May : You're a liar! Eddie : I took her out to dinner once. May : You're a liar. Eddie : Okay, twice. May : You were bumpin' on a regular basis. Now, don't stand there and give me this shit! Eddie : I hope this man comes over here. I really hope he does. I want to see him walk through that door. May : What are you gonna do? Eddie : I'm gonna nail his ass to the floor - directly. Eddie : You know we're connected, May.
We'll always be connected. That was decided a long time ago. May : It's a big huge extra-long black Mercedes Benz. Eddie : Well, this is a motel, isn't it? Rich people have to sleep too.
May : This ain't no black Mercedes Benz type of motel, Eddie. Eddie : If you ain't a cowboy, you ain't shit. May : How crazy is that chick? Eddie : She's pretty crazy. You just stay down. May : Have you balled her yet? Eddie : You got a job? MAY: It's all a fantasy.
MAY: No, you just disappeared! As you can see, Eddie loves to deny his past of running out on May—and when May calls him out, he just says she should be happy he's there now. Charming, right? In his opinion, May should just be patient and wait for him, asking, "Why couldn't you just stay put. You knew I was comin' back to get you" 6. Yup, see how he did that? He turned it around and blamed her for not being patient enough when she decided to leave him—apparently, if she'd waited around long enough, he would have come back eventually.
Maybe this one isn't a shocker—I mean, if you have to bend reality to fit your own idea of the way things should be, chances are you're more than a little bit controlling.
And that's certainly the case here with good old Eddie. There's a reason he walks around May's room lassoing things, after all—he says it's practice, but it really comes off as him metaphorically signaling his intention to "lasso" May and take her back to the trailer with him. At the very least, he's making a big display of his dominance with that little practice sesh.
Also, like May, he gets kind of violent when the subject of other lovers comes up. When he learns that May has someone coming over, for example, he initially goes ballistic. Even after he has "calmed down," he informs May that when he meets Martin May's date , he's "gonna' nail his ass to the floor. Directly" Parents Home Homeschool College Resources.
Study Guide. By Sam Shepard. From Mingus, a mixed-race kid who painted, Shepard learned that the more straitlaced the woman the more she was attracted to difference. And there were cockroaches all over the place. But these women would show up in their secretarial gear. Supporting himself as a security guard and a busboy, Shepard was encouraged to write plays by impresarios as diverse as Ellen Stewart, who established La MaMa, an experimental venue for new playwrights, in , and Ralph Cook, who founded the Theatre Genesis, in The pair speak bad Spanish and complain about the locals.
Both severely sunburned when we meet them, they talk about the pros and cons of different skin tones. In their jumble of specious theories, what Kent and Salem share is their whiteness, which is to say their preconceptions about how and when the world turns. The argument, ultimately, is about how the younger artist must devour the older one in order to feed his own work, his own myths.
Friedman and conscientiously directed by Daniel Aukin displays all the skill that Shepard developed when crafting his longer family plays but sacrifices none of the intensity and oddness of the earlier work.
But I knew that was impossible. I had mixed feelings about it when I finished. This is a quasirealistic melodrama. But when does love find itself? And that addiction can be pretty wearing on a practical girl like May. Life has taught them a thing or two, not least how impossible their connection, or any intimacy, can be. She has just about caught her breath, started dating a nice guy named Martin the sweet and stalwart Tom Pelphrey , and settled into a job as a restaurant cook, when Eddie shows up.
Still, she clings to him—literally—wrapping her arms around his legs as he speaks.
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