Sam Shepard's journey through the world of drama is marked by a profound shift from experimental expressionism to a more structured, realistic style. This transition reveals his dynamic approach to storytelling and his evolving exploration of the American family's complexities and myths. His work, oscillating between abstraction and realism, continues to evoke strong reactions from audiences and critics alike, securing his position as a pivotal figure in American theater.

The Early Expressionist Phase

In the initial stage of Shepard’s career, his plays were heavily influenced by the absurdist style of Samuel Beckett. A prime example is Cowboys #2 (1967), where characters like Stu and Chet exist solely within the confines of the stage, devoid of past or future. This play employs a series of disjointed vignettes that highlight the artifice of theater itself. For instance, the transformation of urban cowboys into frontier heroes, followed by their metamorphosis into passive observers, emphasizes the play's episodic and absurd nature.

Shepard's The Tooth of Crime (1972) further explores the artificiality of theater through a verbal duel between Hoss, an aging rock star, and Crow, his challenger. The drama delves into the contrast between theatrical and real-world realities. Similarly, Geography of a Horse Dreamer (1974) uses its protagonist, Cody, a clairvoyant manipulated for his ability to predict horse race winners, as a metaphor for the struggles of artistic creation.

The Transition to Realism

With Curse of the Starving Class (1976), Shepard began his gradual shift towards realism, stepping away from his expressionist roots. This play marks a turning point as Shepard employs a more traditional narrative to probe into the American family’s myths and failures. The storyline emerges from ostensibly realistic situations, with a family trapped in a cycle of dysfunction. Ella, the mother, seeks to escape her abusive, alcoholic husband Weston, while their children, Wesley and Emma, dream of breaking free from their familial chains.

Despite its realistic exterior, Curse of the Starving Class retains key expressionist elements. Monologues punctuate dialogues, and the narrative is driven by metaphorical imagery. The barren refrigerator symbolizes the family's spiritual void, and the violent image of an eagle and tomcat locked in a deadly struggle embodies their destructive interdependence.

Family Dramas and Thematic Maturity

This hybrid of realism and metaphorical depth is perfected in a series of family dramas that followed. These include Buried Child (1978), a Pulitzer Prize-winning work, as well as True West (1980) and Fool for Love (1983). Finally, A Lie of the Mind marks the culmination of this phase. These works are celebrated for bringing a fresh perspective to American drama, yet some critics argue that they represent a compromise that dulls the uniqueness of Shepard’s earlier plays.

Whether hailed as groundbreaking or criticized for losing their initial innovation, Shepard's plays consistently provoke discussion and analysis. His ability to engage both audiences and critics highlights his enduring impact on the theater landscape. Through his evolving style and thematic exploration, Shepard remains a formidable force in conveying the intricacies of human relationships and societal myths.