“Some people might define it that way, saying, ‘He has a very strong sense of himself.’ But it’s a complete lie.” Shepard said in a 1994 interview with The New York Times. “To me, a strong sense of self isn’t believing in a lot,” Mr. That includes any comforting notions of family, home, material success and even individual identity. From early pieces like “Chicago” (1965), written when he was in his early 20s and staged in the margins of Off Off Broadway, to late works like “Heartless” (2012), he presented a world in which nothing is fixed. Shepard’s plays, the only undeniable truth is that of the mirage. In plays like “True West” (1980), “Fool for Love” (1983) and the Pulitzer Prize-winning “Buried Child” (1978), he dismantled the classic iconography of cowboys and homesteaders, of American dreams and white picket fences, and reworked the landscape of deserts and farmlands into his own shimmering expanse of surreal estate.
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