.-
Analysis of
the creative project
SHEPARD PLAYS
-
by
Stuart B. Simpson
Thesis Director
Ball State Uni ers1ty
Muncie, Indiana
May 1982
-
Graduating Spring 1982
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In the dramatic works of Sam Shepard there exists an
acute understanding of real life in America--the scope of experiences, dreams, differences in thought and expression and
the way these facilitate or prevent communication between
people.
His use of the medium of theatre to display where our
solutions to today's problems are leadint; us is full of the
power of vision and realization.
His diaJ..ot;ue is of the most
natural to reach the stage and each of his character's speech
is fitted integrally to that character's role.
In other words
it is evident that each of his characters thinks differently,
holds different values and expresses them in a manner that is
a
-
culminat~on
of the experiences of that individual.
This
variety of thought patterns is one of the factors that makes
Shepard a challenge to produce.
Still, as stated by Ralph
Cook, "Sam Shepard's plays are the most totally'realized in
original script of any writer • • • •
He has an instinctive
sense of what is theatrically right for his plays that goes
beyond rules and preconceptions."l
The largest obstacle a director faces when producing
a Shepard play is his desire to alter some of the vehicles of
expression in the script, to adjust them for his audience.
The power af Shepard t s works comes from his u'se of these devices to present the common experiences of our culture,
lsam Shepard, Chica$o and Other Plays (New York:
Urizen Books, 1981), p. 2.
1
2
especially the middle class.
He puts everyday events in a new
perspective, often a perspective we had not before seen.
He
displays our life as it truly exists and then slowly transforms
or develops it into a logical, possible, or symbolic future.
Other times he interrupts the action abruptly,
discardin~
any
pretense of realism and leaving the audience suspended in a
world they cannot understand yet believe they can.
He depicts
the death of the American Dream--America coming out of puberty
and
realizin~
the myths it held so dearly as ideals and be-
lieved in as answers are just the fantasies and theories of
another
~eneration
who existed in a different world.
And
from this realization is reborn the need to understand where
-
and why we are.
Shepard Plays consists of three works by Sam Shepard
and an introductory exposition compiled from critiques and
commentary on Shepard and his plays.
Followin~
"EXposition
Time" the works, in order of presentation, were Cowboy Mouth,
Killer's Head, and Fourteen Hundred Thousand.
It was first
produced in Carmicheal Hall, February 12 and 13, 1982, with
subsequent productions in the Ball State Theatre and The
Muncie Museum of Temporary Art.
Objectives of the production were twofold in nature.
A first concern was to acquaint the Muncie audiences with the
work of one of America's most honored
and more
-
import~nt,
playwri~hts.
Second,
the production attempted to initiate the
realization of the need for immediate action
desi~ned
to
direct our national destiny away from the path we have put ourselves on by our lack of comprehension of our own human
-,
3
characteristics, needS, and drives.
As previously mentioned, the show opened with "Exposition Time."
~ave
This piece was an audience preparatory.
them information about Shepard's theatrical style to form
a framework and perspective
perience the
evenin~'s
have lived
throu~h
which they could better ex-
entertainment.
The first play,
youn~
It
e~wboy
throu~h
Mouth, reflects the world the
these last two decades.
It is a dis-
play of the personal needs this era produced and the creation
of rock 'n' rODl to fulfill these needs.
sented in a quest
for~some
means of fulfillment.
Two people are pre-
sort of reason for
existin~--some
They have had all the dreams,
thou~ht
about all the explanations, searChed for all the experiences
and tried to ask all the questions.
genuine contact with
They are
somethin~ ~reater
lookin~
for
than themselves, some-
thing that can give significance to their lives.
The old God
is too distant.
He is not
Jesus isn't here to be touched.
here to share the pain.
One of the characters is Slim, who is in his mid-20's,
powerfully alive, physical, and looking for that
somethin~
that will provide him with meaning for his existence without
breaking his ties to the past.
lover, is Cavale.
Opposite Slim, his kidnapper/
In contradiction to Slim's philosophy, she
believes in the need to destroy in order to create, to give
up this moment in order to achieve the next.
-
tion of Cavale's world is narrow.
Slim's percep-
The word Cavale means
escape and it is through Cavale and her conception of rock 'n'
rofl that escape is possible, escape from the isolation of our
4
own mind.
The third character is the Lobsterman.
lobster and looks like a lobster.
His appearance is represen-
tative of the way he is entrenched in his job.
his function, his entire existence.
only
throu~h
grunts.
He delivers
It has become
He is able to communicate
Cavale, focusing her calls to him
throu~h
rock 'n' roll, is able to strip his limitations from him.
She
removes the shell that has enclosed the new rock 'n' roll
savior.
Playing roulette with a .38, he accepts the need to
give up this moment and all it may mean in order to fully experience the next.
Killer's Head views a man's existence and accomplishments against the backdron of the infinite continuum of time.
-
It is a monologue delivered by a cowboy, Mazon, in the electric chair.
He talks about what he is going to do today as if
he were not about to be executed.
He rambles about a pickup
truck and horses but never verbally alludes to his situation.
His death leaves the audience without an answer as to why his
life was taken..
with
dyin~.
Shepard is commenting on man's preoccupation
He makes the audience ask the eternal question
and paradox "why?"
The third play, Fourteen Hundred ThOUsand, is a tapestry
of symbolism that begins realistically with a young husband
and wife, Tom and Donna, giving a "friend", Ed, a guilt complex for not completing a bookcase for them.
The only
remaining chore is to put in the shelves, which k'sep falling
down, and to paint it.
.-
The other characters, Mom and Pop, are
ignored by the young couple except for what help they can lend
~
the project.
Ed is the independent individual who wishes to
5
-
belong to the group without giving up his freedom of thought
and action, his own choice of fate.
Two major themes are presented in this work:
The
paradox of the individual--to exist alone is to not eXi,st;
and our destiny is decided by the movements, opinions, actions
and lack of action of the masses--this control has no conscious,
no pl.:anned direction.
These things are expressed through both
literary and graphic symbolism.
In the first part of the show,
the realistic part, and in addition to the ostracism of Ed,
there are several visions of action never completed and dreams
never realized.
The bookshelves and the books that litter the
stage are representative of the apathetic and poor way we
select and organize our knowledge and experiences. the insen-
-
sible way we choose our priorities, values, and friends.
A
dirty, impure white paint covers the back wall suggesting the
way technology will paint over rust to give the appearance of
an improved environment.
In a paint fight Donna and Tom also
try to coat each other with white, succeeding to some degree.
After this fight they respond simultaneously and in unity for
the rest of the play.
Ed, unable to communicate with them, has
a breakdown.
Shepard employs theatrical devices to underline the
themes of the script.
As he does this the
p~ay
leaves realism
and acquires some of the characteristics of the genre of Happ\)n1~gs,
where actors stop presenting roles and begin to simply
carry out actions.
-
It begins with Mom and Pop reading from dif-
ferent books the same short
~
story:~n
unison.
They are jOined
by Donna and Tom and, finally, after his collapse, Ed.
The
6
story is about snow
fallin~
untiD it drives them from their
homes and even from their valley.
The people just turn and
walk away, never stopping and never looking back.
Symbolically
the falling snow is the continuum of time and the way it
forces action in some direction whether we are prepared and
comprehend it or not.
At the end of this story, Tom, Ed, and
Donna begin to dismantle and remove the set while Mom and Pop
start to read about the lack of planning in the construction
of a city.
They propose and then enter a sales pitch about a
plan for a universal city with ten mile squares of country between one mile wide linear cities.
excitement of
-
p~anning
They get
and cannot stop.
cau~ht
up in the
They put cities from
continent to continent, under water and up in the air until
there exists no more free space, just one huge metropolis and
enclosing the Earth.
The lines get shorter, the pace gets
faster and the volume and excitement build right up to the
final moment when they fill the last square mile of free space.
Then they close their books with the finality of the slam of a
coffin lid in the newly discovered silence of the other actors
having completed their task.
The production a f Shepard Plays '.'.>as prepared with emphasis on the acting and the audience/actor relationship to
aid their understanding of the theatre of Sam Shepard, the
actors received excerpts about acting and watching plays by
Shepard.
-
"Exposition Time" wC\s compiled from the same material.
A copy of these notes is included in the appendix.
7
The technical aspects were severely hampered because of
the limited
bud~et.
Thrust
was employed for its rela-
stagin~
tionship between the audience and the acting area.
It
allowe~
the greatest amount of seats to be placed as close to the action
as possible.
in~~
set requirements prohibited the use of arena
These requirements were minimal but complex.
works needed a door and a window.
sta~­
Two of the
In Fourteen Hundred Thousand
the set had to be dismantled and carried off by the actors.
This play also had to have a bookcase with shelves that would
fallon cue, be replaced and fall
to be hammerea upon.
and have the stability
The unit also had to be independent of
the set walls and simple
minute intermission.
again~
enou~h
to be set up during a ten
For the monologue an electric chair with
an eloctrocution effect that could be controlled by the actor
sitting in it had to be constructed.
In consideration of the
actors of Cowboy Mouth, who spent many moments wrestling on
the floor, and to help define the stage from the house in the
absence of platforms, a carpet was placed upside-down
the entire acting area.
monolo~e.
coverin~
This carpet was rolled back for the
set design, lighting design and other technical
lists and schedules are in the appendix.
The requirements for
lightin~
could not be met for
Cowboy Mouth due to the lack of available eqUipment.
The
ideal lighting for this script is the lighting of a rock tn'
roll concert, with many colors, unusual angles and numerous
changes in lighting to reflect the changes of mood.
The
8
-
other two shows needed minimal lighting and were easily accomplished satisfactorily.
For Killer's Head a single white spot
was placed directly over the chair and controlled on its own
dimmer.
For Fourteen Hundred Thousand the script called for
.
a general wash of white light that would change abruptly to a
general wash of blue.
Four white and five blue flood lights
were employed, the whites on a dimmer and the blues controlled
by an off/on switch.
A combination of the blues on full and
the whites from 70 percent to zero was used in Cowboy Mouth.
Make-up, costumes and props were incorporated as simplistically as possible and are detailed in the production
lists in the appendix.
-
Also included are the production
schedule, budget, and a copy of the rehearsal schedule.
Producing any play presents several problems relative
to the specific script and, no matter the amount of beforehand study, the performance and post-performance reflection
will bring to light new dimensions and dictates of the work.
In producing a work by Shepard, the newness of the script is,
in itself, a major consideration.
The appropriate method of
bringing the work to life had to be deduced almost entirely
from the script as few previous productions have been reviewed.
Director's choices were made to alter many small aspects of
the playwright's work, mostly in the ar'Ja of technical performance.
Examples include the costume for the LobstermMn,
which should have looked like an
-
~ctual,
huge monster; the set
decoration for Cowboy Mouth, which did not adequately reflect
Cavale's personality; and the costuming and make-up, which
9
were hastily designed and executed.
Had hindsight and funding
been available prior to the production, these changes would
probably have been avoided.
Still, Shepard Plays provided both
the actors and the audience with a new and unique dramatic
experience, introducing to them a style of theatre they had
never before encountered and, perhaps, awakening them to the
message the author and the production desired to convey.
-
-
-
APPENDIX
A.
REHEARSAL SCHEDULE
B.
PRODUCTION SCHEDULE
C.
BUDGET
D.
PRODUCTION LISTS:
SET, PROPS
E.
PRODUCTION LISTS:
COSTUMES, MAKEUP
F.
ABOUT SAM SHEPARD:
G.
FLOOR PLAN AND HANGING PLOT
NOTES TO THE ACTORS
-
Rehearsal Schedule for "Shepard Plays"
JAN
SUN 3
MON 4
TUE 5
WED 6
THR 7
FRI 8
SAT 9
SUN 10
MON 11
Cowboy Mouth
Fourteen Hundred Thousand
Cowboy Mouth
Fourteen Hundred Thousand
No Rehearsals
No Rehearsals
No Rehearsals
No Rehearsals
Fourteen Hundred Thousand
TUE 12 Cowboy Mouth
\'JED 13 Fourteen Hundred Thousand
THR 14 Cowboy Mouth
FRI 15 Cowboy Mouth
SAT 16 Fourteen Hundred Thousand
SUN 17 No Rehearsals
rWN 18 'Fourteen Hundred Thousand
TUE'19 Cowboy Mouth
WED 20 Fourteen Hundred Thousand
THR 21 Cowboy Mouth
FRI 22 Cowboy Mouth
SAT 23 Fourteen Hundred Thousand
SUN 24 No Rehearsals
MON 25 Fourteen Hundred Thousand
FEB
TUE
trJED
THR
FRI
SAT
SUN
26
27
28
29
30
31
MON
TUE
HED
THR
FRI
SAT
1
su~r
Cowboy Mouth
Fourteen Hundred Thousand
Cowboy Mouth
Fourteen Hundred Thousand
Cowboy Mouth
No Rehearsals
Fourteen Hundred Thousand
Co~boy Mouth (IF NEEDED)
3 Fourteen Hundred Thousand
4 Cowboy Mouth
5 No Rehearsals
6 Build Set
7 Build Spt
2
Music
Block All
Run Lin~s
Run Lines
Cathy, Greg
All
Cathy, Greg, J.A.
All
61-73,80-85
199-209
64-73, 80-85
209-216
Music, Run
Run
Carla, Tom, Lesli
Marcia
Cathy, Greg, J.A.
Tom, Leslie, Marc
Cathy, Greg. J.A.
Cathy, Greg, J.A.
All
73-79,85-94
199-209
87-94
?-09-216
Music, Run
Run
All
Cathy, Greg, J.A.
Ken, Carla
Cathy, Greg, J.A.
Cathy, Greg, J.A.
All
64-73,80-85
209-216
Run
Music, Run
Carla,
Marcia
Cathy,
All
Cathy.
All
Cathy,
Run
Lines
Run
Run
All
Cathy, Greg, J.A.I
All
Cathy, Greg, J.A.J
199-209
73-79,85-94
9
Full Hun
Full Fvn
FlU 12
Show the First
Show the Second
~EUE
Sat 13
-
( -T;;>
....
Greg, J.A.J
Greg, J.A.J
Greg, J.A.l
Please Help!!!!!
?~2ryo~2
~ ·:~{).(1
;.1ED 10
'i':{? 11
Tom, Leslil
~".:: :~' ',-;
P21ui~0d
'-' ~'"l
C:.. -.~
l'T1;'FD"'D
I/
...
~~~
-.~
Publicity Pictures
** Please Note--Specific Rehearsal Times, plus infornation concerning
Costumes and Makeup will be announced as we go.
SHEPARD PLAYS
-
-
PRODUCTION SCHEDULE
2-4
wire chair
2-5
gather:
2-6
move to CA115
carpet down.
wall up
hang curtains
gather props
2-7
brace wall
set house
2-8
order chairs
program to printers
get crow
make Lobsterman claws and cheeks
2-9
rig shelves
hang tarps
2-10
paint set and chair
hang lights
2-11
pick up programs
build headgear and straps - add to chair
2-12
OPEN
preshow:
flats
carpet
trunk
shelves
door
window
tarps
curtains
mattress
stool
electric chair
2-7
2-9
set props
rig chair flash
prepare set
kill hall lights
set guitar level - tuns
check house
postshow: put set up
lock up props
lock up dimmer
sweep
wash paint brushes
wash painted clothes
-
B
2-13
pictures
strike
party
real paint for fight
real food
-
BUDGET
Royalties - reduced
paid by Carmi cheal
$90.00
Scripts
Prompt script materials
$34.24
H
tI
"
It
"
tf
Makeup:
Costumes:
Props:
Flyers
Protjrams
Tech:
1.00
K-Y
rit dye
foam stuffing
scarVes
Cavale's and Slim's
pictures
groceries
switch
3 flash
8.30
2.69
2.42
2.42
It
Rehearsal tapes
-
c
SHEPARD PLAYS
@
3.58
1.34
1.03
3.06
.50
4 •. 16
1.00
13.81
10.35
15.55
3.11
10.·7ft-
$ 115.72
2-12 audience @ 1.00
2-13 audience @ 1.00
33
.
It~ oo
total
expenditure
total
receipts
$47.72 loss
-
D
SHEPARD PLAYS
-
Production Lists
SET:
16' x 16' carpet
2 4' x 8 t flats - white
2t' x 6t' window - white
3' x 7' door - white
3 flat jacks
3' x 10' curtain
12' x 10' curtain
PROPS
P~D
SET PIECES:
trunk
stool
crate
drums
snare case
amp
--
-
electric guitar
case
bookshelves
electric chair
stuffed crow
Sears catalogue
tray
pink telephone
hubcaps - 2
raggedy costumes
ribbons and lace
pictures of cowboys
poster: Crucifixion, Dali
poster: D~lan:.~
clothes
empty beer bottles
hammers - 2
scarves
switchblade
~uitar
tennis shoes
stuffed dolls
ashtrays - 1 with roach
gun
candles
light blankets
mattress
pillows - 2
wood scraps
sawdust
3 paint cans - scene paint, no
fixative in one, white
2 paint brushes
tool box
tools
8' stack of books
tequila bottle
lobster
4 toasted bialys with cream cheese
scrambled eggs
cream pie
sausage
pepsi
E
cos'rUMES:
-
-
Slim:
Faded jeans, white western cut shirt, hide vest,
cowboy boots
Cavale:
Worn-out jeans, black T-shirt, black
cape
Lobsterman:
Orange jumpsuit, claws, lobster cheeks, black
hat over sleeveless black capezio jumpsuit,
flared
Mazon:
White T-shirt, jeans, cowboy boots
Tom:
Blue T-shirt, jeans, tennis shoes, glasses
Ed:
Short s18eve shirt, sleeveless sweater, cords
Donna:
Jeans, sweatshirt, tennis shoes
Mom:
Flower print dress
pop:
Cords, white short sleeve shirt, brown sl·::eveless
sweater
MAKEUP:
Slim:
None
Cavale:
4b base, heavy lines around eyes
Lobsterman:
Grey triangles and eyeshadow
Mazon:
None
Tom, Ed,
Donna:
None
Mom:
General
Pop:
General age.
a~e
sleeveles~
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