Abstract
This paper offers a descriptive overview of Shepard's work in theatre and film during the third decade of his career. Highlights include Shewey's speculation on the Gurdjieffian subtext to A Lie of the Mind (inspired by the playwright's dedication of the published play to “L.P.”, who is identified as Lord Pentland, the now‐deceased leader of the Gurdjieff movement in America). Also discussed are the mystical/Jungian aspects of gender conflict in the plays Fool for Love and A Lie of the Mind and the films Far North and Silent Tongue. Surveying the body of Shepard's film work as actor and director, Shewey frankly inspects Shepard's physical body and catalogues favourite images from his plays that figure prominently in the films, especially trucks, detectives, Native American culture, and horses.
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