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

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Introduction 1 Surrealism and Sam Shepard's Early Plays: 1964–1967 Notes Introduction 1. Michiko Kakutani, “Myths, Dreams, Realities—Sam Shepard’s America,” New York Times, January 29, 1984, 26. 2. Bernard Weiner, “Sam Shepard’s Buried Child—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. Michael Almereyda, “Sam Shepard: The All American Cultural Icon at 50,” Arena, May/June 1994, 69. 10. Samuel Beckett, 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, La Turista, 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 Stephen Rea, 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, A Lie of the Mind 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, Cowboy Mouth, 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 The Tooth of Crime and the Discourses of Popular Culture,” Modern Drama 30, no. 4 (December 1987): 570. 13. Martin Esslin, The Theatre of the Absurd (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 Patti Smith, Cowboy Mouth, in Fool for Love 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. Antonin Artaud, 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.
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