5,546 research outputs found
La Turista
No full text14 x 21.5 cm.Program for the play 'La Turista' by Sam Shepard, directed by Jacques Levy, shown at The American Place theatre between March 4th and April 1st, 1967. 14 x 21.5 cm
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Sam Shepard Archives
Full text linkThe most influential playwright of his generation, Sam Shepard was born in 1943 in Ft. Sheridan, IL. His family traveled extensively before settling in Southern California. While in high school he began acting and writing poetry. In 1962 he left home with a traveling theater group and arrived in New York City the following year, where he began writing short “rock and roll” plays. Shepard’s first plays to be staged were Cowboys and The Rock Garden, at Theater Genesis in October 1964. He has won almost a dozen Obies for off-Broadway productions. La Turista (1967) was his first full-length play. In 1971, he moved to London where he spent three years writing and directing. As playwright in residence at San Francisco’s The Magic Theater, he wrote Angel City, Inacoma, Tongues (in which he and his mentor Joseph Chaikin appeared), and True West, a 2000 Broadway production of which won numerous Tonys. He returned to the Magic Theater in 2000 for the premiere of The Late Henry Moss, which he also directed. He also wrote a libretto for a Daniel Nagrin dance piece in Jacaranda (1979).
Sam Shepard won the Pulitzer Prize for Drama in 1979 for Buried Child. He has received grants from the Rockefeller Foundation (1967) and from the Guggenheim Foundation (1968 and 1971). A revision of Buried Child received a Tony Award nomination (1996). Shepard was inducted into the American Academy of Arts and Letter in 1986. He received the Gold Medal for Drama (1992) from the Academy and was inducted into the Theatre Hall of Fame (1994).
Shepard joined a rock band, the Holy Modal Rounders in 1968, playing drums and guitar. He took part in Bob Dylan’s “Rolling Thunder Revue,” a nationwide touring group, in 1975, and wrote an account of the experience, Rolling Thunder Logbook (1977). Shepard’s film career began in 1978, when he appeared in Renaldo and Clara and Days of Heaven, directed by Terrence Malick. His screenplay for Paris, Texas, directed by Wim Wenders, won the Palme d’Or at the Cannes Film Festival in 1984. Also that year he received an Academy Award nomination for The Right Stuff (1983). Shepard also earned a Golden Globe nomination for Dash & Lily (1999). He wrote and directed Far North in 1988. Shepard has appeared in a number of other movies and in 2005 he wrote and performed in Don’t Come Knocking. Shepard’s published collections of short stories include Hawk Moon (1973), Cruising Paradise (1996), and Great Dream of Heaven (2002).UT Librarie
2 prospectors the letters of Sam Shepard & Johnny Dark
No full text"Pulitzer Prize-winning author of plays such as True West, Fool For Love, and Buried Child, and Academy Award-nominated actor in many films, including The Right Stuff, Sam Shepard is arguably America's finest working dramatist. He has said many times that he will never write a memoir. But he has written intensively about his inner life and creative work to his former father-in-law and housemate, Johnny Dark. This book gathers nearly 40 years of their correspondence, which provides the most honest and complete record of Shepard's professional and personal lives that he is ever likely to publish. The book is illustrated with Dark's candid, revealing photographs of Shepard and their mutual family across many years, as well as facsimiles of numerous letters. It makes a perfect companion to Treva Wurmfeld's recent film, Shepard & Dark"-
Visions of the True West : Sam Shepard, identity and myth
No full textEver since Sam Shepard began his career on the Off-Off Broadway theatre scene of the mid-sixties, he managed to combine the formal experimentation and the contesting attitude expected from a celebrity brewed in the cafés of New York’s Lower East Side with a unique personal imagery that invoked popular-culture icons. However, when in the late 1970s he started to produce family dramas rooted in the US well-made play tradition, the harmonious critical response cracked. With this paper I mean to throw light onto Shepard’s extensively quoted and censured shift. I will hopefully illustrate the extent to which his family plays continue to address the same concerns as his early more experimental ones –mainly the adoption of popular myths, the persevering research on characterization in the theatre, and the exposition of the ingrained contradictions of the self– while, at the same time, they reconsider traditional notions of realism in the face of larger political changes
Sam Shepard
No full textExposição em homenagem a Sam Shepard (1943-2017), dramaturgo americano, cantor de rock e rancheiro nos EUA. Além do teatro, atuou brilhantemente no cinema, como ator e roteirista, e na literatura como contista. Escreveu mais de cinquenta peças, onze das quais receberam o prêmio Obie. Para homenagear esse artista, a BU/UFSC reuniu uma amostra dos seis livros de Sam Shepard publicados no Brasil, que são parte do acervo pessoal do servidor técnico-administrativo Giovanni Fiorenzano. A exposição apresenta, também, alguns artigos selecionados sobre o artista, filmes roteirizados e fotos. “Penso que sem escrever, eu me sentiria completamente inútil” (Sam Shepard). A exposição esteve disponível de 22 de agosto a 13 de outubro de 2017, no primeiro piso da Biblioteca Central (área dos pufs). Localização apenas digital
Review of Sam Shepard
Full text linkAs Shepard creates myths of the modern world in his plays, Patraka and Siegel use these myths to categorize Shepard\u27s works. Thus, their pamphlet systematically describes each plays it contributes to Shepard\u27s unique portrayal of Western America. Realizing the complexity of each Shepard play, Patraka and Siegel do not attempt detailed textual analysis, but rather offer pertinent insights and explanations where most useful. Also, their explication is often enhanced by Shepard\u27s own comments, which illuminate both the works and the playwright himself. Anyone interested in the works of Sam Shepard, and especially those unaccustomed to his ingenious, eccentric style, will appreciate this concise introductory essay
Sam Shepard drámái és hagyomány
No full textA Mesterek árnyékában: Sam Shepard drámái és a hagyomány címet viselő kötet az amerikai színház- és drámatörténet területén végzett több mint másfél évtizedes kutatás eredményeit foglalja össze. E könyv olyan, korábban (többnyire angol nyelven) már önállóan megjelent tanulmányok első magyar kiadása, melyek Sam Shepard (1943–) kortárs amerikai szerző színházi és drámaírói munkásságát igyekeznek megvilágítani, méghozzá a kortársak és irodalmi elődök hatása, a hagyományteremtés és folytonosság kérdéskörei felől. Ezek az írások egyben egy szokatlan modern amerikai drámatörténet körvonalait is megrajzolják, mely Shepard dráma és színházművészetén keresztül tekinti át a 20. század jelentősebb amerikai drámaszövegeinek az utókorra gyakorolt hatását. Az időrendbe állított hatástörténeti és összehasonlító drámakritikai tanulmánysorozat egyfajta vázlatos körkép a 20. század meghatározó és ismertebb amerikai drámaíróiról. Jelen kötet kiadásának időzítése különösen szerencsés, hisz egybeesik a középpontba állított alkotó, Sam Shepard hetvenedik születésnapjával.203×144×132450 Ft29
Sam Shepard a life
No full text"With more than 55 plays to his credit, including the 1979 Pulitzer Prize-winning Buried Child, Sam Shepard's impact on American theater ranks with the greatest playwrights of the past half-century. Critics have enthused that he "forged a whole new kind of American play," while younger playwrights venerate him ... Suzan Lori Parks, herself a Pulitzer winner, calls Shepard her "gorgeous north star." As an actor who's appeared in more than 50 feature films, Shepard possesses an onscreen persona that's been aptly summed up as "Gary Cooper in denim." He earned an Oscar nod for his portrayal of Chuck Yeager in the 1983 film The Right Stuff, and his screenplay for Paris, Texas helped that now-classic film sweep the top prizes at the Cannes Film Festival. Despite these accomplishments and more ... five collections of prose, writing songs with Bob Dylan, making films with Robert Frank and Michelangelo Antonioni, as well as romantic relationships with rocker Patti Smith and actress Jessica Lange ... Shepard seems anything but satisfied. Sam Shepard: A Life details his lifelong bouts of insecurity and anxiety, and delves deeply into his relationship with his alcoholic father and his own battle with the bottle. Also examined for the first time in-depth are Shepard's tumultuous relationship with Lange, and his decades-long adherence to the teachings of Russian spiritualist G.I. Gurdjieff. Throughout this new biography, John J. Winters gets to the heart of the enigma that is Sam Shepard, presenting an honest and comprehensive account of his life and work"..
Cowboys, The Rock Garden
No full text25 x 14 cm.Show announcement for the plays 'Cowboys' and 'the Rock Garden' by Sam Shepard, directed by Ralph Cook, shown at St. Mark's Church in-the-Bowery on October, November 1964. 25 x 14 cm
Negotiating Reality: Sam Shepard’s States of Shock, or “A Vaudeville Nightmare”
Full text linkIn the course of a career that spans half a century, from the Vietnam era to the America of Barack Obama, Sam Shepard has often been labelled as a “quintessentially American” playwright. According to Leslie Wade, “[d]rawing from the disparate image banks of rock and roll, detective fiction, B-movies, and Wild West adventure shows,” Shepard’s texts “function as a storehouse of images, icons, and idioms that denote American culture and an American sensibility” (Sam Shepard 2). The article addresses Shepard’s work in the 1990s, when—as suggested by Stephen J. Bottoms—the writer’s prime concern was with depicting “a Faustian nation mired in depravity and corruption” (245). The discussion centres primarily upon a brief anti-war play first presented by the American Place Theatre in New York City on 30 April 1991, States of Shock, whose very title appears to sum up much of the dramatist’s writing to date, aptly describing the disturbing atmospheres generated by his works and the sense of disorientation frequently experienced by both Shepard’s characters and his audiences. The essay seeks to provide an insight into this unsettling one-act play premiered in the wake of the US engagement in the First Gulf War and deploying extravagant, grotesque theatricality to convey a sense of horror and revulsion at American military arrogance and moral myopia. It investigates how Shepard’s haunting text—subtitled “a vaudeville nightmare” and focusing on a confrontation between a peculiar male duo: an ethically crippled, jingoistic Colonel and a wheelchair-using war veteran named Stubbs—revisits familiar Shepard territory, as well as branching out in new directions. It demonstrates how the playwright interrogates American culture and American identity, especially American masculinity, both reviewing the country’s unsavory past and commenting on its complicit present. Special emphasis in the discussion is placed on Shepard’s preoccupation with the aesthetics of performance and the visual elements of his theatre. The essay addresses the artist’s experimental approach, reflecting upon his creative deployment of dramatic conventions and deliberate deconstruction of American realism
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