Sam Shepard, the Pulitzer Prize-winning playwright, actor and director, who was a blazing force in the museum universe with such classics as “Buried Child” and “True West,” and a concise participation on screen in such films as “The Right Stuff,” has died at age 73.
Shepard died Thursday at his Kentucky home from complications associated to amyotrophic parallel sclerosis, Lou Gehrig’s disease, a family orator said.
Celebrated as one of the many means American playwrights of his generation, Shepard penned 44 plays, including “Curse of the Starving Class” (1978), the Pulitzer-winning “Buried Child” (1979), “True West” (1983), “Fool for Love” (1984), and the Drama Desk Award-winning “A Lie of the Mind.”
In further to bettering some of his plays for the screen, Shepard also wrote the scripts for the films “Paris, Texas,” starring Harry Dean Stanton and Nastassja Kinski; and “Far North,” starring Jessica Lange (with whom Shepard shared a three-decade attribute and had two children).
As an actor, Shepard hexed a rugged, taciturn masculinity in the capillary of Gary Cooper. He done his first major underline film coming in Terrence Malick’s “Days of Heaven” (1978), as one partial of a comfortless adore triangle involving Brooke Adams and Richard Gere.
He warranted an Academy Award assignment for Best Supporting Actor for his opening as test commander Chuck Yeager in the 1983 play “The Right Stuff.”
Other film appearances enclosed “Resurrection,” “Raggedy Man,” “Frances,” “Country,” “Crimes of the Heart,” “Steel Magnolias,” “Bright Angel,” “The Pelican Brief,” “Don’t Come Knocking,” “Black Hawk Down,” “All the Pretty Horses,” “Swordfish,” “Brothers,” “The Assassination of Jesse James by the Coward Robert Ford,””Killing Them Softly,” “Mud,” “August: Osage County,” and “Midnight Special.”
He recently starred in the Netflix series “Bloodline.”
An Army brat innate on Nov 5, 1943 in Illinois, Samuel Shepard Rogers III lived a labyrinth childhood — lifted in the Midwest, Florida, and Guam — before his family staid onto a plantation easterly of Los Angeles. He ran off to New York City in the early 1960s, where he found a some-more dissenter knowledge on the Lower East Side and operative as a busboy at the Village Gate.
It was then that he was drawn to the works of Samuel Beckett. He began to approach his own energies to playwriting, bringing to it an “ignorance” of structure, he told New York repository in 1980, that resulted in works of remarkable, mostly head-scratching, originality.
He told Interview repository in 2014 that he had been repelled by not experiencing on the theatre something experimentally same to jazz in the music universe or epitome expressionism in art. “I couldn’t utterly know since theater, as a form, was spinning its wheels and not really going anywhere,” he said.
His beginning works, constructed in such Off-Off-Broadway haunts as La MaMa and Provincetown Playhouse, enclosed “Cowboy,” “Icarus’s Mother,” “4-H Club,” “La Turstia,” “The Unseen Hand,” “Mad Dog Blues,” “Operation Sidewinder” and “The Tooth of Crime.” He co-wrote with thespian Patti Smith “Cowboy Mouth,” a play about their event (he was married to singer O-Lan Jones at the time), and contributed to the anthology show “Oh! Calcutta!”
He also collaborated with Italian executive Michelangelo Antonioni on the book for the film “Zabriskie Point.”
“The illusory thing about museum is that it can make something be seen that’s invisible,” he told New York magazine, “and that’s where my seductiveness in museum is — that you can be examination this thing happening with actors and costumes and light and set and language, and even plot, and something emerges from over that, and that’s the picture partial that I’m looking for, that’s the arrange of combined dimension. Hopefully, it would be something that would renovate the emotions of the people watching.”
Some of his many iconic work of the 1970s and ’80s, both lampooning and melancholic, featured acrimonious black amusement and conspicuous tensions between characters, such as the feuding brothers of “True West,” the dysfunctional family of “Curse of the Starving Class,” and a unsuccessful American Dream in “Buried Child,” a story of incest and murder.
Later works enclosed “Simpatico,” “Eyes for Consuela,” “The God of Hell,” “Kicking a Dead Horse,” “Heartless,” and “A Particle of Dread (Oedipus Variations).”
Shepard is also credited with co-writing the lyrics to Bob Dylan’s 1986 strain “Brownsville Girl,” an 11-minute opus from the manuscript “Knocked Out Loaded.”
In 2009 Shepard perceived the PEN/Laura Pels International Foundation for Theater Award as a master American dramatist.
“I feel very propitious and absolved to be a writer,” he told Interview magazine. “I feel propitious in the clarity that we can bend out into poetry and tell opposite kinds of stories and stuff. But being a author is so good since you’re literally not contingent on anybody.”