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Just watched the PBS Great Performances show on [amazon_link id=”6305154481″ target=”_blank” ]Sam Shepard[/amazon_link].

I was pretty influenced by the fact that his early plays and early writing is so admittedly just stuff he put out there. Just had an impulse, notion, idea and dramatized it; shot it out, let it live. A lot of stream of consciousness. A lot of personal experience and personal history. Then, later, he went on to considering larger ideas, like family, leading to his “[amazon_link id=”0553346113″ target=”_blank” ]trilogy[/amazon_link].”

This has forced me to re-consider my approach to playwrighting, as I have been more driven to write plays about issues that concern me and about the people those issues affect. However, none of them really has any anything to do with me. Nothing like it has happened to me, or likely will, at best it is the impersonal made personal.

Often I have thought about approaching personal experiences: family silences, what is unsaid, etc.; and more personal subjects, but have been hesitant to go through that door. I think I have some understanding now as to why. Not that it will be any easier at some later date, but assuredly, knowing myself and writing plays that bring myself forward will iron the will that has to write plays that are larger in scope.

[amazon_link id=”0312074794″ target=”_blank” ]Sherrill Grace[/amazon_link] states, “Expressionist art is based on the assumption that the individual human being (often the artist himself/herself) has an essential Soul or Self that can be expressed (what I will later describe as the ‘expressive fallacy’) and that in the expressive act the artist articulates something of more than merely personal, private value or consequence.  The pressure towards symbolism, even allegory, is very strong, and gives rise to a common feature of all expressionist literature and drama: the expressionist image, a literalised metaphor that represents an inner felt state in a physical, concrete form.”