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- W2477771680 abstract "This chapter will examine how Shepard’s play Angel City (1976) redefines and draws on Surrealism by complicating normative theatrical semiotics and introducing the language of cinema into the representative frame. It will do so in part by examining the Surrealist films of Luis Bunuel, with a particular focus on what is perhaps the definitive Surrealist film of the twentieth century, Un chien andalou (The Andalusian Dog; 1929), which Bunuel cocreated with Dal i. Shepard expressed his appreciation for Bunuel in a 1994 interview with Michael Almereyda for Arena magazine. In response to Almereyda’s question, “Who are your favorite film directors?” Shepard replied, “Bunuel. Although he’s dead.” Likewise, Bigsby has noted the influence of Federico Garcia Lorcas work on Shepard’s plays, particularly signalling the parallels between such works as Lorcas short Surrealist play El paseo de Buster Keaton (Buster Keaton s Spin) (1928) and a piece written by Shepard in the late 1970s titled “The Escapes of Buster Keaton.” Bigsby notes: Lorca spoke of what some chose to call his Surrealist plays as a kind of disordered vision rendered onto form, Shepard of trying to “cut through space and make perfect sense without having to hesitate for ‘meaning.’” Both writers cited Luis Bunuel as an influence, Lorca writing a screenplay inspired by Un chien andalou and Shepard speaking admiringly of his ability to combine narrative with startling images.2" @default.
- W2477771680 created "2016-08-23" @default.
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- W2477771680 date "2015-01-01" @default.
- W2477771680 modified "2023-09-24" @default.
- W2477771680 title "A Comparative Study of Sam Shepard’s Angel City and Luis Buñuel and Salvador Dalí’s Un chien andalou" @default.
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- W2477771680 doi "https://doi.org/10.1057/9781137527417_4" @default.
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