I designed the set for Fool For Love by Sam Shepard in the McLeod Theater, Fall Semester 2013 for my thesis production. Fool For Love Is a short and intense hyper-realistic play about two lovers with a dark past. The entire play takes place in one extended scene in a motel room on the edge of the desert. Eddie tries to win May back, while she tries to free herself from her need to go back to him. The Old Man is a figure outside of reality that intrudes on the play, the father they share and the source of the shame in their relationship. A suitor, Martin, appears to set this combustible mixture off. I designed a cramped and derelict space which pushed the auditory surrealism of the play and made the experience as intimate and intense as I could for the audience. Chapter 1 contains me research and initial response to both the script and the thesis process. Chapter 2 walks through the process of designing and building the show. Chapter 3 reflects on my performance overall. Chapter 4 is a deeper look into design communication, a weakness this process revealed in my work.

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Texte remanié de: Ph. D.--Berkeley (Calif.)--University of California. / En appendice, la liste des productions et mises en scène des pièces de Sam Shepard, en Allemagne, Autriche et Suisse, de 1969 à 1991. Bibliogr. p. [207]-217. Index.

Esta dissertação tem como objetivo analisar a representação dramatúrgica da família na peça A Lie of the Mind, do dramaturgo estadunidense Sam Shepard, e os recursos por meio dos quais essa representação, tal como realizada, configura elementos de crítica à ideologia dominante relacionada ao papel da família no contexto sócio-histórico do país. Serão levantados, aqui, os aspectos formais da peça, principalmente os que se relacionam com a estética expressionista e com outros expedientes de criação que a distanciam do drama convencional. O objeto do estudo é o texto dramatúrgico original da peça (e não sua encenação). A análise tratará dos aspectos textuais e contextuais da peça e com base neles examinará as relações familiares figuradas em A Lie of the Mind como representativas e intrínsecas à situação social das personagens. / This dissertation aims at analysing the dramaturgical representation of family in the play A Lie of the Mind, by the North-American playwright Sam Shepard, and the means through which this representation, as developed in the text, brings forth elements of criticism to the dominant ideology related to the role of the family in the countrys socio-historical context. Formal aspects of the play will be approached, mainly the ones related to Expressionism and to other creative resources that drive it away from conventional drama. The study object is the original text of the play (and not the play in performance). The analysis will deal with textual and contextual aspects of the play and, based on them, will examine the familial relations that are represented in A Lie of the Mind as representative and intrinsic to the social situation of the characters.

Esta dissertação tem como objetivo analisar a representação dramatúrgica da família na peça A Lie of the Mind, do dramaturgo estadunidense Sam Shepard, e os recursos por meio dos quais essa representação, tal como realizada, configura elementos de crítica à ideologia dominante relacionada ao papel da família no contexto sócio-histórico do país. Serão levantados, aqui, os aspectos formais da peça, principalmente os que se relacionam com a estética expressionista e com outros expedientes de criação que a distanciam do drama convencional. O objeto do estudo é o texto dramatúrgico original da peça (e não sua encenação). A análise tratará dos aspectos textuais e contextuais da peça e com base neles examinará as relações familiares figuradas em A Lie of the Mind como representativas e intrínsecas à situação social das personagens. / This dissertation aims at analysing the dramaturgical representation of family in the play A Lie of the Mind, by the North-American playwright Sam Shepard, and the means through which this representation, as developed in the text, brings forth elements of criticism to the dominant ideology related to the role of the family in the countrys socio-historical context. Formal aspects of the play will be approached, mainly the ones related to Expressionism and to other creative resources that drive it away from conventional drama. The study object is the original text of the play (and not the play in performance). The analysis will deal with textual and contextual aspects of the play and, based on them, will examine the familial relations that are represented in A Lie of the Mind as representative and intrinsic to the social situation of the characters.

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Excerpt: Sam Shepard’s The God of Hell, which premiered Off-Broadway in late October of 2004, was negatively received by New York critics.

Unrivalled in its coverage of recent work and writers, The Methuen Drama Guide to Contemporary American Playwrights surveys and analyses the breadth, vitality and development of theatrical work to emerge from America over the last fifty years.This authoritative guide leads you through the work of 25 major contemporary American playwrights, discussing more than 140 plays in detail. Written by a team of 25 eminent international scholars, each chapter provides:· a biographical introduction to the playwright's work; · a survey and concise analysis of the writer's most important plays; · a discussion of their style, dramaturgical concerns and critical reception; · a bibliography of published plays and a select list of critical works.Among the many Tony, Obie and Pulitzer prize-winning playwrights included are Sam Shepard, Tony Kushner, Suzan-Lori Parks, August Wilson, Paula Vogel and Neil LaBute. The abundance of work analysed enables fresh, illuminating conclusions to be drawn about the development of contemporary American playwriting.

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In this project, I explore how Sam Shepard and Martin McDonagh treat concepts of space (both on stage and within a larger context that expands beyond the theatre), and I seek to identify how underlying anxieties about a mythologized past become manifest in the relationships between characters and landscapes by examining heterotopic and liminal elements in their scripts.