SPECIAL TOPICS IN THEATRE: SAM SHEPARD | DR. GARY GRANT |
Spring, 1995 | Office: Coleman 218 |
T. Th. 2:30-3:52 PM | Office Phone: 1235 |
C 261 | Office Hours: T. Th. 4:00-5:30 |
Many critics regard Sam Shepard as the most important American playwright of his generation and perhaps, the most significant American playwright since Eugene O'Neil. Shepard has written over 40 plays and screenplays. He has published two collections of poems and has worked as a newpaper and magazine journalist. An accomplished musician, he is recorded on drums with the Holy Modal Rounders, he has written lyrics for Bob Dylan, Lou Reed, Patti Smith and the Red Clay Ramblers. The transformation of his interdisciplinary dramatic style from absurdist abstraction in the 1960's through jazz and rock n' roll plays in the 1970's to realism in the 1980's indicates a number of profound changes which occurred both in Shepard's personal life and in American culture over that period of time.
At the same time, the severe critique of his work, especially from Feminist Theatre critics, reflects the changing methodologies and concerns of dramatic literature and cultural studies. Shepard, indeed, has his finger on the pulse of postmodern American culture in the latter half of the 20th Century.. His work offers a creatively challenging path through the diverse and conflicting directions of our time.
REQUIRED READING (available in bookstore)
A. Textbooks:
Dugdale, John. File on Shepard. London: Methuen/Heinemann, 1989 (on reserve)
B. Plays :
Shepard, Sam. Five Plays. NY: Applause
__________. Fool for Love and Other Plays. NY: Bantam.
__________. Four Two Act Plays. NY: Applause
__________. Motel Chronicles. San Francisco: City Lights.
__________. Seven Plays. NY: Bantam.
__________. States of Shock. NY: Dramatist Play Service, 1992.
__________. Unseen Hand and Other Plays. NY: Applause, 1986.
__________. Silent Tongue
C. Sam Shepard Handbook: Journal articles, Essays, Plays, Interviews.
Xerox packet handed out at the first class.
DeRose, David. Sam Shepard. NY: Twayne Publishers, 1992.
Hart, Lynda Lee. Sam Shepard's Metaphorical Stages. NY: Greenwood Press, 1987.
King, Bruce, ed. Contemporary American Theatre. NY: St. Martin's Press, 1991.
Shepard, Sam. Angel City and Other Plays. NY: Urizen, 1976.
------------. Five Plays. NY: Faber, 1969.
Tucker, Martin. Sam Shepard. New York: The Continuum Publishing Co., 1992.
2. Attendance: It is imperative that you attend every class. Your learning process and final grade will be significantly enhanced by your attention to and participation in these class lecture/discussions. Your attendance, also, helps to develop a supportive community for the class performances. You may accumulate two unexcused absences. After two absences, your final grade will be lowered one letter grade. An unexcused absence means that you have not contacted me prior to the class and informed me of your situation.
3. Class Presentations: Working in a group, students will prepare four 10-15 minute presentations and one 60-75 minute presentation. The following are the topic areas and the dates of presentations:
For further information, see Appendix A
- Short Presentation Dates
Feb. 1 Values and Evaluation Feb. 8 The Improvisational Plays Feb. 15 The Transformational Plays Feb. 29 The Rewritten and Revised Plays - Longer Presentation Dates
Mar. 28 The Country and Western Plays Apr. 4 The Jazz Plays Apr. 11 The Rock n' Roll Plays Apr. 30 Shepard and the Movies
4. Sam Shepard Archive Research Project
For further information, see Appendix B
5. Dramatic Criticism Papers
A. Film Reviews:
The art of active viewing takes practice and the opportunity to share your observations. Each student will write a double spaced, 12 pt font, typed, two page commentary on three (two films by Shepard and one by another author) of the films shown each week. This commentary could include a comparison between concepts underlying the film and stage productions, a close description of one aspect of the performance or design style, a description of the way in which a major theme in the script is visualized in the film production, a comparison between the historical context of the script and the context as a film. These are short papers. You must identifiy your central idea at the beginning of the paper and provide concise examples to exemplify your idea. Since this course fulfills the W2 requirment, students are expected to revise all of these short essays and to pay close attention to grammatical and stylistic concepts advanced by the instructor.
I also would like you to write a short jazz sketch on the Wynton Marsalis concert, Feb. 17.
DEADLINE: Papers should be handed in at the beginning of the class during which the video will be discussed. See course outline for exact dates.
B. Presentation Topic Essay
As a summary of the experience of the course including reading of scripts, critical works, poetry and prose, films viewed and performance exercises and class lectures and discussion, each student will write a double spaced, 12 pt font, typed, 8-10 page paper on the topic of his/her choice. Since you will conduct extensive research and a discussion with the instructor for your class presentation, you might wish to write about the hypothesis topic of that presentation. Each essay will include a bibliography and footnotes.
For further information, see Appendix C
DEADLINES: Suggested paper topics: week after Spring Break Discuss research: May 2. Papers due on or before: May 16.
6. Theatre on Video Series: A number of films that document performances of Shepard's work or the work of his contemporaries will be on reserve in the Bertrand Library. Students are expected to have viewed these videos before the following class dates:
Feb. 6 Waiting for Godot with Zero Mostel and Burgess Meredith Feb. 6 Rockabye with Billie Whitelaw Feb. 20 The Serpent performed by The Open Theatre Feb. 27 Curse of the Starving Class Mar. 12 Sister Suzie Cinema a capella performance art Mar. 26 True West Steppenwolf Theatre Production April 2 Tongues performed by Joseph Chaikin April 30 Paris, Texas directed by Wim Wenders
7. Quizzes
Five short quizzes throughout the term, possible by email so that we can share answers/ideas with one another.
8. Performance Projects: Either as solo performers or as members of an ensemble with other members of the class, students will perform material from Shepard's written work. Rehearsal Dates are as follows:
See Appendix D for further details.
Mar. 5 Performance Ideas due in class Mar. 31 Readthru-7:00 PM Tustin Apr. 11 Workthru-in class On Book Apr. 25 Off Book Run thru during class May 8 Dress Rehearsal-7:00 PM May 9 or 10 Performance-Time and Place TBA
GRADING
My "Policy on Deadlines": Written Projects- One project will be automatically extended by three days. All other projects have an absolute deadline. NO EXCEPTIONS.
PROJECT GRADING SCALE
Class Presentation: | ||||
1. Short Presentation(each) | A = 5 | B = 3 | C =1 | D =0 |
2. Longer Presentation | A =15 | B =10 | C =6 | D =3 |
Papers | ||||
1. Reviews (ave of 3) | A.=10 | B.= 7 | C.=4 | D. =2 |
2. Dramatic Criticism | A =15 | B =10 | C =6 | D =3 |
Quizzes (ave of 5) | A.=15 | B.=10 | C.=6 | D.=3 |
Performance Project | ||||
1. Preparation | A.=10 | B.= 7 | C.=4 | D.=2 |
2. Performance | A.=20 | B.=14 | C.=8 | D.=5 |
TOTAL POINTS (OPTIMUM) | 105 |
A = 100 and above total points, meeting all deadlines, fulfilling the attendance requirement, participation in class, completion of all projects.
B = 71 - 86 total points , meeting all deadlines, participation in class, completion of all projects.
C = 39 - 53 total points, meeting all deadlines, participation in class.
D = 20 and below total points.
TH. : 261
SAM SHEPARD AND THE AMERICAN THEATRE | Dr. Grant |
CLASS PRESENTATION
(Appendix A)
As I see it, your presentations have four goals. First of all, to organize your thinking about a particular text and to present your views to the entire group. Second, to present information about the specific cultural moment and theatrical style at various points in Shepard's career. Third, to guide the class in a discussion of texts we have all read or productions we have seen, and finally to inspire the group in their own theatrical explorations. To help in the accomplishment of these goals, I propose the following process:
After this preparation and presentation, you will be able to serve as an "expert" on your topic. In subsequent presentations, you can use your knowledge and your particular insight into Shepard's theatre to comment on similarities and differences in the work under consideration. You can act as a guide for those students wishing to create a theatre piece that utilizes the principles you have presented.
TH. : 261
SAM SHEPARD AND THE AMERICAN THEATRE
WORK ON THE SAM SHEPARD ARCHIVES
(APPENDIX B)
TH. 265 | SPECIAL TOPICS IN THEATRE: SAM SHEPARD |
(APPENDIX C)
With the review assignment, I wish to familiarize you with my pedagogical interest in writing. Before you write your first draft, I will conduct a short writing workshop which focuses on my set of writing principles. If you who have taken other courses with me, you have already mastered this material. If not, I will gladly meet with you to discuss your ideas and your writing method. I have outlined the content of the reviews in a previous section of this syllabus.
With the dramatic criticism paper, I encourage you to explore connections between your topic area and other directions explored in the class presentations. These essays should be 8-10 pages, double spaced, 12 point font. Your work may consider any aspect of Shepard criticism, however, I suggest that you concentrate in some way on one of the following four questions:
I. Relate Shepard's drama to the literary and artistic post modernism that has been fashioned since the mid 60's. Do Shepard's plays represent an expression of this postmodern impulse or are they indebted primarily to the modernist tradition? Do they represent an essential modernist quest for origins and authenticity or are they products of a postmodern world where origins are foreclosed and the authentic irretrievable? Or do they pose another aspect of Post modernims based on transformation of consciousness and a sense of wholeness different from the earlier questions of origins and authenticity.
II. Feminist readings of Shepard's drama return to the question: do Shepard's plays reinforce a masculinist world or do they provide some opposition stance towards patriarchal 'master narratives'?
III. By reading Shepard in the ancient role of the playwright as didaskolos or shaman, what do we learn about concepts of the self in relation to role playing, the quest for identity, American popular culture, families, the relationship between men and women, etc. in the life of the spirit of a time and place in the 1960's, 70's, 80's and 90's. Relate your ideas to Shepard's vision for theatre as a source of healing both personal and cultural.
IV. Develop any of the above questions in relation to the changing dimensions of Shepard's approach to play writing and dramaturgy from his earliest work Off Off Broadway to his most recent work, States of shock.
DEADLINES: Suggested paper topics: week after Spring Break Discuss research: May 2. Papers due on or before: May 16.
TH. 261
SAM SHEPARD AND AMERICAN THEATRE
(Appendix D)
My idea here is to create an environment where you can explore your understanding of Shepard's work in a personal, creative process incorporating and developing concepts and techniques discussed in the course. I propose two parts to this project:
1. Preparation: a. As we go through the material, note monologues, scenes, poems or scenarios that interest you. As early as possible, let the class know your interests so that potential scene partners may contact you.
b. I will serve as the director for each project. In addition to the following assigned rehearsal periods, we will want to meet for, at least one additional coaching session:
Mar. 5 Performance Ideas due in class Mar. 31 Readthru-Tustin, 7:00PM Apr. 18 Workthru-in class (On Book) Apr. 25 Run thru during class (Off Book) May 8 Dress Rehearsal-Time and Place TBA May 9 or 10 Performance-Time and Place TBA
c. I expect that you will be off book by the Apr. 25 rehearsal. Please create a performance notebook where you can jot down blocking, directing notes and keep a commentary on your rehearsal process.
2. Performance
There are a few suggestions here:
a. We will create An Evening with Sam Shepard during on May 9 or 10.
b. You will be responsible for your own costume and makeup. As a class, using simple, modular set material, we will design and tech our set. The department will provide a basic lighting plot and seating arrangement; however, we will run the light and sound boards and serve as house management and ushers. We will also be responsible for publicity for our event and we must strike set and lights after the performance.
c. We need to talk about this performance process throughout the term.
ENJOY! TH. 261 Sam Shepard and American Theatre
COURSE OUTLINE AND READING LIST
25 | WELCOME AND INTRODUCTION TO THE COURSE MATERIAL |
30 | WORKSHOP IN PLAY WRITING TECHNIQUE: IMPROVISATION AND REWRITING |
| |
- Allen, Jennifer. "The Man on the High Horse." Esquire 10.5
- (Nov. 1988): 141-151. (xerox)
- Ansen, David. "The Reluctant Star." Newsweek (17 Nov. 1980): 117-118.
- Boyd, Blanche McCrary. "The Natural." American Film 10.1 (Oct. 1984): 22-26,
- 91-92.
- Coe, Robert. "Saga of Sam Shepard." New York Times 23 Nov. 1980, 6:56.
- Cott, Jonathan. "The Rolling Stone Interview-Sam Shepard." Rolling Stone.
- (18 Dec. 1986): 166-172, 198, 200.
- Dark, John. "The 'True West" Interviews." West Coast Plays 9 (June 1981):
- 51-71.
- Gelber, Jack. "The Playwright as Shaman." American Dreams: The
- Imagination of Sam Shepard
. ed. Bonnie Marranca. NY: Performing Arts- Journal, 1981. 45-48.
- Kramer, Mimi. "In search of the good Shepard." The New Criterion 2.2.
- (Oct. 1983) 52-57. (xerox)
- Lippman, Amy. Rhythms & Truths: An Interview with Sam Shepard."
- American Theatre 1.1 (1 April 1984): 9-13,40-41.
- Oumano, Ellen. Sam Shepard: The Life and Work of an American Dreamer.
- New York: St. Martin's Press, 1986.
- Rosen, Carol. "Emotional Territory: An Interview with Sam Shepard."
- Modern Drama 26.1 (Mar. 1993): 1-11.
- "Sam Shepard." Current Biography Yearbook, 1979. ed. Charles MOritz. New York:
- H,W. Wilson, 1980. 351-355.
- Shewey, Don. Sam Shepard: The Life, The Loves, Behind the Legnd Of a True
- American Original
." New York: Dell, 1985.
- Beckett, Samuel. "Breath," "Come and Go" , "Ohio Impromtu" in The Collected Plays.
- NY: Grove, 1984. (xerox)
- Esslin, Martin. "Beckett and his Interpreters." in Mediations. NY: Grove, 1982. 75-80,
- 84-92. (xerox)
Film Viewing: Waiting for Godot (Act Two)-Beckett Films for the Humanities (on reserve) Rockabye-Beckett (on reserve)
See Appendix A for further details on this project.
Shepard, Sam. "Chicago" in Five Plays ---------. Any other play from Five Plays.
- Ginsberg, Allen. Selections from Howl, and other poems.
- San Francisco: City Lights Bookshop, 1956. (xerox)
- Kerouac, Jack. Selections from Good Blonde & Others. ed. Donald Allen. San Francisco:
- Grey Fox Press, 1993. (xerox)
- Bloom, Michael. "Visions of the End: The Early Plays." American Dreams: The
- Imagination of Sam Shepard
. ed. Bonnie Marranca. NY: Performing Arts- Journal, 1981. 72-78.
- Listening: Selection read by Ginsberg and Kerouac (on reserve)
Shepard, Sam. "Unseen Hand" in Unseen Hand and Other Plays.
---------. either" Holy Ghostly"
---------. or "Back Bog Beast Bait" from Unseen Hand and Other Plays.
the Lincoln Center Jazz All-Stars
Weis Center, 8 PM
Terry, Megan. Calm Down Mother. NY: Samuel French, 1970. (on reserve)
_________. Comings and Goings. NY: Samuel French, 1980 (xerox)
_________. Viet Rock. NY: Simon and Schuester, 1967. (on reserve)
Article from Making a Spectacle. TBA
Film Viewing: The Serpent, Performed by the Open Theatre Written by Jean Claude van Italie (on reserve)
Shepard, Sam. Inacoma Selections from the Sam Shepard Archives (xerox)
Grant, Gary. "Shifting the Paradigm: Shepard, Myth and the Transformation
of Consciousness." Modern Drama 26.1 (Mar. 1993),120-130. (xerox)
Shepard, Sam. "Fool for Love" in Fool for Love and Other Plays.
---------. either "Curse of the Starving Class" in Seven Plays
---------. or "A Lie of the Mind" (reserve)
Film Viewing: Curse of the Starving Class-Shepard
Shepard, Sam. Motel Chronicles. Selections (xerox)
- Grant, Gary. "Writing As a Process of Performing the Self: Sam Shepard's
- Notebooks." Modern Drama 34.N4. Dec. (1991): 549-565. (xerox)
5 | ACTING SHEPARD |
DEADLINE: Shepard Performance Ideas | |
Dasgupta, Gautam. "Interview with Spalding Gray." in Marranca. pp. 175-186. | |
Aaron, Joyce. "Clues in a Memory." in Marranca. pp. 171-174. | |
7 | LIBRARY RESEARCH ON SAM SHEPARD ARCHIVES |
See Appendix B |
Breuer, Lee. "Red Hourse Animation" in The Theatre of Images. NY PAJ, 1976. (xerox)
__________" B Beaver Animation". In Animations. NY: Performing Arts Journal (xerox)
Marranca, Bonnie: "Self As Text: Uses of Autobiography in the Theatre". Performing Arts Journal. 85-103.
Film Viewing: Sister Suzie Cinema-Breuer and Telson
Shepard, Sam. "Angel City" in Fool for Love and Other Plays
Wetzsteon, Ross. "Introduction" Fool for Love and Other Plays
"Director-Grant defends Angel City" Puget Sound Trail, 1 Dec. 1983.
***SPRING BREAK****
Lyons, Charles R. "Shepard's Family Trilogy and the Conventions of Modern Realism."
Rereading Shepard: Contemporary Critical Essays on the Plays of Sam Shepard. ed.
Leonard Wilcox. NY: St. Martin's Press, 1993. 115-130. (xerox)
Film Viewing: True West
Shepard, Sam. "Buried Child" in Seven Plays.
---------. either "Curse of the Starving Class" in Seven Plays
---------. or "A Lie of the Mind" (reserve)
31 | SHEPARD PERFORMANCE READTHRU |
TUSTIN THEATRE | |
7:00PM |
2 THE POSTMODERN PERSONALITY: IMPROVISATION ON THE SELF
- Blumenthal, Eileen. "Sam Shepard and Joseph Chaikin: Speaking in Tongues." in
- Marranca. pp. 136-152.
- Gilman, Richard. "Introduction" Seven Plays.
- Shepard, Sam. "Tongues" in Seven Plays
- Film viewing: Tongues
Shepard, Sam. "Suicide in Bb" in Fool for Love and Other Plays
_________. " Savage Love" in Seven Plays. Film in class: Angel City directed by Gary Grant, University of Puget Sound, 1983
18 | SHEPARD PERFORMANCE WORKTHRU (ON BOOK) |
TUSTIN THEATRE | |
2:00 P.M. | |
23 | TBA |
25 | SHEPARD PERFORMANCE WORKTHRU (OFF BOOK) |
TUSTIN THEATRE | |
2:00 P.M. | |
30 | GROUP PRESENTATION #8: Shepard and the Movies |
Shepard, Sam-" Silent Tongue" in a Play and Two Screenplays,NY: Vintage Books, 1993. | |
Shepard unpublished film script ideas from the Sam Shepard Archive (xerox) | |
Film viewing: Paris, Texas | |
May | |
2 | DISCUSSION OF DRAMATIC CRITICISM PAPERS: ISSUES AND METHODOLOGY |
7 | VALUES AND EVALUATION: SHEPARD'S FUTURE STATUS IN AMERICAN THEATRE |
Shepard, Sam. States of Shock in a Play and Two Screenplays,NY: Vintage Books, 1993 | |
Hart, Linda. "Shepard's Pornographic Visions." Studies in Literary Imagination 21:2 (1988): 69-82. (xerox) | |
8 | SHEPARD PERFORMANCE DRESS REHEARSAL |
TUSTIN THEATRE | |
8:00 P.M. | |
9 or 10 | AN EVENING WITH SAM SHEPARD |
FINAL CLASS PERFORMANCE | |
TUSTIN THEATRE | |
8:00 P.M. | |
16 | Dramatic Criticism Essays due |
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