Sam Shepard: Theme, Image, and the DirectorP. Lang, 1995 - 332 páginas One of the most exciting and produced American playwrights of the second half of this century, Sam Shepard's writing career began in 1964 and continues today. This book examines the playwright's canon first from the perspective of dramatic analysis and intertextuality in terms of theme and performance vocabulary, then from the director's perspective in interpretation for performance. The book is useful to the scholar, the theatre professional, and the theatre goer. Shepard's dramaturgy is analyzed both in terms of dramatic and cinematic influences and of its originality. The author examines how Shepard has synthesized these influences into the unique contemporary dramatic form which Graham terms «Metarealism.» |
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Página 43
... chair is an intertextual image in Shepard's work . Early in his career , Shepard wrote a play titled Rocking Chair which he has said he does not remember " except it was about somebody in a rocking chair " ( Bonnie Marranca , ed ...
... chair is an intertextual image in Shepard's work . Early in his career , Shepard wrote a play titled Rocking Chair which he has said he does not remember " except it was about somebody in a rocking chair " ( Bonnie Marranca , ed ...
Página 191
... chair facing audience . Hands , arms , legs , feet , chest , neck bound with bands of steel to the chair . He is barefoot , blindfolded , wears T - shirt and jeans , yellow spot on chair , rest of stage black . Lights rise slow on Mazon ...
... chair facing audience . Hands , arms , legs , feet , chest , neck bound with bands of steel to the chair . He is barefoot , blindfolded , wears T - shirt and jeans , yellow spot on chair , rest of stage black . Lights rise slow on Mazon ...
Página 298
... chair - we had to use this chair not only because the performer is perhaps overly - superstitious and cannot deal with change in the midst of production but also because its height was ideal for masking the presence of the musician ...
... chair - we had to use this chair not only because the performer is perhaps overly - superstitious and cannot deal with change in the midst of production but also because its height was ideal for masking the presence of the musician ...
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absurd action actor alienation American artist attempt audience becomes Bradley Buried Child Cavale chair character concept Cowboy Mouth culture Curse depiction director discussed dissociation Dodge Dodge's dramatic dramaturgy early plays effects elements emotional escape father female film Fool For Love Ginger Baker Halie Hero Holy Ghostly Hopi imagistic impact individual initial Kosmo La Turista language later plays lighting Mad Dog Blues male Marranca metaphor monologue mother movement musician myth mythic naturalistic nature non-realistic Operation Sidewinder past performance play's playwright present production realistic reality rehearsal relationship rhythm Rock Garden role Sam Shepard Savage/Love setting Shelly Shep Shepard describes Shepard's canon Shepard's dramaturgy Shepard's plays Slim sound space stage Starving Class style stylistic stylized Subsequent references appear subtext surrealistic symbol technique tells text cited theatre theatrical theme Tilden tion True West upstage Vince visual image Wesley Weston Yahoodi York Young Guns II Zeami