Memory and Mind: Sam Shepard’s Geography of a Horse Dreamer
Shepard is a master of theatrical imagination; and to an audience schooled in the predominant American realism, he may seem a magician, or even a priest. Yet he is, in the fullest sense of the term, a stage dramatist with an extraordinary instinct for the imaginative modalities of the theatre. Shepard is not a visionary, but an artist concerned with ways of seeing and being within theatrical space and time.
KeywordsMemory Experience Mental Experience Conscious Mind Dramatic Play Imaginative Modality
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- 1.Sam Shepard, quoted in American Dreams: The Imagination of Sam Shepard, ed. Bonnie Marranca (New York: Performing Arts Journal Publications, 1981), p. 197.Google Scholar
- 2.Gilbert Ryle, The Concept of Mind (London: Penguin, 1981), p. 197.Google Scholar
- 3.Sam Shepard, Motel Chronicles and Hawk Moon (London: Faber, 1985), pp. 185–86.Google Scholar
- 4.Laurence Olivier, On Acting (London: Sceptre, 1986), pp. 117–18.Google Scholar
- 5.‘It was during the run of The Merchant that I suffered badly from the actor’s nightmare — stage fright. I wonder if that had anything to do with my performance becoming fresh, open and naked again? It’s always possible’. Ibid., p. 113.Google Scholar
- 6.Sam Shepard, Angel City and Other Plays (London: Faber, 1976), p. 136. All quotations are from this edition; page numbers are given in the text.Google Scholar
- 11.Sam Shepard, Buried Child, Seduced, and Suicide in B b (London: Faber, 1980), pp. 79–80.Google Scholar
- 13.Sam Shepard, Geography of a Horse Dreamer in Four Two-Act Plays, (London: Faber, 1981), pp. 126–27. All quotations are from this edition; page numbers are given in the text.Google Scholar