The Late Work of Sam Shepard

The first book to provide a scholarly analysis of Shepard's later work, covering not just his drama, but also his short prose, films, screenplays and performances, from 1988 up until his death in 2017.

Klappentext:

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 wor k 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.

Inhaltsverzeichnis:

IntroductionChapter 1: "How Many Lives . . . Within This One?": The Performances of Sam ShepardChapter 2: "What's Beyond Authentic?": Authenticity and Artistry in Don't Come Knocking and Kicking a Dead HorseChapter 3: "One of Us Has Forgotten": Memory and Trauma in Simpatico, The Late Henry Moss and When the World was GreenChapter 4: "I Miss the Cold War So Much": Interrogating Masculine and Conservative Narratives in States of Shock and The God of HellChapter 5: "Surrounded by My Primitive Captors": Hybridity and Hegemony in Silent Tongue and Eyes for ConsuelaChapter 6: "Where's All the Men?": Men, Women and Homosociality in the Late Style of Sam ShepardConclusionEndnotesBibliographyIndex

Rezension:

The best chapter charts all the echoes of Shepard's biography, media persona and actual writings in the variety of film and television roles he has played since his Oscar-nominated turn as Chuck Yeager in The Right Stuff ... [Skelton] is also good on Shepard's cultural status. Times Literary Supplement 20170213