Abstract
Sam Shepard's plays make unusual and unconventional use of stage time. In so doing, he follows in the tradition of innovative time signatures as they have been known to function in the work of American playwrights who preceded him, notably Eugene O'Neill, Arthur Miller, and Tennessee Williams. In Fool for Love and A Lie of the Mind, however, time past is no longer fetishized as some sort of historical or psychological explanation for time present. These plays develop new structures of simultaneous and parallel time through a scenography dependent on a new arrangement of stage space. Shepard's stage space is full of new temporal possibilities that expand our notion of both the unity and disunity of time.
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