Works (London: Faber and Faber, 2006), 83. 126. Ibid., 85. 127. Samuel Beckett, A Piece of Monologue in Samuel Beckett: The Complete Dramatic Works (London: Faber and Faber, 2006), 425. 128. Samuel Beckett, Not I in Samuel Beckett: The Complete Dramatic Works (London: Faber and Faber, 2006), 376. 129. Susan J. Blackmore, “A Psychological Theory of the Out-of-Body Experience,” Journal of Parapsychology 48 (September 1984): 208. 130. Albright, Beckett and Aesthetics, 22. 131. Smith, “Estrangement and Engagement,” 79. 132. In Smith, “Estrangement and Engagement,” 71–72. 133. Ibid., 73. 134. Ibid., 71–84. 135. Wade, Sam Shepard and the American Theatre, 80. 136. Sam Shepard, “Language, Visualization and the Inner Library” in American Dreams 214. 137. Rabillard, “Sam Shepard,” 67. 138. Anne Ubersfeld, Reading Theatre, trans. Frank Collins (Toronto: University of Toronto Press, 1999), 27. 139. Keatinge, “Beckett and Language Pathology,” 87. 140. Chaikin, “The Open Theatre,” 195. 141. Daniels, 35. 142. David Bate, Photography and Surrealism: Sexuality, Colonialism and Social Dissent (London: I. B. Tauris, 2004), 72.

6 States of Shock and : Performances of Waste

1. Sam Shepard, interview with Carol Rosen, Sam Shepard: A Poetic Rodeo (Basingstoke: Palgrave Macmillan, 2004), 235. 2. Sam Shepard, States of Shock in Sam Shepard: Plays 3 (London: Methuen, 1996), 143. (All subsequent references to the play will be incorporated into the text.) 3. Theodore W. Adorno, “Trying to Understand ,” in Notes to Literature: Volume 1, trans. Sherry Weber Nicholsen (New York: Columbia UP, 1991), 246. 4. Johan Callens, Dis/figuring Sam Shepard (Brussels: P.I.E. Peter Lang, 2007), 174. 5. Lesley A. Wade, “States of Shock, Simpatico, and Eyes for Consuela: Sam Shepard’s plays of the 1990s,” in The Cambridge Companion to Sam Shepard, ed. Matthew Roudané (Cambridge: Cambridge UP, 2002), 260. 190 Notes

6. Peter Boxall, “‘There’s No Lack of Void’: Waste and Abundance in Beckett and DeLillo,” SubStance 37, no. 2 (2008): 58–59. 7. George Bataille, “The Notion of Expenditure,” in Visions of Excess: Selected Writings, 1927–1939: Theory and History of Literature Volume 14, ed. Allan Stoekl (Minneapolis, MN: University of Minnesota Press, 1985), 118. 8. Michael Richardson, introduction to The Absence of Myth: Writings on Surrealism by Georges Bataille (Verso: London, 1994), 3. 9. George Bataille, “On the Subject of Slumbers,” in The Absence of Myth: Writings on Surrealism by Georges Bataille (Verso: London, 1994), 51. 10. Gary Grant, “Shifting the Paradigm: Shepard, Myth, and the Transformation of Consciousness,” Modern Drama 36, no. 1 (1993): 123. 11. Bataille, “The Notion of Expenditure,” 117. Bataille’s emphasis. 12. Sam Shepard, “Language, Visualization and the Inner Library” in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications, 1981), 216. 13. Ibid. 14. Ibid. 15. Antonin Artaud, The Theatre and its Double (New York: Grove Press, 1958), 72. 16. Rebecca Schneider, The Explicit Body in Performance (London: Routledge, 1997), 82. 17. Callens, Dis/figuring Sam Shepard, 176. 18. Carol Rosen, Sam Shepard: A Poetic Rodeo (Basingstoke: Palgrave Macmillan, 2004),179. 19. David G. Zinder, The Surrealist Connection: An Approach to a Surrealist Aesthetic of Theatre (Ann Arbor: University of Michigan Research Press, 1980), 87. 20. Bataille, “The Notion of Expenditure,” 117. 21. Zinder, The Surrealist Connection, 87–88. 22. Emilie Morin, Samuel Beckett and the Problem of Irishness (Hampshire: Palgrave Macmillan, 2009), 127. 23. Ibid., 127–128. 24. Samuel Beckett, Breath, in The Complete Dramatic Works (London: Faber and Faber, 2006), 371. 25. Richard Gilman, introduction to Sam Shepard: Plays 2 (London: Faber and Faber, 1997), xiv–xv. 26. Ibid. 27. Samuel Beckett, Endgame in Samuel Beckett: The Complete Dramatic Works (London: Faber and Faber, 2006), 105. 28. Sam Shepard, Seduced in Fool for Love and Other Plays (New York: Dial Press, 2006), 236–237. 29. Ibid., 233. 30. Ibid., 238. 31. Robert Hughes, The Shock of the New: Art and the Century of Change (London: Thames and Hudson, 2002), 267. Notes 191

32. Georges Bataille. “The Accursed Share,” in Georges Bataille: Essential Writings, ed. Michael Richardson (London: Sage, 1998), 68. 33. Hughes, The Shock of the New, 268. 34. Jonathan Jones, “See Through, Vito Acconci (1969),” The Guardian, November 23, 2002, http://arts.guardian.co.uk/portrait/story/0,,845513,00 .html. 35. Hughes, The Shock of the New, 267. 36. Rosen, Sam Shepard, 182. 37. Bataille, “The Notion of Expenditure,” 128–129. 38. This was suggested to me in conversation with Professor Anthony Roche on November 10, 2012. 39. Martin Esslin, The Theatre of the Absurd (London: Penguin, 1991), 311–312. 40. Ibid. 41. Amy Lyford, “The Aesthetics of Dismemberment: Surrealism and the Musée du Val-de-Grâce in 1917,” Cultural Critique 46 (Autumn 2000): 65. 42. Callens, Dis/figuring Sam Shepard, 28. 43. Bert O. States, Great Reckonings in Little Rooms: On the Phenomenology of Theatre (Berkeley: University of California Press, 1985), 160. 44. Sam Shepard, interview with Benjamin Ryder Howe et al., The Paris Review 142 (Spring 1997), http://www.theparisreview.org/interviews/1281/the-art -of-theater-no-12-sam-shepard. 45. Sam Shepard, Angel City, in Fool for Love and Other Plays (New York: Dial Press, 2006), 71. 46. Zinder, The Surrealist Connection, 86. 47. Richard Kearney, “Writing Trauma: Catharsis in Joyce, Shakespeare and Homer,” ABC Religion and Ethics, July 19, 2012, http://www.abc.net.au /religion/articles/2012/07/19/3549000.htm. 48. Ibid. 49. Callens, Dis/figuring Sam Shepard, 166. 50. Rosalind Krauss, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1999), 68. 51. Ibid. 52. Hans-Thies Lehmann, Postdramatic Theatre (Oxon: Routledge, 2006), 166. 53. Matthew Christopher, quoted in Joann Greco, “The Psychology of Ruin Porn,” The Atlantic Cities, January 6, 2012, http://www.theatlanticcities.com /design/2012/01/psychology-ruin-porn/886/. 54. Sam Shepard, Simpatico, in Sam Shepard: Plays 3 (London: Methuen, 1996), 243. (All subsequent references to the play will be incorporated into the text.) 55. Shepard, “Language, Visualisation and the Inner Library,” 216. 56. RoseLee Goldberg, Performance: Live Art 1909 to the Present (London: Thames and Hudson, 1979), 59. 57. Bataille, “The Notion of Expenditure,” 116. 192 Notes

58. Stephen J. Bottoms, The Theatre of Sam Shepard: States of Crisis (Cambridge: Cambridge UP, 1998), 255. 59. Hilton Als, “The Theatre: Mother Knows Best; The Women Take Control in Heartless,” The New Yorker, September 10, 2012, 106–107. 60. Ibid., 107. 61. Wade, “States of Shock, Simpatico, and Eyes for Consuela,” 267–268. 62. Bataille, “The Notion of Expenditure,” 118. 63. Bottoms, States of Shock, 254. 64. Ibid. 65. Vincent Canby, “Shepard Goes to the Races and Wins,” New York Times, November 20, 1994, Section 2, 5. 66. Adam Jasper, “Feature: Andreas Slominski: Caught in a Trap,” Art Review (April 2007): 79. 67. Ibid. 68. Wade, “States of Shock, Simpatico, and Eyes for Consuela,” 274. 69. Ibid. 70. Shepard, “Language, Visualisation and the Inner Library,” 214. 71. Sam Shepard, interview by Robert Goldberg, “Sam Shepard: American Original,” Playboy 31 (March 1984): 112. 72. Ibid. 73. Bataille, “The Notion of Expenditure,” 117. Bataille’s emphasis. 74. Ibid., 117–118.

7 Conclusion: Through the 1990s and Beyond

1. Sam Shepard, Eyes for Consuela, in The Late Henry Moss, Eyes for Consuela and When the World Was Green (New York: Vintage Books, 2002), 120. 2. Ibid., 125. 3. Sam Shepard, Kicking a Dead Horse (London: Faber and Faber, 2007), 45. 4. Ibid., 11. 5. Sam Shepard, Ages of the Moon, in Fifteen One-Act Plays, intro. Conor McPherson (New York: Vintage Books, 2012), 39. 6. John Lahr, “The Pathfinder: Sam Shepard and the Struggles of American Manhood,” The New Yorker, February 8, 2010. http://www.newyorker .com/arts/critics/atlarge/2010/02/08/100208crat_atlarge_lahr. Accessed 21 July 2010. 7. Unknown Author. “January Gloss-In,” The Gloss Magazine, The Irish Times, January 2013, 6. 8. Sam Shepard, interview with Gwynne Watkins, “Sam Shepard Gives a Rare Interview, Thinks Safe House Could’ve Been Better,” GQ Magazine, June 11, 2012. Accessed January 31, 2013, http://www.gq.com/entertainment /tv/blogs/the-stream/2012/06/sam-shepard-interview-safe-house.html. 9. Sam Shepard, Heartless, Rehearsal Draft, July 9, 2012. Unpublished manu- script. Act 1, 7. 10. Ibid., Act 11, 14. Notes 193

11. Ibid., Act 11, 33. 12. Ibid., Act 11, 2. 13. Hilton Als, “The Theatre: Mother Knows Best: The Women Take Control in Heartless,” The New Yorker, September 10, 2012. 106. 14. Sam Shepard, Geography of a Horse Dreamer, in Fool for Love and Other Plays (New York: Dial Press, 2006), 292. 15. Sam Shepard, Angel City, in Fool for Love and Other Plays (New York: Dial Press, 2006), 91. 16. The recycling of characters’ names in Shepard’s later works should be noted here. Heartless and A Lie of the Mind both contain characters called “Sally” of Irish ancestry. Similarly a character by the name of “Ames” appears in Simpatico and Ages of the Moon. Curse of the Starving Class both feature young women called “Emma” while Buried Child and Simpatico contain a “Vince” and a “Vinnie” respectively. 17. Sam Shepard, A Lie of the Mind, in Plays 3 (London: Methuen, 1996), 124. 18. Ibid., 125. 19. Eamonn Wall, preface to Writing the Irish West: Ecologies and Traditions (Notre Dame, IN: University of Notre Dame Press, 2011), xvi. 20. Ibid. 21. Luke Gibbons, “‘Made in the Shade’: Sam Shepard and the West” (lecture, The Abbey Theatre, Dublin, Ireland, November 10, 2009). 22. Diane Negra, introduction to The Irish in US (Durham: Duke University, 2006), 2. 23. Ibid., 1. 24. Ibid., 2. 25. Ibid., 9. 26. Sam Shepard, interview with Clare Dwyer Hogg, “The Good Guy and Bad Guy Stuff Just Doesn’t Interest Me,” The Guardian, December 1, 2013. Accessed June 20, 2014. http://www.theguardian.com/stage/2013 /dec/01/sam-shepard-interview-oedipus-derry 27. Eoin O’Brien, “Beckett and Ireland,” pamphlet from the Beckett Festival at the Gate Theatre in October 1991 in association with Radio Telefís Éireann and Trinity College, Dublin. 28. Dawn Ades, “Dada and Surrealism,” in Concepts of Modern Art: From Fauvism to Postmodernism, ed. Nikos Stangos (London: Thames and Hudson, 1997), 126. 29. Sam Shepard, Buried Child, in Sam Shepard: Plays 2, intro. Richard Gilman (London: Faber and Faber, 1997), 130. 30. Hughes, The Shock of the New, 268. Index

Abramović, Marina, 148 Barthes, Roland, 36, 104 , 18–19 Bataille, Georges, 4, 22, 32, 34–5, 74, absurdism, 11–12, 25, 36, 107, 113–14, 76, 137–61 123, 148–9, 166 on the absence of myth, 22, 34–5 Acconci, Vito, 147–8 “The Notion of Expenditure” (1933), actualisace (foregrounding), 9–10 138–9, 144, 160 Adorno, Theodor W., 12, 136 Baudrillard, Jean, 24, 59, 143 Albee, Edward, 44, 46, 149 Beck, Julian, 85, 107 A Delicate Balance (1966), 149 Beckett, Samuel, 8, 13, 15, 27, 77, Who’s Afraid of Virginia Woolf 84, 105–34, 136, 144–5, 164, (1962), 44, 46 166, 168–9 Almereyda, Michael, 23, 25, 79 Breath (1969), 145 American Place Theatre, The, 40, Echo’s Bones (1935), 113 109, 135, 143, 148 Eleuthéria (1947), 113 American Repertory Theatre, Endgame (1957), 110, 113, 136, The, 126 145–6, 164 Antonioni, Michelangelo, 88 Film (1965), 84 Apollinaire, Guillaume, 14, 26, 107, 113 Happy Days (1961), 84 Les Mamelles de Tirésias How It Is (1964), 117–18, 131 (The Breasts of Tiresias) Krapp’s Last Tape (1958), 164 (1903), 14, 107 Murphy (1938), 113 Sky Blue (1918), 26 Nacht und Träume (1983), 106 Aragon, Louis, 46–7, 113, 115, 120 Not I (1972), 110, 117, 131, 164 Artaud, Antonin, 9–10, 22, 29–31, Piece of Monologue, A (1977), 131 36, 60, 106, 107, 113, 120–1, Proust (1931), 15, 166 143–4, 151 Rockaby (1980), 114, 130, 131 Le Jet de sang (The Jet of Blood) That Time (1974), 114 (1927), 29 Waiting for Godot, 8–9, 119, 126, Theatre and its Double, The (1938), 130–1, 164 120 Bellmer, Hans, 65–6, 76–7 Theatre of Cruelty, 9, 30–1, 60, 107, Benjamin, Walter, 47 120–1 Bigsby, Christopher, 3, 19, 33, 56, 58, August: Osage County (2013), 169 79, 107, 113–14 196 Index

Brecht, Bertolt, 9–12, 18, 40 Cordier, Robert, 114 The Rise and Fall of the City of Crevel, René, 4, 113, 123 Mahagonny (1929), 11–12 Breton, André, 4, 18, 27, 69, 76, 95, 98, Dada, 106, 148 106, 107, 113, 115–16, 120–4, Dalí, Salvador, 4–8, 17–18, 28–9, 41, 128, 134, 138, 143 79–104, 107, 113–14, 136, 142 Manifeste du surréalisme (1924), 113, Lugubrious Game (1929), 17 116, 120–1, 122–3 paranoiac-critical activity, 4–6 Qu’est-ce que le Surrealisme? (1934), 76 Premonition of Civil War (1936), 136 Breton, Simone, 69, 123 Swans Reflecting Elephants (1937), 5 Brook, Peter, 107, 108 de Chirico, Giorgio, 107, 113 The Empty Space (1968), 108 Desnos, Robert, 123 Brothers (2009) (dir. Jim Sheridan), 13 Duchamp, Marcel, 14, 159 Brown, Bill, 28 Bicycle Wheel (1913), 159 Buñuel, Luis, 79–104, 107, 119, 143, L.H.O.O.Q. (1919), 14 149, 155 Dylan, Bob, 38, 39, 80, 84–6 Belle de jour (1967), 101 (dir) (1978), 85 La Charme Discret de la Bourgeoisie (The Discreet Charm of the Elam, Keir, 9–10, 12, 89 Bourgeoisie) (1972), 80, 100–1, Eluard, Paul, 113 103, 119, 149 Thorns of Thunder (1936), 113 Un chien andalou (1929), 79–104, Emin, Tracy, 26 113, 117, 143 My Bed (1998), 26 The Exterminating Angel (1962), 94 Ernst, Max, 10, 18, 47, 48, 63, 113, 116 The Milky Way (1969), 99 La Femme 100 Têtes (1929), 47, 116 Los Olvidados (The Young and the Esslin, Martin, 11, 25, 56, 122, 123, Damned) (1950), 89, 101 149. See also absurdism The Phantom of Liberty (1974), 100, Exposition Internationale du Surréalisme 101, 102–3, 155 (1938), 65 Subida al cielo (Mexican Bus Ride) (1952), 101 Fellini, Federico, 84 Burgess, Anthony, 37, 99 Field Day Theatre Company, 165 A Clockwork Orange (1971), 37, 99 Fischl, Eric, 15 Bad Boy (1981), 15 Cage, John, 145 Freud, Sigmund, 49, 58, 60–3, 66, 67, Carroll, Lewis, 37 76, 82, 83, 92, 93, 94, 100, Castaneda, Carlos, 111 103, 122, 133, 143, 163–4 Second Ring of Power, The (1977), 111 Heimlich, 49, 51 Chaikin, Joseph, 25, 105–34, 135, 150, The Oedipus Complex, 13, 14, 15, 151, 163, 170 54, 61, 62, 102, 151, 160, 165 Open Theatre, The, 108–9, 111, Totem and Taboo (1913), 60–1 113, 125, 127, 131 Uncanny, The, 49, 83, 143 The Presence of the Actor (1972), 108 Chekhov, Anton, 73 Garber, Marjorie, 71–2, 75 The Cherry Orchard (1904), 73 Gelber, Jack, 107 Cold in July (2014) (dir, Jim Mickle), 169 The Connection (1959), 107 Index 197

Giacometti, Alberto, 65 Lorca, Federico García, 79–80 Woman with her Throat Cut (1932), 65 Lyotard, Jean-François, 143 Goffman, Erving, 72, 131 Presentation of Self in Everyday Life Magic Realism, 55–6 (1959), 131 Magic Theatre, The, 87, 105, 109, Goya, Francisco, 102 110–11 The Third of May, 1808 (1814), 102 Magritte, René, 9, 29, 47, 64, 65, 66, Grotowski, Jerzy, 107 75–6, 96 L’Homme au journal (Man with a Happenings, The, 25, 107, 145, 148 Newspaper) (1928), 47 Hegel, Georg W. F., 131 Les jours gigantesques (1928), 66 Phenomenology of Mind (1807), 131 Le Musée d’une Nuit (1927), 96 Hinduism, 105, 122 Pleasure (1926), 65 Hitchcock, Alfred, 83 La Reproduction Interdite (1937), 96 Vertigo (1958), 83 Rêve d’une petite fille qui voulut Hughes, Robert, 146, 147, 148, 170 entrer au carmel (1930), 47 The Treachery of Images Ibsen, Henrik, 44, 62 (1928–1929), 9 Ghosts (1882), 62 Une Semaine de bonté (1934), 47 Ionesco, Eugéne, 166 Le Viol (The Rape) (1934), 75–6 Irigaray, Luce, 69 Malina, Judith, 107 Malkovich, John, 3, 148 Jagger, Mick, 28, 38 Mallarmé, Stéphane, 37 Jakobson, Roman, 128–9 Mariën, Marcel, 136 Jameson, Fredric, 137 Masson, André, 18, 65, 110 Jarry, Alfred, 10, 14, 21, 23, 113 Matta, Roberto, 18 Ubu Roi (1896), 23 Mauss, Marcel, 138 Johns, Jasper, 19, 145 McGinley, Seán, 164 Joyce, James, 151 Meckler, Nancy, 44, 45, 109 Judson Poets’ Theatre, The, 107 Merleau-Ponty, Maurice, 115 Miller, Arthur, 44, 46, 94, 141 Kandinsky, Wassily, 144 All my Sons (1947), 141 Kazan, Elia, 53 Death of a Salesman (1949), 46 Killing Them Softly (2012) Miller, Lee, 142 (dir. Andrew Dominik), 169 Milton, John, 130 Kubrick, Stanley, 99 Paradise Lost (1667), 130 Morise, Max, 123 La Mama Mud (2012) (dir. Jeff Nichols), 169 Club, 26 Mulvey, Laura, 91 Lacan, Jacques, 4, 82, 91, 103 Lautréamont, Comte de, 27 Nerval, Gérard de, 40 Lehmann, Hans-Thies, 105, 153 Nietzsche, Friedrich, 41, 112 Levy, Jacques, 108–9, 10, 13–14 Lichtenstein, Roy, 3–4 Off-off Broadway, 25, 106–7 Limbour, Georges, 152 Oh! Calcutta, 13–14 Living Theatre, The, 85, 107–8, 111 Oldenburg, Claes, 19 198 Index

O’Neill, Eugene, 44, 46, 50 Cowboy Mouth (1971), 19, 21, 22, Long Day’s Journey into Night 26, 28, 37, 40, 153, 156 (1956), 46 Cowboys (1964), 4, 8, 13, 31 Oppenheim, Dennis, 147 Cowboys #2 (1967), 6, 8–9, 133 Oppenheimer, Joel, 107 Curse of the Starving Class (1977), The Great American Desert (107) 43, 50–3, 67, 73, 156, 158, Orlan, 149 164, 165 Out of the Furnace (2013) (dir. Scott Eyes for Consuela (1998), 163 Cooper), 169 Fool for Love (1983), 43, 55–6, 67–8, 78, 135, 156 Paris Colonial Exhibition (1931), 31 Fourteen Hundred Thousand Paz, Octavio, 163 (1966), 6, 10–11, 109 Performance Group, The (TPG), 40 Geography of a Horse Dreamer Picasso, Pablo, 141 (1974), 84–5, 156, 166 Guernica (1937), 141 The God of Hell (2004), 164 Pollock, Jackson, 41 Heartless (2012), 156, 166–7 Pop Art, 4, 18–19, 21–2, 24, 37 The Holy Ghostly (1969), 13, 32, 63 postmodernism, 19, 21, 24–5, 29, 34, Icarus’s Mother (1965), 1–6, 7, 15, 37, 40–1, 69, 103–4, 137, 143 46, 55, 88, 119 Presley, Elvis, 22, 39 Inacoma (1977), 110–11, 156 Prigogine, Ilya, 138 Kicking a Dead Horse (2007), 164, Primitive Art, 60 165, 166 Killer’s Head (1975), 109–10 Rauschenberg, Robert, 19, 145 La Turista (1967), 10, 12, 21, 25, Ray, Man, 69, 75, 142 66, 75, 156 Monument to D.A.F. de Sade The Late Henry Moss (2000), 164 (1933), 75 A Lie of the Mind (1985), 15, 43, Rea, Stephen, 2, 164, 165, 166 53–5, 56, 59, 70, 75, 78, 135, Reavey, George, 113 156, 166, 167, 168 Rimbaud, Arthur, 40 The Mad Dog Blues (1971), 19, 21, Rockwell, Norman, 45–6, 50 22–4, 28, 29 Rolling Stones, The, 28 Operation Sidewinder (1970), 19, 21, 22, 24–5, 26, 29–30, 32, Sade, Marquis de, 75, 166 40, 66, 138, 164 Schechner, Richard, 12, 40, 107, 108 A Particle of Dread (Oedipus Shepard, Sam Variations) (2013), 165, 168 Plays Red Cross (1966), 6–8, 10, 107, (1974), 109 109, 156 Ages of the Moon (2009), 164–5 The Rock Garden (1964), 4, 10, Angel City (1976), 79–104, 132, 12, 13–18, 31, 45, 63 144, 150, 151, 157, 167 Savage/Love (1979), 105–34 Back Bog Beast Bait (1971), 40 Shaved Splits (1970), 21–2, 28, 30 Buried Child (1978), 43–7, 49–50, Simpatico (1994), 135–61 55, 60–3, 66, 68, 70, 77, 78, States of Shock (1991), 135–61 156, 169 Suicide in B-Flat (1976), 132, 133 Index 199

Tongues (1978), 105–34 Tanning, Dorothea, 47, 48 The Tooth of Crime (1972), 10, 21, La Chambre d’Amis (1950–52), 48 25, 29, 36–42, 66, 160 Eine Kleine Nachtmusik (A Little True West (1980), 27, 35, 43, 44, Night Music) (1943), 48 50, 56–8, 68, 77, 78, 144, 154, Portrait de famille (Family Portrait) 156, 164 (1953–54), 48 The Unseen Hand (1969), 10, 19, Theatre Genesis, 18, 31 21, 22, 25–6, 27, 32, 33–6, Theatre of Cruelty, 9, 30–1, 60, 107, 145, 164 120–1 The War in Heaven (Angel’s see also Antonin Artaud Monologue) (1985), 105–34 When the World Was Green (A Ubersfeld, Anne, 133 Chef’s Fable) (1996), 163 Prose Van Itallie, Jean-Claude, 127 Motel Chronicles (1982), 14, 77 Vermeer, Johannes, 82 Sheridan, Jim (director), 13 The Village Voice, 31 Slominski, Andreas, 159–60 Villon, Jacques, 40 Smith, Michael, 1, 31–2, 46 Vitrac, Roger, 113 Smith, Patti, 21, 40, 75, 117, 165 Surrealism Wagner, Richard, 81 acte gratuit (gratuitous act), 18, 136, Walter, Sydney Schubert, 10, 11 146–8 Warhol, Andy, 22, 39–40 convulsive beauty, 43, 70, 98, 102 Weill, Kurt, 11 femme-enfant, 48, 64, 65, 72 Weston, Edward, 152–3 le merveilleux, 19, 47 Williams, Tennessee, 44 le objet surréaliste, 22, 27–9 le objet trouvé (the found object), 19 Yale Repertory Theatre, 50, 84 Poetic Surrealism, 106, 121 and women, 64–6, 69–70, 75–7 Zabriskie Point (1970) (dir. Michelangelo Synge, John Millington, 166 Antonioni), 88