Lee asks question after question about the current situation: whether Austin has any coffee, whether he is taking care of the houseplants, whether he usually writes by candlelight, whether the Forefathers wrote by candlelight. You are here: Home / M / Movie Questions Answered / True West Monologue True West Monologue September 15, 2014 / 0 Comments / in Movie Questions Answered , VIDEOS and PODCASTS / by alexthed He says that money offerings may be enough to appease the old man, but would never be enough for Lee. Austin tries to convince Lee not to prowl around the neighborhood but Lee has his mind made up. Lee discredits a settled life as a "sham." Monologues are presented on StageAgent for educational purposes only. When asked where he would go, Lee says that he would just disappear.
When Austin tries to leave, however, he only falls to the floor drunk. Austin has all the accoutrements of a writer: coffee, a cigarette burning in the ashtray, stacks of paper. Lee offers to call Austin's wife, but Austin says that he needs no one's help and that he is going to steal a toaster and commit crimes bigger than anything Lee ever did. The brothers squabble about who has visited the old man more. Lee is the failure: the thief, the drifter, the outcast. Austin seems at first to be the one who got away, the brother who has survived the devastation of his family and somehow moved on to a sense of prosperity and release. Lee, annoyed with the jabbering and with his own his inability to concentrate, smashes the typewriter into the table. Austin manages to stand up and talks about the suburbia he is going to steal from as a sort of latter day nirvana—a speech Lee says resembles the way the old man used to talk. A candle illuminates Austin sitting in the alcove adjoining his mother's kitchen. The moment of crisis is over. Austin had suspected something underhanded from his older brother, but stealing from his mother's neighborhood is crossing the line. The first thing Austin asks Lee is about whether Lee has seen their father, "the old man." Austin then asks Lee what he is doing here at their mother's house. Lee admits he is there to steal. In his own notes to potential directors, Shepard even specifies that there are not to be any dramaturgical tricks or concepts for the design of the set or the costumes; any such attempts would only confuse the character's evolution. True West was first performed at the Magic Theatre in San Francisco, where Shepard was the resident playwright. Being born into a family is everyone's curse, and getting out is often an ultimate—albeit impossible—goal. In the same mocking vocabulary Lee has used in the play's opening scenes, Austin denounces Lee's efforts at screenwriting and pledges to take a look around the neighborhood for good places from which to steal. Austin says he does not want to have anything to do with the old man. It was directed by Robert Woodruff and featured Peter Coyote (Austin) and Jim Haynie (Lee).
Austin excuses himself, promising to see Lee in a bit. Lee joins Austin on the floor for a drink, and Austin tells the vivid story of how the old man went to Mexico to get all of his teeth pulled and ended up losing his false teeth in a doggy bag of Chop Suey. It had its world premiere there on July 10, 1980. Lee listens intently, unaware that the old man had any need for false teeth or that he had lost them. Use up and down arrows to review and enter to select. Austin's suggestion that Saul Kimmer thinks that the two brothers are the same person is the most explicit reference to the fact that the two men represent opposite sides of a single creative artist. Find monologues from plays for auditions, theater training and film. He is drinking beer and looks like he has slept in a ditch, with a filthy T-shirt, two days' growth of beard, and bad teeth.
True West guide sections Austin rejects this proposition with a good deal of force, not wanting Lee prowling around the neighborhood and certainly not interested in letting Lee use his car to do so. Lee asks for help on the screenplay again: just a little bit, he says, just the characters. True West 1 True West (1980) by Sam Shepard Characters AUSTIN: early thirties, light blue sports shirt, light tan cardigan sweater, clean blue jeans, white tennis shoes LEE: his older brother, early forties, filthy white t-shirt, tattered brown overcoat covered with dust, dark blue baggy suit pants from the Salvation Army, pink suede belt, pointed black forties Lee offers to leave on the condition that Austin help him with the screenplay, which piques Austin's interest.
If you would like to give a public performance of this monologue, please obtain authorization from the appropriate licensor. Looking at the play with this relationship in mind removes the story from its seemingly naturalistic limitations and transforms it into an archetypal examination of what it means to be an artist. 265 0 obj
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SparkNotes is brought to you by Barnes & Noble. He is bent over a table writing in a tablet. Others consider it part of a quintet which includes Fool for Love (1983) and A Lie of the Mind (1985).. SparkNotes is brought to you by Barnes & Noble. Two people could hardly look less like brothers than Austin and Lee. Lee is at first the mirror image of his father, a drunk without a home, a man without direction. Additionally, Lee wants the use of Austin's car for the day to case the neighborhood. Lee laughs at Austin's "art," which is just a little research for a screenplay. Austin is well manicured and proper, whereas Lee is a slovenly mess. Austin denies the possibility of his brother disappearing, as it seems that the old man tried that once a long time ago. There are no aria-like monologues, no slime oozing down the walls, no magical cornfield in the backyard: just a simple kitchen in a modest home outside of Los Angeles.
Initially the bet is for shared screen credit, but the stakes end up increasing to include Austin's house. Use up and down arrows to review and enter to select.
Austin says that all three of them sound the same when drunk. Austin is the prodigal son: the husband, the writer, the success. Some critics consider it the third of a Family Trilogy which includes Curse of the Starving Class (1976) and Buried Child (1979).
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