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 144
... given his natural inclinations , get the better of him , and he fails . Thinking that he has killed Curtain and left the man for dead , Dobbs sets off alone with all of the gold for town . However , he encounters a band of impoverished ...
... given his natural inclinations , get the better of him , and he fails . Thinking that he has killed Curtain and left the man for dead , Dobbs sets off alone with all of the gold for town . However , he encounters a band of impoverished ...
Página 218
... given circumstances of the action and the style of the writing ; the job of the actor training theorist or of the director will always be to help the actor solve the problem of finding the most effective approach to charac- terization given ...
... given circumstances of the action and the style of the writing ; the job of the actor training theorist or of the director will always be to help the actor solve the problem of finding the most effective approach to charac- terization given ...
Página 280
... given . After the rehearsal I let the actors take a break and had Baker sit beside me ; his attitude at the outset was surprised and slightly haughty in light of the fact that he was being given notes . However , as we talked , he began ...
... given . After the rehearsal I let the actors take a break and had Baker sit beside me ; his attitude at the outset was surprised and slightly haughty in light of the fact that he was being given notes . However , as we talked , he began ...
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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