Intermedial Aesthetics in Sam Shepard’s Experimental Plays
| Autoři | |
|---|---|
| Rok publikování | 2025 |
| Druh | Další prezentace na konferencích |
| Fakulta / Pracoviště MU | |
| Citace | |
| Popis | The following paper is an ongoing doctoral research that examines the early experimental plays of Sam Shepard through the theoretical lens of intermedial storytelling, with a particular focus on the intersection of theatre and film. Building on Irina Rajewsky’s framework of intermediality, which is primarily focused on the relationship between literature and film, this paper proposes an expansion of her model to the underexplored dynamics between dramatic texts and filmic techniques. Shepard’s early theatrical works, known for their non-linear narratives, surreal motifs, and fragmented structures, offer space for intermedial analysis. Rather than relying on explicit multimedia elements or adaptation, these plays exhibit a form of implicit intermediality, wherein filmic modes of storytelling are embedded in the dramatic form itself. By investigating the presence of cinematic logic, such as montage-inspired structure, disjointed sequencing, or visual framing, this research reveals how Shepard’s drama engages with film not as a separate medium but as an integral influence on his dramaturgical choices. This study not only deepens the understanding of Shepard’s formal theatrical innovations but also contributes to the field of intermedial studies, which have rather neglected the aspect of dramatic writing that blurs media boundaries through its scriptwriting methods. By focusing on the implicit integration of filmic techniques in Shepard’s dramaturgy, it offers a new methodological approach to reading certain kind of experimental theatre. At the same time, it situates Shepard within a larger intermedial tradition, recognizing his work not only as theatrical innovation but as part of a hybrid media discourse that reshapes our understanding of storytelling across different forms of art. |
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