Abstract
Sam Shepard has said that his work "is all experimental. Experiment, by its very nature, has to do with risk. If there's no risk, there's no experiment. And every play's a risk." Although the dramatic risks that Shepard takes in A Lie of the Mind (1985) are not as flagrantly sensational as his pyrotechnic plotting in The Tooth of Crime (1972) or as his "fractured whole" characterization in Angel City (1976), Shepard here again challenges the audience to accept his transformation of conventional fanns into new dramatic structures. In A Lie of the Mind, Shepard uses structural pairing to transmute the conventions of realistic characterization and comic reconciliation into a drama that interweaves realism and mythic abstraction in order to expose the limits of category and genre.
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