Despite protestations from the other family members, Dodge finally admits to the murder, explaining that Halie had a child, apparently with Tilden, and that he drowned it and buried it in the back yard. Baudrillard approaches the issue of identity with his theory the fragmentation of identity. Are you in some kind of trouble? It's a thin line and more personal than anything, this wavering balance of emotional and intellectual engagement. You always have a reader. The old man's two bucks flapping right on the seat beside me. Tilden went insane with guilt and grief, spent time in jail in New Mexico, and has only recently returned to the farmstead, perhaps to set everything right. But this play didn't move me in the least.
Often tactics like this will lead to a better, more interesting story. I have nothing against heavy subjects but they better make some sense. Sam Shepard was an American artist who worked as an award-winning playwright, writer and actor. I read this play with friends, which was exceptionally fabulous. Might be his plays just aren't my thing. By the end of Act One I was really into this play and impressed with Shepard's writing I'd never read one of his plays or stories.
Incest and extramarital affairs are just a few of the sins committed by the members of this family. In the Nation, Harold Clurman wrote, ' 'What strikes the ear and eye is comic, occasionally hilarious behavior and speech at which one laughs while remaining slightly puzzled and dismayed if not resentful , and perhaps indefinably saddened. Short read, anyway, don't let me deter you from what others apparently love here. If you have something to say, why not just say it without shrouding it into a metafor? Clear to the Iowa border. Vince has returned to his family because he wants know but he is not recognized by any member of the family which also alludes to the disappearance of the past too. Whether he sought it or not, Buried Child marked a turning point in his career. Buried Child is more about the form than about what it's trying to say - although I'm not sure if it tries to say nothing at all.
At least in Streetcar the characters are differentiated and there are emotional ebbs and flows. But the play -- which won the Pulitzer, go figure -- just becomes stranger and stranger with no payoff, in my mind. The myth making being challenged is true and real while the reality the characters are working through is also painful. Then, Vince returns home drunk and begins smashing empty liqueur bottles everywhere, telling Shelly that he planned to run away but decided against it. And I don't wanna know! Vince enters from the porch, and Dodge announces that he is bequeathing the house to Vince. This is what Baudrillard calls hyper-reality. Shelly tries to convince Vince to take her with him but he refuses so she remains home with Tilden and Dodge.
Buried Child is a dark and twisted play which talks about adultery, betrayal, murder and even incest. Halie brags about Tilden, saying that he used to be All-American, playing football and being a popular kid. Reading the play was so thick I wasn't even really sure what the hell was going on by the end of it. And then his face changed. Shelly is incredibly amused by the pastoral setting, but Vince warns her to be serious, wanting to make a good impression on Dodge and Halie, his estranged grandparents. Same with Who's Afraid of Virginia Woolf? Shelly continues to press Tilden about Vince, but Tilden is still unable to place Vince in his memory.
In the Buried Child, identity is what the characters invent for themselves; Identity is a sign in their hyper-real world which accidentally achieves meaning for them. Why did Dodge kill it? The myth making being challenged is true and real while the reality the characters are working through is also painful. Dodge is unable to take care of himself and he lost his power and influence in the family. Dodge continues to remain asleep even if his scalp starts bleeding from the haircut. I could see myself in the windshield.
These characters are unveiled as ghosts of their former selves during a visitation by a long lost grandson and his girlfriend. Halie ultimately returns with Father Dewis and wont' stand for Shelly in the house, asking questions. Dodge starts talking about his testament and how he wants his belonging to be burnt on the field. From that point forward, the entire family lived under a cloud of guilt that is finally dispelled when Tilden unearths the unfortunate child's mummified remains and carries it upstairs to his mother. He takes a drink when no one is watching and then proceeds to hide his bottle away from his wife. In addition to the rural setting of Buried Child, I liked Shepard's robust mix of tragedy and some comedy, piousness and sin, sobriety and drunkenness, self-restraint and lust. And his father's face changed to his grandfather's face.
This makes it difficult at times to fully engage with the undoubtedly powerful action. However instances where they act like symbolic characters rather than humans undercuts all the work done to define them while the need to ground them in naturalistic soil pins the wings of the absurd. Shelly believes Vince will return, but Dodge mocks her optimism. Dodge begs Vince to go get him a bottle of alcohol, and he agrees, leaving Shelly alone with Dodge and Tilden. There didn't seem to be a speck of joy to thin out all the secrecy and tragedy behind the central family. As the play progresses, the various relationships come to light.