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Hall  \nGiven the changing nature of audiences, entertainment, and media, the role of theatre in twenty-first century culture is changing. The WHAT IS THEATRE? series brings new and innovative work in literary, cultural, and dramatic criticism into conversation with established theatre texts and trends, in order to offer fresh interpretation and highlight new or undervalued artists, works, and trends.  \nANN C. HALL has published widely in the area of theatre and film studies, is president of the Harold Pinter Society, and is an active member in the Modern Language Association. In addition to her bookA Kind of Alaska: Women in the Plays of O’Neill, Pinter, and Shepard, she has edited a collection of essays, Making the Stage: Essays on Theatre, Drama, and Performance and a book on the various stage, film, print, and television versions of Gaston Leroux’s Phantom of the Opera.  \nPublished by Palgrave Macmillan:  \nTheatre, Communication, Critical Realism By Tobin Nellhaus  \nStaging Modern American Life: Popular Culture in the Experimental Theatre of Millay, Cummings, and Dos Passos  \nBy Thomas Fahy  \nAuthoring Performance: The Director in Contemporary Theatre By Avra Sidiropoulou  \nReadings in Performance and Ecology  \nEdited by Wendy Arons and Theresa J. May Theatre and War: Theatrical Responses since 1991  \nBy Jeanne Colleran  \n(Re)Constructing Maternal Performance in Twentieth-Century American Drama By L. Bailey McDaniel  \nSam Shepard and the Aesthetics of Performance By Emma Creedon  \nSam Shepard and the Aesthetics of Performance  \nEMMA CREEDON  \nSAM SHEPARD AND THE AESTHETICS OF PERFORMANCE Copyright © Emma Creedon, 2015.  \nSoftcover reprint of the hardcover 1st edition 2015 978-1-137-53057-8  \nAll rights reserved.  \nFirst published in 2015 by PALGRAVE MACMILLAN®  \nin the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010.  \nWhere this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS.  \nPalgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world.  \nPalgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.  \nISBN 978-1-349-70857-4 ISBN 978-1-137-52741-7 (eBook) DOI 10. 1057/9781137527417  \nLibrary of Congress Cataloging-in-Publication Data Creedon, Emma, 1984–  \nSam Shepard and the aesthetics of performance / by Emma Creedon. pages cm.—(What is theatre?)  \nIncludes bibliographical references and index.  \nISBN 978-1-349-70857-4 (alk. paper)  \n1. Shepard, Sam, 1943–—Criticism and interpretation. I. Title. PS3569. H394Z6685 2015  \n812 􀀙 . 54—dc23 2015004658  \nA catalogue record of the book is available from the British Library. Design by Newgen Knowledge Works (P) Ltd., Chennai, India.  \nFirst edition: July 2015  \n10 9 8 7 6 5 4 3 2 1  \nTo Michael Byrne  \nThis page intentionally left blank  \nContents  \nAcknowledgments ix  \nIntroduction xi  \n1. Surrealism and Sam Shepard’s Early Plays: 1964–1967 1  \n2. Myth, Ritual, and a Search for Selfhood: 1969–1972 21  \n3. Surrealism and Sam Shepard’s Family Plays:  \nRepresenting Gender 43  \n4. A Comparative Study of Sam Shepard’s Angel City and Luis Buñuel and Salvador Dalí’s Un chien andalou 79  \n5. Tongues, Savage/Love, and The War in Heaven: Angel’s  \nMonologue: Joseph Chaikin and Sam Shepard  \nin Collaboration 105  \n6. States of Shock and Simpatico: Performances of Waste 135  \n7. Conclusion: Through the 1990s and Beyond 163  \nNotes 171  \nIndex 195  \nThis page intentionally left blank  \nAcknowledgments  \nI would like to extend my sincere gratitude to the staff at the Bancroft Library at the University of California, Berkeley, for assisting mein my consultati","cbCaiqH2YcM2x5D8","https://ap.wps.com/l/cbCaiqH2YcM2x5D8","pdf",1937487,212,"English","# Introduction\n# Surrealism and Sam Shepard’s Early Plays: 1964–1967\n# Myth, Ritual, and a Search for Selfhood: 1969–1972\n# Surrealism and Sam Shepard’s Family Plays: Representing Gender\n# Comparative Study: Angel City and Un chien andalou\n# Tongues, Savage/Love, and The War in Heaven: Collaboration with Joseph Chaikin\n# States of Shock and Simpatico: Performances of Waste\n# Conclusion: Through the 1990s and Beyond\n# Notes\n# Index","[{\"question\":\"What time periods and themes does the book’s chapter structure cover?\",\"answer\":\"The chapters trace early plays (1964–1967), later phases (1969–1972), family plays and gender representation, and then developments through the 1990s and beyond. Themes include selfhood, myth and ritual, and evolving performance concerns.\"},{\"question\":\"Which comparative artist works are used alongside Sam Shepard in the study?\",\"answer\":\"The table of contents references a comparative study linking Shepard’s Angel City with Luis Buñuel and Salvador Dalí’s Un chien andalou, framed as part of the book’s performance and aesthetics analysis.\"},{\"question\":\"How does the book address collaboration and staging in relation to Shepard?\",\"answer\":\"A dedicated section focuses on Tongues, Savage/Love, and The War in Heaven, highlighting Joseph Chaikin’s monologue and Shepard’s collaboration. Other chapters address performances of waste and states of shock in later material.\"}]","Sam Shepard and the Aesthetics of Performance - Analysis of Theatre Aesthetics | PDF",1789985202,326]