Sam Shepard and the Aesthetics of Performance by Emma Creedon

The article introduces the creative work of the famous American playwright Sam Shepard, whose works are almost unknown to our Uzbek reader. His plays are well known throughout the world; they influenced the formation of the worldview of readers of different nations and show the peculiarities of American culture. Despite the worldwide fame of Sam Shepard’s works, they are not studied well by literary critics. In America and Europe his works have been studied in details for a long period, and even several monographs in English have been written. However, neither in the Russian speaking, nor in the domestic literary criticism there is yet no major work on Shepard's works. The article also deals with the artistic features of the political myth of the “American dream” in one of the most scandalous plays, “The God of Hell,” dedicated to the protest against the war in Iraq. Thus, this study, which touches upon some issues of Shepard's creative work in connection with his innovative artistic originality, to a certain extent, seeks to fill this gap.

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The Evolution of American Dramatic Realism

The Oxford Handbook of American Literary Realism ◽

10.1093/oxfordhb/9780190642891.013.28 ◽

2019 ◽

pp. 505-526

Author(s):

Eileen J. Herrmann

Keyword(s):

Nineteenth Century ◽

Twentieth Century ◽

Tennessee Williams ◽

Arthur Miller ◽

American Drama ◽

August Wilson ◽

David Mamet ◽

Sam Shepard ◽

Rachel Crothers ◽

Susan Glaspell

Realism in American drama has proved its resiliency from its inception at the end of the nineteenth century to its transformation into modern theater in the twentieth century. This chapter delineates the evolution of American realistic drama from the influence of European theater and its adaptation by American artists such as James A. Herne and Rachel Crothers. Flexible enough to admit the expressionistic techniques crafted by Susan Glaspell and Eugene O’Neill and leading to the “subjective realism” of Tennessee Williams and Arthur Miller, realism has provided a wide foundation for subsequent playwrights such as David Mamet, August Wilson, and Sam Shepard to experiment with its form and language.

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The late work of Sam Shepard

Studies in Theatre and Performance ◽

10.1080/14682761.2016.1244977 ◽

2016 ◽

Vol 38 (1) ◽

pp. 91-92

Author(s):

Ana Fernández-Caparrós

Keyword(s):

Late Work ◽

Sam Shepard

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Joe Penhall’s Fatherhood Plays: Escaping the Influence of Sam Shepard and the Lad

After In-Yer-Face Theatre ◽

10.1007/978-3-030-39427-1_13 ◽

2020 ◽

pp. 201-215

Author(s):

William C. Boles

Keyword(s):

Sam Shepard

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Politics and the Craft of War in Sam Shepard’s States of Shock

لارك ◽

10.31185/lark.vol1.iss20.692 ◽

2019 ◽

Vol 1 (20) ◽

pp. 30-40

Author(s):

Sanaa Lazim Hassan

Keyword(s):

Western Culture ◽

Point Of View ◽

New Historicism ◽

Controversial Subject ◽

Sam Shepard ◽

Modern Politics ◽

The Social ◽

The Us ◽

The World ◽

The Individual

Sam Shepard is one of the controversial modern American playwrights who wrote about issues that are concerned with the individual in America rather than the institution In his theatre, the audience expects to see everything that concerns itself with the western culture and ignores that which is global. He is very much interested in the inner landscape of America rather than its position as the leader of the world. Thus, in his drama he preaches such ideology urging the US Administration to focus the attention on the American welfare. The research attempts an analysis on his play The States of Shock using the New Historicism approach through studying the writer’s point of view concerning the craft of war. Modern politics has been very influential on both the social as well as the literary scene. Wars, whether launched or were only loomed at, has been considered the most controversial subject about which plays, poems, and books were written. During the late 1980s and early 1990s, writers

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