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- W2064714052 abstract "The plays of Sam Shepard present some peculiar difficulties. There appears to be a wide split between the early and the later works, one that Shepard himself acknowledges. In an interview published in 1974, he announced that he was now trying for less flash and fewer mythic figures; in 1980 he told Robert Coe that, although he had thought character a corny idea, he was now becoming interested in it on a big scale; True West (1980), he told one interviewer, was the frrst of his plays he could watch, night after night, withoutembarrassment3 This division is reflected in the response to Shepard which is in itself problematic: the plays before Curse of the Starving Class (1977), especially when they first appeared, were generally received with a good deal of bafflement even from the directors who presented them; the later plays have enjoyed much wider acceptance, but some of the popular response seems to be directed not so much to the plays themselves as to a cliched patina enveloping Shepard and the dissolution of the American Dream. The second, and related, difficulty lies in the power Shepard exercises over an audience, a power that may well make the spectator uneasy . For the early plays can strike one as somehow meretricious, mere show-biz, a collection of coups de theatre floating untethered by character, plot, or theme; while the later plays, with thcir apparently more conventional and realistic anchoring, hold the spectator with a force that one can scarcely attribute to themes so readily reducible to cliche. How does Shepard take his audience so violently? Is one merely being taken?" @default.
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- W2064714052 date "1987-03-01" @default.
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- W2064714052 title "Sam Shepard: Theatrical Power and American Dreams" @default.
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- W2064714052 doi "https://doi.org/10.3138/md.30.1.58" @default.
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