Abstract
SAM SHEPARD IS a playwright of zap-pop-pow action, and he is a playwright of comic-book verbs: his plays flash, zoom, and screech across the stage. Primary colors ooze through neon tubing, jazz and rock music shoot through a sound system, and characters hurl words like weapons, wounding each other with Shepard's heightened version of American English, a language of riffs, culled from slang, jargon, punk talk, dime novels, and B-movies. Shepard floods his stage with such language, a codified language of energy sounding through space; and he peoples his stage with the lone heroes of American myths. Gangsters, rock stars, cowboys, and science-fiction images cohabit on his stage; rub-outs, hits, showdowns, and take-offs collide in his plots.
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