Abstract
Abstract This article examines to what dramaturgical effect Sam Shepard’s political play States of Shock (1991) remediates strategies associated with the culture industry. In plays, spectators forge an interpretation from a medium that is considered ‘hypermedial’ or capable of combining discrete signifying systems such as dialogue, costumes, acting style and scenography at the same time. In States of Shock, genre remediation implicates its audience in the spectacle of war by juxtaposing American war heroism and military ideology with entertaining vaudeville. By examining Shepard’s appropriation of the vaudeville genre in relation to other dramatic signifying systems, the article offers a new and more layered reading of the play’s supposedly ‘blatant’ political message.
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