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 247
... piece which would , ostensibly , showcase the talents of the actor as a romantic lead . Thus they had divided the monologue's lines , adapting it to a stylized dialogue between a man and a woman . It was my task as director ( and as the ...
... piece which would , ostensibly , showcase the talents of the actor as a romantic lead . Thus they had divided the monologue's lines , adapting it to a stylized dialogue between a man and a woman . It was my task as director ( and as the ...
Página 270
... pieces on one program ; the design for Tongues was considered to be primary due in part to the needs of the piece in relation to the others and to its rela- tion to performance art . In this dramatic monologue poetry , characterization ...
... pieces on one program ; the design for Tongues was considered to be primary due in part to the needs of the piece in relation to the others and to its rela- tion to performance art . In this dramatic monologue poetry , characterization ...
Página 297
... piece . The performer sat in his chair perhaps 2 ' from the edge of the platform , and as percus- sionist I sat directly behind on a low platform with my percussion instruments on a movable board and other instruments hanging on a stand ...
... piece . The performer sat in his chair perhaps 2 ' from the edge of the platform , and as percus- sionist I sat directly behind on a low platform with my percussion instruments on a movable board and other instruments hanging on a stand ...
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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