We have lost a great voice in the world of drama. That voice belonged to Sam Shepard, a truly remarkable playwright.

He was a force to be reckoned with, having received numerous accolades throughout his career. In 1979, he won the Pulitzer Prize for Drama for his play "Buried Child." This was a significant achievement that solidified his place in the annals of theater history.

Shepard also received nominations for the Pulitzer Prize in 1983 for "True West" and in 1984 for "Fool for Love." These nominations further attested to his talent and the impact of his work.

To learn more about Sam Shepard and his plays, you can check out the review at https://nancyelin.wordpress.com/2017/08/03/sam-shephard-true-west/.

His contributions to the world of drama will be remembered and cherished for years to come.

Buried Child is truly one of the most outstanding plays ever created. It not only showcases remarkable storytelling but also won the highly prestigious Pulitzer Prize, which is a testament to its quality and significance.

Another play that left a lasting impression on me was one that had something to do with Hollywood. In this play, a rather extraordinary event took place. Someone broke through the back wall, and as a result, the shadow of a cartoon was left behind.

This particular scene taught me a profound lesson. It showed that plays have the power to create vivid and powerful images, even if those images may seem unrealistic in our everyday world. Through the use of such imaginative and creative elements, plays can transport us to different realms and make us experience emotions and ideas in ways that we might not have thought possible.

These two plays, Buried Child and the one related to Hollywood, have both contributed to my understanding and appreciation of the art of theater. They have shown me the limitless possibilities that exist within the medium and have inspired me to look at plays with a more open and discerning eye.

The horse had no spiritual translation. That is to say, to be honest, I must say that in fact, it is impossible to bring a book out of nothing.

It was very incomprehensible, chaotic, and bottomless.

A definitive reader from one of the most influential American playwrights has emerged.

Gilman has written a solid foreword to the book, adding an extra layer of credibility and depth.

Shepard is widely recognized for the unique parlance of his characters. However, it is crucial that people do not overlook his remarkable capacity for imagery.

On stage, he allows the images to speak volumes, informing the viewers or readers in ways that are far more effective than any lines of dialogue could ever be.

Shepard doesn't simply "connect the dots" for you. Instead, he carefully chooses images that can be either subtle or brutally powerful to convey his deeper and more profound intentions.

This distinct style of storytelling places a greater onus on the viewer or reader, requiring them to actively engage and interpret.

Nevertheless, the payoff that comes from this active participation far outweighs the work involved. It leads to a more enriching and fulfilling experience, allowing the audience to truly understand and appreciate the essence of Shepard's artistry.

Despite the average rating, I would like to assert that this is, in my opinion, the finest collection one could peruse if they desired to sample Sam Shepard's extensive body of work. Prolific is a term frequently employed by critics to describe Mr. Shepard. However, when I consider the diverse range of stories recounted and the unique manner in which they are presented within these seven pieces, the word seems almost insufficient.

That being stated, given that these seven works are so distinct from one another, like me, you will likely have preferences and dislikes. Personally, the two that I truly relished were True West and Buried Child. Curse of the Starving Class was acceptable, yet I felt it contained many of the same concepts that were more effectively articulated in True West and Buried Child. I disliked both Tooth of Crime and La Turista, with a particular aversion to Tooth of Crime. I couldn't shake the feeling that Shepard took pleasure in rendering these two plays as incomprehensible as possible. La Turista, in particular, was intended to be a portrayal of the Vietnam War, but I did not find it to be effective in the least. Tongues and Savage Love are difficult to form an opinion on as they are spoken word pieces that are clearly designed to be witnessed rather than simply read.

As I mentioned at the outset of my review, if you wish to gain an understanding of all the various styles and types of works that Sam Shepard penned throughout his career, this is an ideal collection to explore. Nevertheless, be prepared for your experience to vary from one piece to the next.

Almost the best of Shepard,

Reading anything written by Shepard is like going through a condensed social history of America after World War II and up until the end of the 20th century. The plots are simple and the dialogues are not overly sophisticated. Perhaps some of Shepard's works are not as interesting as others, but for those interested in sociology and drama as a writing art, they will enjoy reading or watching his works. Reading Shepard's simple and plain plays gives you the courage to sit down and write about any plot in your mind. Many of his plays are easy, yet honest, fluent, and great. After watching "Paris, Texas" by Wenders, I believe Wenders' shots match Shepard's atmosphere and dialogues. "Few American playwrights have exerted as much influence on the contemporary stage as Sam Shepard. His plays are performed on and off Broadway and in all the major regional American theatres. They are also widely performed and studied in Europe, finding both a popular and a scholarly audience."

Although Sam Shepard presents some previously overlooked topics in a simple yet astonishing way, I don't know why his works haven't been translated into Persian yet, or perhaps I just haven't seen them. Reading Shepard, if nothing else, is a great lesson for those who want to write, and for those who have been writing for years but find it so burdensome as if they are "carrying a heavy weight"! Sam Shepard's works are not limited to plays and short stories. He has also worked in the fields of jazz and pop music, and some of his songs are well-known to his fans. Sam Shepard is also a film and theater actor and has acted with his wife, Jessica Lange, in some films such as "Frances" or "Days of Heaven" (Wim Wenders). Sam Shepard also writes theater and film reviews, and some of his reviews are published in famous English-language magazines.

I have only read two of the plays in this collection, namely True West and Buried Child. However, I am still going to log it. The reason is that Sam Shepard's plays can be recorded as not being to my taste.

True West presents a complex and often chaotic exploration of family dynamics and the American dream. While some may find its themes and characters engaging, I struggled to connect with the story on a deeper level.

Buried Child, on the other hand, delves into even darker and more disturbing territory. The play's exploration of secrets, lies, and the breakdown of a family is both powerful and unsettling. But again, it failed to resonate with me in the way that I had hoped.

Overall, based on these two plays, I have come to the conclusion that Sam Shepard's works are simply not for me. While I can appreciate the skill and artistry that goes into his writing, his style and themes do not align with my personal tastes and preferences.

IMO, Sam Shepard is the best American playwright of 'my time.' I had the aspiration of becoming an actor with the firm belief that I needed to be in one of his plays (alongside a Coen Bros film). However, upon reflection, I realize that I still haven't had the opportunity to be in one of his works. Although I have worked on 'Fool for Love' several times during scene studies, it's not the same as being in a full production. 'Buried Child,' 'Curse of the Starving Class,' and 'True West' are just some of the great American dramas he has written.

Here's a side note: I once served him a glass of red zinfandel while working as a bar back in Manhattan. He seemed nice enough, but was rather quiet. I also suspected that he might have been drunk. Sadly, he has passed away. RIP, Sam Shepard.

I had a hunch about my rating on this particular thing.

You know, sometimes you just have that feeling deep down.

It could be based on various factors or maybe just an intuition.

In this case, I guessed what my rating might be.

And as I was thinking about it, I also happened to read 1988.

That book might have had some influence on my thoughts or maybe it was just a coincidence.

Either way, it was an interesting moment.

I wonder if my guess will turn out to be correct.

Only time will tell.

But for now, I'll just keep thinking about it and see what happens.

Maybe I'll get some more clues or maybe I'll just have to wait and see the final result.

Either way, it's all part of the process.

Seven plays are presented in this collection.

Three of them are from his peak years, belonging to the Family Quintet (True West, Curse of the Starving Class, Buried Child). All three are essential. They are terrifying, gorgeous, and rhythmic plays that truly showcase Shepard's talent at its best.

One play is from his early days in New York, namely La Turista, which unfortunately is the low point of this collection.

Another one is from his London years, Tooth of Crime. I found this play mostly tedious, although the proto rap battle at the end was a delight to read.

There are also two collaborative pieces with his mentor Joseph Chaikin, Tongues and Savage Love. Both of these are incredibly powerful. I've heard that the original Chaikin performances were mesmerizing. I've even watched videos of Shepard performing excerpts. But I firmly believe that performing these plays yourself at home with a few friends would be an emotional experience that could bring tears to your eyes. They are such resonant, rhythmic, and universal pieces.

In conclusion, this is a great book. Although Turista and Tooth of Crime slowed things down a bit, some of Shepard's absolute greatest works are included here, making it a must-read for any theater enthusiast.

Excellent collection of Shepard's plays. This compilation brings together some of the most remarkable works of the renowned playwright Shepard. Each play within this collection showcases his unique style and profound understanding of the human condition. From the intense and emotional dramas to the thought-provoking comedies, Shepard's plays have the power to captivate audiences and leave a lasting impression. The collection offers a diverse range of themes and characters, exploring various aspects of life, love, and the search for meaning. Whether you are a long-time fan of Shepard's work or new to his plays, this collection is a must-have. It provides a comprehensive overview of his talent and creativity, allowing readers to immerse themselves in the world of Shepard's theatre.

Sam Shepard was an incredibly talented and brilliant playwright. His works were nothing short of amazing and show stopping. They were so unique, completely not ever been done before. He was unafraid to reference or not reference, and would often put his ideas in a blender, mix them up in the most spectacular way.

Sometimes I forget just how much of a genius he was since it's sort of taken for granted in my world. I recently watched that god awful mess of a movie "Fool for Love" directed by Robert Altman. It was a disappointment to see a genius playwright and a genius director come together and ruin an amazing play. But that aside, plays like "Hurried Child" and "Curse of the Starving Class" blow my mind every time. "Tooth of Crime" is such a romp, and he was truly the scat man.

Sam Shepard, you are the man of my dreams. It is the great tragedy of my life that we will never be wed. Rest in peace, hottie.