Thesis (M.A.)--University of Virginia, 1996. / Includes bibliographical references (leaves 60-61).

Thesis (M.A.)--University of Virginia, 1996. / Includes bibliographical references (leaves 60-61).

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.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2003. / Title from first page of PDF document. Includes bibliographical references (p. 98).

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.

No description available.

In the endeavour to abolish from society all forms of ideologies that prescribe the domination of one sex over another, it has become increasingly important to analyse the representation of women in dramatic literature because dramatic literature reflects the philosophies and codes of behaviour which enable individuals to dominate one another in society, and assists in either reinforcing old ideologies or shaping new ones. Although Sam Shepard has been an influential force in the creation of modern drama, his plays reflect a patriarchal ideology that dictates that women are subordinate to men. Shepard's plays dramatise various male predicaments and his female characters are constructed and utilised to express men's experience, not women's. One of the conflicts which besets the male characters is that they desire to return to the womb of the mother, but simultaneously fear that their identities will be engulfed by the mother. In The Rock Garden, Red Cross and Fourteen Hundred Thousand, these desires and fears are demonstrated through the female characters, who are manipulated to represent objects of male desire and/or objects onto which devouring images are projected. Women are therefore represented in a manner in which they are best able to express the male characters' identity related conflicts. In Curse of the Starving Class and Buried Child, characters suffer from receiving insufficient nurture, are spiritually and emotionally impoverished or cursed and appear unable to transform their lives. The female characters are presented as being partly responsible for causing these predicaments since their nurturing, generative and transformative abilities are presented in a negative light. Women are also represented as objects of blame in the male characters' attempts and failures to undergo rebirths and are once again created to express male predicaments. In Fool for Love and A Lie of the Mind, Shepard focuses on the relationships between men and women, but is only able to present the male characters' perspectives and represent male desire. The female characters are regarded, and engaged with, as reflections of the male characters' selves and are frequently utilised to express male desire. If Shepard's plays are persistently applauded and seen as examples to be emulated, we need to closely analyse these dramas that represent women in a manner which expresses male predicaments and which places them in roles that allow men to dominate them.

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.

No description available.