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 192
... expression of the subtext , and the actor has total responsibility for accomplishing this expression . He cannot " chew up the scenery " to make it obvious that the char- acter is talking about these seemingly irrelevant topics to ...
... expression of the subtext , and the actor has total responsibility for accomplishing this expression . He cannot " chew up the scenery " to make it obvious that the char- acter is talking about these seemingly irrelevant topics to ...
Página 209
... expression- istic and subjective perspective , the rhythm of plot and narra- tive shifts , of character transformations and of stylistic shifts to direct expression of metaphor and subtext recalls the style of the early works . The ...
... expression- istic and subjective perspective , the rhythm of plot and narra- tive shifts , of character transformations and of stylistic shifts to direct expression of metaphor and subtext recalls the style of the early works . The ...
Página 225
... expression only but would attain a level very near to Zeami's Internalization . This requires that the actor absorb the inner life of the character and the technical skills necessary to realize this inner life to the extent that the ...
... expression only but would attain a level very near to Zeami's Internalization . This requires that the actor absorb the inner life of the character and the technical skills necessary to realize this inner life to the extent that the ...
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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