DOCSLIB.ORG

Download Your PDF Copy of Orpheus Descending: a Study Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Your PDF Copy of Orpheus Descending: a Study Guide Tennessee Williams’ Directed by Virginia Reh Assistant Directed by Karen McDonald Designed by Michael Greves Department of Dramatic Arts of the Marilyn I. Walker School of Fine and Performing Arts, Brock University Presented in the Sean O’ Sullivan Theatre Centre for the Arts, Brock University St. Catharines, Ontario November 10-12, 2011 Orpheus Descending: A Study Guide Prepared by: Virginia Reh, Director and Department of Dramatic Arts Associate Professor Michael Greves, Scenographer Karen McDonald, Assistant Director and Dramatic Arts Student Erica Charles, Dramaturge and Third Year Dramatic Arts Student Tami Friedman, Historical Consultant Discussion Questions Prepared by Kathy Cavaleri, Dramatic Arts Student “There’s something wild in the country...” ! -Val Xavier, Act 1, Scene 4i Figure 1. “A Great Black and White Desert Snake Eating” Orpheus Descending: A Study Guide!!! !!!!!!! Brock University Department of Dramatic Arts Marilyn I. Walker School of Fine and Performing Arts Page 1 of 35 November, 2011 TABLE OF CONTENTS 1. Collaboration 2. List of Characters 3. The Plot 4. The Playwright: Tennessee Williams 5. Director’s Notes 6. Production History 7. Faith, Myth and Spirituality 8. Aunt Conjure and the Choctaw 9. Historical Content 10. Dramaturge’s Notes 11. Discussion Questions 12. List of Terms 13. List of Figures 14. Endnotes and Bibliography Orpheus Descending: A Study Guide!!! Brock University Department of Dramatic Arts Marilyn I. Walker School of Fine and Performing Arts Page 2 of 35 November, 2011 1. Collaboration Orpheus Descending !!!!!! Written by Tennessee Williams November 10, 11, 12, 2011 at 7:30pm; November 11, 2011 at 1:00pm Brock University Department of Dramatic Arts Marilyn I. Walker School of Fine and Performing Arts Presented in the Sean O’ Sullivan Theatre Centre for the Arts, Brock University St. Catharines, Ontario CAST (Students of the Brock University Department of Dramatic Arts): Val Xavier................................................................................................................................Trevor Ketcheson Lady Torrance........................................................................................................................Rebekka Gondosch Carol Cutrere........................................................................................................................Robyn Cunningham Vee Talbott..........................................................................................................................Cassandra Van Wyck Jabe Torrance..............................................................................................................................Evan Mulrooney David Cutrere................................................................................................................................Josh Davidson Beulah Binnings............................................................................................................................Lauren Beaton Dolly Hamma.................................................................................................................................Mallory Rivest Eva Temple.................................................................................................................................Anna MacAlpine Sister Temple.................................................................................................................................Madison Roca Sheriff Talbott..................................................................................................................................Derek Ewert Pee Wee Binnings..............................................................................................................................James Lowe Dog Hamma...............................................................................................................................Matthew Viviano Aunt Conjure....................................................................................................................................Nadia Watts Louella Mae Judd..........................................................................................................................Justine Benteau Nurse Porter...........................................................................................................................Vanessa Ancevicius Mr. Dubinsky.....................................................................................................................................Brad Deiter PRODUCTION TEAM: Director.........................................Virginia Reh!! Technical Assistant.......................Doug Ledingham Assistant Director.....................Karen McDonald, student Lighting Design....................................Ken Garret! Scenographer..............................Michael Greves ! Audio Design...............................Doug Ledingham Dramaturge...................................Erica Charles, student Head of Wardrobe.........................Roberta Doylend Stage Manager..................................Kate Hardy, student! First Hand..........................................Sarah Waller, student Assistant Stage Manager...............Dylan Sylvester, student ! Historical Consultant........................Tami Friedman Production Manager................Brian Cumberland! ! Discussion Questions........................Kathy Cavaleri, student Technical Director......................Adrian Palmieri Orpheus Descending: A Study Guide!!! !!!!!!! Brock University Department of Dramatic Arts Marilyn I. Walker School of Fine and Performing Arts November, 2011 Page 3 of 35 2. List of Charactersii Valentine (Val) Xavier arrives in town on his 30th birthday. He has a wild and yet handsome quality, which is amplified by his easy going and undeniable sexual energy, though he does not work to deliberately cultivate it. He comes into town wearing his trademark snakeskin jacket and a snake ring. He carries an autographed-covered guitar which he refers to as his “life's companion”. Val is a free spirit, which makes him a threat to the conformity demanded by the town. Lady Torrance is unhappily married to the dying Jabe Torrance. She was “bought” by Jabe after her Sicilian father (known as “the Wop”) died trying to rescue his wine garden and orchard which were torched by town vigilantes (the Mystic Crew) and she was abandoned by her lover David Cutrere. She still has a youthful figure and is a passionate and emotional woman, struggling against loneliness and the bitterness of her wasted life. Nevertheless, she possesses determination to triumph over the tragedies in her life. Carol Cutrere is a wild, uncontrollable woman in her 30's. She has a strange fugitive beauty which she exaggerates through makeup and clothing to gain attention. Her family is one of the richest in the county and they fear her tarnishing their name with her wild behaviour. Carol is a self-declared exhibitionist who enjoys drinking and dancing and is accustomed to getting her way. Beneath this exterior is a lonely, vulnerable and strangely clairvoyant person. Vee Talbott is the wife of the Sheriff. She is a middle-aged woman who is dissatisfied with the reality of her world and escapes into religion and her art. She paints fantastical pictures based on visions she claims to have. Val is the only person in town who truly listens to and sympathizes with her, which may explain why she sees Val as a Christ-like figure. Jabe Torrance, the owner of the Torrance Mercantile store, is Lady's bitter and spiteful husband. He returns to town from an unsuccessful stay in a Memphis hospital. He has clearly come home to die. He is a “gaunt, wolfish” looking man. Everyone in town seems to be waiting for his death. Jabe is a hard man who completely dominates Lady. Even though she struggles hard against him, he expects total obedience from her. David Cutrere is Carol's older brother and head of one of the most prominent and wealthy households in the county. He and Lady were lovers 15 years ago, but he abandoned her when her father's wine garden and orchard were torched by the men of the town. David then married for money to appease his family. He is a “tall, handsome man, but something has gone out of him since his youth. The power he has is the power of a captive who rules other captives. His face, his eyes, have the same desperate hardness that Lady does”. He drives a sky-blue Cadillac, a gift from his wealthy wife. Beulah Binnings is a middle-aged woman and the apparent ring leader of the town gossips. She is the wife of a small planter (Pee Wee). When we first meet her she is overdressed in a “bizarre fashion”. She has the goods on everyone in town and takes pleasure in sharing all their secrets with others. Dolly Hamma is always seen with Beulah. She is the youngest of the group of gossips in the play. She and her planter husband Dog moved to this town 10 years ago. Dolly is an outsider who has been accepted into town. Beulah quickly took her under her wing and Dolly looks up to Beulah as her role model of proper behaviour. Eva Temple is an aging spinster and cousin to Jabe. She is the eldest of the gossiping women. She has no love for Lady and delights in Jabe's public humiliation of his wife. Like all the women, Eva is active in the church, but she is always ready to hear juicy gossip about her neighbours. Although she dislikes both Beulah and Dolly, she recognizes that they are perpetual sources for that gossip. Orpheus Descending: A Study Guide!!! !!!!!!! Brock
Load more

Recommended publications
  • Glbtq >> Special Features >> You Are Not the Playwright I Was Expecting: Tennessee Williams's Late Plays
    Special Features Index Tennessee Williams's Late Plays Newsletter April 1, 2012 Sign up for glbtq's You Are Not the Playwright I Was Expecting: free newsletter to Tennessee Williams's Late Plays receive a spotlight on GLBT culture by Thomas Keith every month. e-mail address If you are not familiar with the later plays of Tennessee Williams and would like to be, then it is helpful to put aside some assumptions about the playwright, or throw them out entirely. subscribe Except in snatches, snippets, and occasional arias, you will not find privacy policy Williams's familiar language--the dialogue that, as Arthur Miller unsubscribe declared, "plant[ed] the flag of beauty on the shores of commercial theater." Forget it. Let it go and, for better or worse, take the Encyclopedia dialogue as it comes. Discussion go Okay, some of it will still be beautiful. You'll find a few Southern stories, but even those are not your mother's Tennessee Williams. Certain elements of his aesthetic will be recognizable, but these works do not have the rhythms or tone of his most famous plays. No More Southern Belles Williams declared to the press in the early 1960s, "There will be no more Southern belles!" A decade later he told an interviewer, "I used to write symphonies; now I write chamber music, smaller plays." Log In Now You will recognize familiar themes: the plight of Forgot Your Password? outsiders--the fugitive, the sensitive, the Tennessee Williams in Not a Member Yet? isolated, the artist; the nature of compassion 1965.
    [Show full text]
  • The Relevance of Tennessee Williams for the 21St- Century Actress
    Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par.
    [Show full text]
  • THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
    THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V).
    [Show full text]
  • The Theatre of Tennessee Williams: Languages, Bodies and Ecologies
    Barnett, David. "Index." The Theatre of Tennessee Williams: Languages, Bodies and Ecologies. London: Bloomsbury Methuen Drama, 2014. 295–310. Bloomsbury Collections. Web. 29 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 17:43 UTC. Copyright © Brenda Murphy 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. INDEX Major discussions of plays are indicated in bold type . Williams ’ s works are entered under their titles. Plays by other authors are listed under authors ’ names. Actors Studio 87, 95 “ Balcony in Ferrara, Th e ” 55 Adamson, Eve 180 Bankhead, Tallulah 178 Adler, Th omas 163 Barnes, Clive 172, 177, Albee, Edward 167 268n. 17 Alpert, Hollis 189 Barnes, Howard 187 American Blues 95 Barnes, Richard 188 Ames, Daniel R. 196 – 8, Barnes, William 276 203 – 4 Barry, Philip 38 Anderson, Maxwell Here Come the Clowns 168 Truckline Caf é 215 Battle of Angels 2 , 7, 17, 32, Anderson, Robert 35 – 47 , 51, 53, 56, 64, 93, Tea and Sympathy 116 , 119 173, 210, 233, 272 “ Angel in the Alcove, Th e ” Cassandra motif 43 4, 176 censorship of 41 Ashley, Elizabeth 264 fi re scene 39 – 40 Atkinson, Brooks 72, 89, Freudian psychology in 44 104 – 5, 117, 189, 204, political content 46 – 7 209 – 10, 219 – 20 production of 39, 272 Auto-Da-Fe 264 reviews of 40 – 1, 211 Ayers, Lemuel 54, 96 Th eatre Guild production 37 Baby Doll 226 , 273, 276 themes and characters 35 Bak, John S.
    [Show full text]
  • Tennessee Williams' "Plastic Theater" a Formulation of Dramaturgy for "The American Method" Theater
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2015 Tennessee Williams' "Plastic Theater" A Formulation of Dramaturgy for "The American Method" Theater Peter A. Philips Follow this and additional works at: https://scholarworks.umt.edu/etd Part of the Theatre and Performance Studies Commons Let us know how access to this document benefits ou.y Recommended Citation Philips, Peter A., "Tennessee Williams' "Plastic Theater" A Formulation of Dramaturgy for "The American Method" Theater" (2015). Graduate Student Theses, Dissertations, & Professional Papers. 4471. https://scholarworks.umt.edu/etd/4471 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Contents Acknowledgements ...............................................................................................1 Preface ....................................................................................................................2 Introduction ...........................................................................................................5 Chapter Synopsis .........................................................................................7 Chapter 1. Tennessee Williams: A
    [Show full text]
  • Clothes Playbill
    Ticketing Services Provided By WHITE HORSE THEATER COMPANY PRESENTS..... White Horse Theater website & the contents of this playbill (excluding the front cover) are designed, produced and maintained by Right Side of NY. www.WhiteHorseTheater.com February 5 to 21, 2010 ❖ Hudson Guild Theatre “Life ended for me when Zelda and I crashed. If she could get well, I would be happy again. Otherwise, never.” - SPECIAL POST-SHOW DISCUSSION ON F. Scott Fitzgerald* SUNDAY, FEB 14TH! With Renowned Williams Scholar Dr. Annette J. Saddik "I determined to find an impersonal escape, a world in which I and Nancy Milford, author of Zelda could express myself and walk without the help of somebody who was always far from me." - Zelda Fitzgerald** Moderated by Jennifer-Scott Mobley, Ph.D. Candidate in Theater History & Criticism, CUNY Graduate Center Clothes for a Summer Hotel, Mr. Williams’ highly theatrical and evocative “ghost play”, imagines an ethereal final meeting Dr. Saddik is an Associate Professor in the English between the restless ghosts of literary great F. Scott Fitzgerald Department at New York City College of Technology and his wife Zelda. Set on a windy hilltop at the gates of the Asheville, NC asylum where Zelda was institutionalized before her (CUNY), a teacher in the Ph.D. Program in Theatre at the death by fire in 1948, a desperate Scott pleads for CUNY Graduate Center and the author of Contemporary reconciliation while Zelda blames him for her failed writing American Drama and The Politics of Reputation: The career and ensuing madness. Taking extraordinary liberties with time and place, Clothes fuses the past, present and future as Critical Reception of Tennessee Williams’ Later Plays.
    [Show full text]
  • 34 Writers Head to 7Th Annual Johnny Mercer Foundation Writers Colony at Goodspeed Musicals
    NEWS RELEASE FOR MORE INFORMATION, CONTACT: Elisa Hale at (860) 873-8664, ext. 323 [email protected] Dan McMahon at (860) 873-8664, ext. 324 [email protected] 34 Writers Head to 7th Annual Johnny Mercer Foundation Writers Colony at Goodspeed Musicals – 21 Brand New Musicals will be part of this exclusive month-long retreat – This year’s participants boast credits as diverse as: Songwriters of India Aire’s “High Above” (T. Rosser, C. Sohne) Music Director for NY branch of Playing For Change (O. Matias) Composer for PBS (M. Medeiros) Author of Muppets Meet the Classic series (E. F. Jackson) Founder of RANGE a capella (R. Baum) Lyricist for Cirque du Soleil’s Paramour (J. Stafford) Member of the Board of Directors for The Lilly Awards Foundation and Founding Director of MAESTRA (G. Stitt) Celebrated Recording Artists MIGHTY KATE (K. Pfaffl) Teaching artist working with NYC Public Charter schools and the Rose M. Singer Center on Riker’s Island (I. Fields Stewart) Broadway Music Director/Arranger for If/Then, American Idiot, The 25th Annual Putnam County Spelling Bee and others (C. Dean) EAST HADDAM, CONN.,JANUARY 8 , 2019: In what has become an annual ritual, a total of 34 established and emerging composers, lyricists, and librettists will converge on the Goodspeed campus from mid-January through mid-February 2019 to participate in the Johnny Mercer Foundation Writers Colony at Goodspeed Musicals. The writing teams, representing 21 new musicals, will populate the campus, creating a truly exciting environment for discovery and inspiration. The Johnny Mercer Writers Colony at Goodspeed is an unparalleled, long-term residency program devoted exclusively to musical theatre writing.
    [Show full text]
  • Amerika Dienst
    AMKRIKA DIENST U. S. Feature Service Bad Godeiberg I • Postfach 300 • Telefon Kad Codesberg 713257 Allgemeines X. Jahrgang. Nr, 26 3. Juli 1957 INHALTSVERZEICHNIS DIE FREIHEIT IST DAS HÖCHSTE GUT Einige Bemerkungen zu den jüngsten Entscheidungen des Obersten Bundesgerichts der Vereinigten Staaten (84 Zeilen) Seite ATOM - WISSENSCHAFT - TECHNIK SHIPPINGPORT VOR DER VOLLENDUNG (.40 Zeilen) Seite 4 FORSCHUNGSREAKTOR Ft)R FARBWERKE HOECHST (6 Zeilen) Seite 5 HINTER DEN KULISSEN MODERNER TECHNIK (17 Zeilen, 5 Bilder) Seite 6 JOHN STELNBECK UND SEINE KRITIKER Zwei Steinbeckbücher: Ein neuer Roman und eine Kritikensammlung Von Norman Smith (90 Zeilen) Seite 8 ANHANG JOHN FQSTER DULLES: DIE CHINAPOLITIK DER USA Wortlaut einer Rede des US-Außenministers vom 28. Juni 1957 vor der "Lions, International" in San Francisco * * * * * AMKRIKA DIENST U. S. Feature Service Bad Godesberg I • Postfach 300 • Telefon Bad Codesberg 713257 Allgemeines X. Jahrgang. Nr. 27 10. Juli 1957 INHALTSVERZEICHNIS ERZIEHUNG IM UMBRUCH Neue Methoden und Erkenntnisse für den Unterricht an amerikanischen Schulen und Universitäten Von John Kerigan (70 Zeilen, 2 Bilder) ' Seite DIE WISSENSCHAFT KOTIERT HERZDIAGNOSEN MIT KONTRASTMITTEL Operationen zur Behebung angeborener Herzfehler erleichtert (80 Zeilen) Seite EXPERIMENT MIT DEM JAZZ Sommerfestspiele der Brandeis-Universität Von Norman Smith (68 Zeilen) Seite KULTURELLE KURZNACHRICHTEN Abschlußbericht 1956/57 der Metropolitan-Qper (6 Zeilen) Seite 9 Gründung der "Schule für Jazz" (4 Zeilen) Seite 9 Sena Jurinac singt Titelrolle in "Vanessa" (3 Zeilen) Seite 9 ANHANG AMERIKAS ZIEL; DIE ERHALTUNG DES WELTFRIEDENS Wortlaut der Rede von Francis 0. Wilcox, Unterstaatssekretär im US-Außenministerium, vom 27. Juni 1957 vor dem Amerikanischen Akademikerinnenverband in Boston. * * * * * AMKRIKA DIENST U. S.
    [Show full text]
  • External Content.Pdf
    i THE THEATRE OF TENNESSEE WILLIAMS Brenda Murphy is Board of Trustees Distinguished Professor of English, Emeritus at the University of Connecticut. Among her 18 books on American drama and theatre are Tennessee Williams and Elia Kazan: A Collaboration in the Theatre (1992), Understanding David Mamet (2011), Congressional Theatre: Dramatizing McCarthyism on Stage, Film, and Television (1999), The Provincetown Players and the Culture of Modernity (2005), and as editor, Critical Insights: Tennessee Williams (2011) and Critical Insights: A Streetcar Named Desire (2010). In the same series from Bloomsbury Methuen Drama: THE PLAYS OF SAMUEL BECKETT by Katherine Weiss THE THEATRE OF MARTIN CRIMP (SECOND EDITION) by Aleks Sierz THE THEATRE OF BRIAN FRIEL by Christopher Murray THE THEATRE OF DAVID GREIG by Clare Wallace THE THEATRE AND FILMS OF MARTIN MCDONAGH by Patrick Lonergan MODERN ASIAN THEATRE AND PERFORMANCE 1900–2000 Kevin J. Wetmore and Siyuan Liu THE THEATRE OF SEAN O’CASEY by James Moran THE THEATRE OF HAROLD PINTER by Mark Taylor-Batty THE THEATRE OF TIMBERLAKE WERTENBAKER by Sophie Bush Forthcoming: THE THEATRE OF CARYL CHURCHILL by R. Darren Gobert THE THEATRE OF TENNESSEE WILLIAMS Brenda Murphy Series Editors: Patrick Lonergan and Erin Hurley LONDON • NEW DELHI • NEW YORK • SYDNEY Bloomsbury Methuen Drama An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com Bloomsbury is a registered trademark of Bloomsbury Publishing Plc First published 2014 © Brenda Murphy, 2014 This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher.
    [Show full text]
  • The Bar Plays" Features Productions Of
    FOR IMMEDIATE RELEASE Contemporary, Complex, and Urgent -- The Williams Project's 2-Play Summer Series "The Bar Plays" Features Productions Of SMALL CRAFT WARNINGS By Tennessee Williams THE TIME OF YOUR LIFE By William Saroyan Full Company announced for each play, set to perform in repertory at Washington Hall, August 7-25, 2019. "For me, these are plays about what community looks like and how we treat each other in the midst of uncertainty and catastrophe" -Ryan Purcell, director Seattle, WASH (July 8, 2019) -- The Williams Project today announced the cast and creative team of its 2019 production line-up, "The Bar Plays," a two-play series including productions of Tennessee Williams' Small Craft Warnings and The Time Of Your Life by William Saroyan, performed in repertory at Seattle's historic Washington Hall in the Central District. The two-play series is directed by The Williams Project artistic director Ryan Guzzo Purcell, and will perform August 7-25, 2019 (opening night is August 8 for Small Craft Warnings and August 16 for The Time of Your Life) in Washington Hall's Lodge Room. Tickets are on sale now at TheWilliamsProject.org and every performance of both productions offers the pay-what-you-can ticketing option. The Williams Project always aims to find new ways to welcome diverse audiences into the theatre. One of their strategies has been to build unconventional theatre spaces, creating environments that disrupt expectations around traditional arts attendance and feel welcoming to audience members who don't usually go to the theatre. The company settled on this season's immersive setting because "bars have a way of making people feel at home," Purcell says.
    [Show full text]
  • PLAYS of TENNESSEE WILLIAMS Fulfillment of the Requirements For
    / 1h THE FUGITIVE KIND IN THE MAJOR PLAYS OF TENNESSEE WILLIAMS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By John 0. Gunter, B. A. Denton, Texas January, 1968 TABLE OF CONTENTS Chapter Page - I I. INTRODUCTION . 1 II. VAL IN BATTLE OF ANGELS. 13 III. KILROY IN CASINO REAL. 21 IV. VAL IN ORPHEUS DESCENDING. 33 V. CHANCE IN SWEETBIRDOFYOUTH..0.#.0.e.0.#.0.0.045 VI. SHANNON IN THE NIGHT OF THE IGUANA . 55 VII. CONCLUSION . .0 . .......-. 68 BIBLIOGRAPHY. - - . - - - - . - - 75 iii CHAPTER I INTRODUCTION There are numerous ways to approach the works of a playwright critically; one is to examine the individual writer's "point of view" in order to define what the man is trying to "say" from his chosen vantage point. This tactic seems as appropriate as any in approaching the works of Tennessee Williams. The plays of Tennessee Williams are written from an in- dividual's point of view; i. e., none of the plays are con- cerned with a social or universal outlook as such; rather each play "takes the shape of a vision proceeding from the consciousness of the protagonist."1 In other words, each one of Williams' plays "belongs" to one central "camera eye" character. Everything that happens is directly related to this character and his perception of and his subsequent adjustment to his environment. Furthermore, the majority of these central characters fall into certain categories which recur in the Williams canon. Some of these categories have been critically labeled and defined, but none of the studies Esther Merl6 Jackson, The Broken World of Tennessee Williams (Milwaukee, 1965), p.
    [Show full text]
  • Entre a História E O Mito: Orfeu Na América, Segundo Sidney Lumet
    Morte de Orfeu pelas mulheres trácias (detalhe). Entre a história e o mito: Orfeu na América, segundo Sidney Lumet Maria Cecília de Miranda Nogueira Coelho Doutora em Letras Clássicas pela Universidade de São Paulo (USP). Professora do Programa de Estudos Pós-graduados em Lingüística Aplicada e Estudos da Linguagem e da Coordenadoria Geral de Especialização, Aperfeiçoamento e Extensão (COGEAE) da Pontifícia Universidade Católica de São Paulo (PUC-SP). [email protected] Entre a história e o mito: Orfeu na América, segundo Sidney Lumet Maria Cecília de Miranda Nogueira Coelho RESUMO ABSTRACT Ao examinar alguns aspectos do filme In examining some aspects of the film The Vidas em fuga (The fugitive kind, 1959), fugitive kind (1959), by Sidney Lumet, de Sidney Lumet, baseado na peça de based on the play based on Tennessee Tennessee Williams, Orpheus descen- Williams’ Orpheus descending (1957/8), ding (1957), discuto a adaptação do mito I address issues on the adaptation of de Orfeu, investigando como ele foi Orpheus’ myth, investigating how it was transposto para a sociedade norte-ame- transposed to North American society to ricana a fim de explorar questões éti- explore ethical subjects, mainly cultural cas, principalmente a intolerância raci- and racial intolerance. I want to show the al e cultural. Busco mostrar a impor- importance of knowing these two versions tância de conhecermos estas versões, to understand better the adaptations of the para entendermos melhor as adapta- myth in the Brazilian society: Orfeu (1999), ções do mito na sociedade brasileira: by Carlos Diegues, and Black Orpheus Orfeu (1999), de Carlos Diegues, e Orfeu (1958), by Marcel Camus, both of them do carnaval (1958), de Marcel Camus, based on the play Orfeu da Conceição ambas baseadas na peça Orfeu da Con- (1956), by Vinícius de Moraes.
    [Show full text]