As a young man, Oedipus is told by a seer that he will grow up to kill his own father and marry his mother. He flees from home to avoid this terrible fate, but there is no escape—the dreadful prophecy finally catches up with him. Celebrated playwright Sam Shepard reimagines this Ancient Greek tale as a modern thriller. A murder is committed. Who is the victim? Who is responsible? What are the consequences for generations to come? There are many versions of the crime in this intriguing tale. People are hiding from the truth, even when it stares them in the face.
The story of King Lear seems to fill in the blank space separating the end of Oedipus Tyrannus and the beginning of Oedipus at Colonus. In both Oedipus at Colonus and the latter part of King Lear we are presented with an old man who was once a King and, following his expulsion from his kingdom on account of a crime or of an error, is turned into a ‘no-thing’. This happens in the time of the division of the kingdom, which is also the time of the genesis of intraspecific conflict and, consequently, of the end of the dynasty. This collection of essays offers a range of perspectives on the many common concerns of these two plays, from the relation between fathers and sons/daughters to madness and wisdom, from sinning and suffering to ‘being’ and ‘non-being’ in human and divine time. It also offers an overarching critical frame that interrogates questions of ‘source’ and ‘reception’, probing into the possible exchangeability of perspectives in a game of mirrors that challenges ideas of origin.
“John Winters offers a master class in literary sleuthing, untangling the many lives and unearthing the origin story of America’s foremost Renaissance man of letters.” —Kelly Horan, coauthor of Devotion and Defiance With more than fifty–five plays to his credit—including the 1979 Pulitzer Prize–winning Buried Child, an Oscar nod for his portrayal of Chuck Yeager in The Right Stuff, and an onscreen persona that’s been aptly summed up as “Gary Cooper in denim”—Sam Shepard’s impact on American theater and film ranks with the greatest playwrights and actors of the past half–century. Sam Shepard: A Life gets to the heart of Sam Shepard, presenting a compelling and comprehensive account of his life and work. In a new epilogue, added by the author after Shepard’s untimely death in July of 2017, John J. Winters offers a glimpse into the enigmatic author’s last days, when very few knew he was suffering from ALS. “An excellent biography . . . Mr. Winters is especially good on the backstage of one of Mr. Shepard’s most frequently revived works, True West . . . Mr. Winters has an interesting story to tell, and he recounts it ably, bringing us close to a figure who, he admits, avoids intimacy.” —The Wall Street Journal “A new, thoroughly researched biography . . . Winters does indeed capture a personality more anxious and self–doubting than previous biographers have grasped.” —The Washington Post “Meticulously presents the facts of Shepard’s complex life along with incisive descriptions and analyses of diverse productions of Shepard’s demanding and innovative plays . . . Winters portrays Shepard as a magnetic, enigmatic, and multitalented artist drawing on a deep well of loneliness and self–questioning, keen attunement to the zeitgeist, and penetrating insight into human nature.” —Booklist (starred review)
Hailed by critics during the 1980s as the decade's 'Great American Playwright', Sam Shepard continued to produce work in a wide array of media including short prose, films, plays, performances and screenplays until his death in 2017. Like Samuel Beckett and Tennessee Williams in their autumnal years, Shepard relentlessly pressed the potentialities and possibilities of theatre. This is the first volume to consider Shepard's later work and career in detail and ranges across his work produced since the late 1980s. Shepard's motion picture directorial debut Far North (1988) served as the beginning of a new cycle of work. He returned to the stage with the politically engaged States of Shock (1991) which resembled neither his earlier plays nor his family cycle. With both Far North and States of Shock, Shepard signaled a transition into a phase in which he would experiment in form, subject and media for the next two decades. Skelton's comprehensive study includes consideration of his work in films such as Hamlet (2000), Black Hawk Down (2001), The Assassination of Jesse James by the Coward Robert Ford (2007) and Brothers (2009); issues of authenticity in the film and screenplay Don't Come Knocking (2005) and the play Kicking a Dead Horse (2007); of memory and trauma in Simpatico, The Late Henry Moss and When the World was Green, and of masculine and conservative narratives in States of Shock and The God of Hell. Lauded by critics in his lifetime and since his death in July 2017 as 'one of the most important and influential writers of his generation' (NY Times), Shepard 'excelled as an actor, screenwriter, playwright and director' (Guardian); this is a timely and important assessment of his work spanning the last three decades of his life.
The Boys of St. Columb's chronicles the schooldays of eight illustrious alumni of St. Columb's College in Derry, Northern Ireland, and the political consequences of their education. A companion to a BBC/RTÉ documentary film, The Boys of St. Columb’s (2010), this book traces the first generation of children to receive free grammar school education as a result of the groundbreaking 1947 Education Act in the region. The boys were Bishop Edward Daly, SDLP leader and Nobel Peace Prize–winner John Hume, poet and Nobel laureate Seamus Heaney, critic Seamus Deane, diplomat James Sharkey, activist Eamonn McCann, and musicians Phil Coulter and Paul Brady. Maurice Fitzpatrick incorporates extensive interviews with this group of extraordinary figures five decades after they graduated, and their stories still resonate today with unique reflections on their backgrounds and their coming of age. The book’s historical relevance has continued to grow since it first appeared in 2010, and the narrative can be viewed in a new light as a result of the current political realities in the UK and Ireland.
Brill's Companion to the Reception of Sophocles offers a comprehensive account of the influence, reception and appropriation of all extant Sophoclean plays, as well as the fragmentary Satyr play The Trackers, from Antiquity to Modernity, across cultures and civilizations, encompassing multiple perspectives and within a broad range of cultural trends and manifestations: literature, intellectual history, visual arts, music, opera and dance, stage and cinematography. A concerted work by an international team of specialists in the field, the volume is addressed to a wide and multidisciplinary readership of classical reception studies, from experts to non-experts. Contributors engage in a vividly and lively interactive dialogue with the Ancient and the Modern, which, while illuminating aspects of ancient drama and highlighting their ever-lasting relevance, offers a thoughtful and layered guide of the human condition.
By concentrating on Sam Shepard's visual aesthetics, Emma Creedon argues that a consideration of Shepard's plays in the context of visual and theoretical Surrealism illuminates our understanding of his experimental approach to drama.
NEW YORK TIMES EDITORS’ CHOICE • A revelatory biography of the world-famous playwright and actor Sam Shepard, whose work was matched by his equally dramatic life, including collaborations with the Rolling Stones and Bob Dylan as well as tumultuous relationships with Patti Smith, Joni Mitchell, and Jessica Lange “What [True West] achieves in its finest pages is placing the artist in his time. . . . I was filled with excitement, envy and reverence for the New York City that embraced the young Shepard in the 1960s and early ’70s.”—Ethan Hawke, The Washington Post True West: Sam Shepard’s Life, Work, and Times is the story of an American icon, a lasting portrait of Sam Shepard as he really was, revealed by those who knew him best. This sweeping biography charts Shepard’s long and complicated journey from a small town in Southern California to become an internationally known playwright and movie star. The only son of an alcoholic father, Shepard crafted a public persona as an authentic American archetype: the loner, the cowboy, the drifter, the stranger in a strange land. Despite his great critical and financial success, he seemed, like so many of his characters, to remain perpetually dispossessed. Much like Robert Greenfield’s biographies of Jerry Garcia and Timothy Leary, this book delves deeply into Shepard’s life as well as the ways in which his work illuminates it. True West takes readers through the world of downtown theater in Lower Manhattan in the early sixties; the jazz scene at New York’s Village Gate; fringe theater in London in the seventies; Bob Dylan’s legendary Rolling Thunder tour; the making of classic films like Zabriskie Point, Days of Heaven, and The Right Stuff; and Broadway productions of Buried Child, True West, and Fool for Love. For this definitive biography, Greenfield interviewed dozens of people who knew Shepard well, many of whom had never before spoken on the record about him. While exploring his relationships with Patti Smith, Bob Dylan, Joni Mitchell, and Jessica Lange across the long arc of his brilliant career, Greenfield makes the case for Shepard as not just a great American writer but a unique figure who first brought the sensibility of rock ’n’ roll to theater.
This volume responds to a renewed focus on tragedy in theatre and literary studies to explore conceptions of tragedy in the dramatic work of seventeen canonical American playwrights. For students of American literature and theatre studies, the assembled essays offer a clear framework for exploring the work of many of the most studied and performed playwrights of the modern era. Following a contextual introduction that offers a survey of conceptions of tragedy, scholars examine the dramatic work of major playwrights in chronological succession, beginning with Eugene O'Neill and ending with Suzan-Lori Parks. A final chapter provides a study of American drama since 1990 and its ongoing engagement with concepts of tragedy. The chapters explore whether there is a distinctively American vision of tragedy developed in the major works of canonical American dramatists and how this may be seen to evolve over the course of the twentieth century through to the present day. Among the playwrights whose work is examined are: Susan Glaspell, Langston Hughes, Tennessee Williams, Arthur Miller, Edward Albee, Lorraine Hansberry, Amiri Baraka, August Wilson, Marsha Norman and Tony Kushner. With each chapter being short enough to be assigned for weekly classes in survey courses, the volume will help to facilitate critical engagement with the dramatic work and offer readers the tools to further their independent study of this enduring theme of dramatic literature.
The Oxford Handbook of Modern Irish Theatre provides the single most comprehensive survey of the field to be found in a single volume. Drawing on more than forty contributors from around the world, the book addresses a full range of topics relating to modern Irish theatre from the late nineteenth-century to the most recent works of postdramatic devised theatre. Ireland has long had an importance in the world of theatre out of all proportion to the size of the country, and has been home to four Nobel Laureates (Yeats, Shaw, and Beckett; Seamus Heaney, while primarily a poet, also wrote for the stage). This collection begins with the influence of melodrama, and looks at arguably the first modern Irish playwright, Oscar Wilde, before moving into a series of considerations of the Abbey Theatre, and Irish modernism. Arranged chronologically, it explores areas such as women in theatre, Irish-language theatre, and alternative theatres, before reaching the major writers of more recent Irish theatre, including Brian Friel and Tom Murphy, and their successors. There are also individual chapters focusing on Beckett and Shaw, as well as a series of chapters looking at design, acting, and theatre architecture. The book concludes with an extended survey of the critical literature on the field. In each chapter, the author does not simply rehearse accepted wisdom; all of the contributors push the boundaries of their respective fields, so that each chapter is a significant contribution to scholarship in its own right.
