The Glass Menagerie

Total Page:16

File Type:pdf, Size:1020Kb

The Glass Menagerie +­ '~'"1y.) ... /'\ ( BY TENNESSEE WILLIAMS TENNESSEE WILLIAMS PLAYS Baby Doll '" Tiger Toil Camino Real Cat on a Hot Tin Roof CI"Ihts for a Summer Hotel Dragon Caunrry The Glass Menagerie The Gloss Menagerie A Lovely Sunday for Cre.e Coeur Nor AOOur Nightingales The NOlebook of Trigorin The Red o..il B."ery Sign Small Cndl Warnings Nobody, not even the rain, has such small hands. Somelhing Cloudy. Somerhing Clear Stopped Rocking and Orher St,«n PI~y. e. e. cummings A Streetcar Named Drsire S....t Bird of Youth THE THEATRE OF TENNESSEE .... 1l11AlWS. VOLUME I B""lt of IIngtl,. II 5,,..,,,,, N"tn«J o.,ir'r. TN GIaJ, Mmagtrit THE THEATRE OF TENNESSEE WilliAMS, VOLUME 1I TN El'Clfll,icilitl of" Nighlinxalt, s_,,11(/ S...... TN ROlt TaIlOf). Ca..i.. RraJ THE THEATRE Of TENNESSEE WILLIAMS. VOLUME 1)1 Ca, " a HoI Tin Roof. 0rphtJa o."...aing. S,,"""'I, Unl S".._ THE THEATRE OF TENNESSEE WILLIAMS. vOLUME IV S".., BirJ of Yo"lh, P"ioJ of IIJjlm....'. TN N'ghl ofIN ig"''''' THE THEATRE Of IENNES-SEE WILLIAMS. VOLUME V TN Millt T,ain v..s.', SIll/' Hm II.,...... KI.gt/qm of Earth (TN s...m 0.,'''1' of MY"lt!. S ....II Craf, W"rning'. TN Two·Char«1tr Pia, THE THEATRE OF TENNESSEE WILLIAMS, VOLUM~ VI 2J Wag.", F"I/ of Coil." ..fill OIM Short Pia" THE THEATRE OF TENNESSEE WILLIAMS. VOl.UME VB in 'N Ba, ofa Tole,. H."I all(/ OIM Pia], THE THEATRE Of TENNESSEE WILLIAMS, VOLUME VIII Vi."x Cam. II 1.-1, S"nday for C..... CDt""' CloI"" for as"....... Hottl, TN Red Devil Ballery Sign I 27 Wagon. Full ofCatron and Orh.r Plays The Two-Characrer Play 'I Vieux Carre f ~ POETRY :J Androgyne. Moo Amour In {he Wimer of Chies INTRODUCTION BY ROBERT BRAY PROSE Collecled Slorie. Hard Candy and Orher Stories A NEW DIRECTIONS BOOK One Arm and O,her Srori.. The Roman Spring of M" Slone Where I Live: Sele«ed Essays • l • .. ,. Copyright e 1945 The Univ....ity of the South. Renewed 1973 The Univ....ity Of The Soullt. '",rnduction topyright 0 1999 by Robe" Bray AU rights reserved. EXfepr for brief pass.aw:s quoted 1n a newspaper, magazine. radio, or television rev,ew, no pan of chis book may be reproduced in any form or by any means~ electronic or m«han~ iul, including pho(()(:opyinS and recording. or by any informalion storage and reult"Val system, without pel'missJon in wricing from [he Publisher. CAUTION: Prokssionals and amareurs .re hereby .....oed tha. The GI,." .41_8"", being fully pro­ CONTENTS ."".ed under .he copyrigh. I..... of .he Unired S.ates of Amerka, ,he Bri.ish Commooweahh including the Dominion of Canada. and all o.her counlti.. of the Copyright Union. is sub;"". to royalry. AU rights. including professional, amateur, motion pK:tUft'~ rtt.:itarioo. lecruring? public n:adinJ(, radio and television broadcastiog. and the rights of rransLuion inw fOJ'eigo languages, art strictly reserved, Particular emphasis .5 laid on • he question ofreadings. permission for which mUSE I be s«:ured from the ag~nt IOc The Universi.y ofthe Sou.h. Casa",no Ramsay Ltd., National House, 60-66 Wardaur S.., London W I V 3HP. England. )• Inquiries concernin8 [he ama[eur acting rights of The GI4JS MOIAr« shouk! be dirt't:ct'd co The Dramatists Play S.",i«, 440 Park Avenue Sou.h, N ..... York, NY 10016, without whose n permission in w'l'ln8 no arnau"ur performance may be given. 1be Dramatists Play Service i .Iso publishes the aCling v.nion of the play. The GI,." Mmapit is published by .....ng.men....i,h { The University of the South. Sewanee, T.n........,. Introduction by Robert Bray vu The GI"" M_g",i, ..... li"t published by Random House in 194~. New Dire"ions lint f published The GLIIS M.Ntg.." in a New Classics Edition in 1949 and .. New Directions Paperbook 21810 1966. reset in 1970. An introduction by Robe" 8ray I Cast Listing/Scene XVII w...dded [0 the paper edition, published as NDP874. in 1999. \ Manufactured an [he UntIed 5t1un of America I ! The Characters XVJ11 New Directions Book...." printed on .dd-f.... paper. I Published ,imuhaneously in Canada by Penguin Books Canada Limited Library of Congress Ca.aloging-in Puhlic.<ion Data Production Notes XIX Willi.ms, Tennessee. 1911-198.~ The glas' menagerie I by Ten........, Williams: in.roduction by Robe" Bray. ( p. cm. The Glass Menagerie 3 ISBN 0·8112·1404·4 I I, Young men-Missouri-Saint Louis--Drama. 2. Pamily-MiSliOUri--Saint Louis--Drama. I. Title. PS:l~45."3MG5 1999 98·54624 ) The Catastrophe of Success, 812'54-<1<21 CIP an essay by Tennessee Williams 99 SECOND PRINTING New D.rec<icns Books are published for James Laughlin by New Oire"ions Publishing Cmpo.... ion. 80 Eighth Avenue, New York. NY 10011 .. THE GLASS MENAGERIE S~ENE TWO and pretty!-It's almost time for our gentlemen callers to .....,u."'..",.......""'."m....."'.",...._",..-_._,..,-.......'.........,III-......_"",......"...."....._'10...'...""........,...,,"""''',,·,........·.... start arriving. [She pounces girlishly toward Ihe kitchenette] On Ihe dtwk stllge the sC'l'een is lighted with the imllge of bl#e ,w many do you suppose we're going to entertain this after~ ,oses. G,ad~ly u#"rs fi,g#,e becomes apparent and the noo\.) sct'een goes 0#1. The ffl*sic s#bsides. [To;"""tMows down Ihe paper lind i#mps #1' wilh II g,olln.] ~'II is seated in the delicllte wory chllir at the small cw­ one in the dining ,oom]: I don't believe we're foot table. She wears II d,ess of soft 1Iiolet mIItet'ial fOf' a going to rece~ any, Mother. kimono-her hllir is tied bllck f,om her fOf'ehead with a ,ibbon. She is wlllhing lind polishing her collection of glllls. AMANDA airily]: [,e~earing, What? No one--not one? Amantl. IIppears on the fi"e escllpe sleps. Atlhe so#nd of her You must be jokin, IIscenl, La*1'11 clltches her b,elllh, tM#sts the bowl of Qt'niI­ [U#'II nerllo#sly e oes her lau:gh. She slips in II f#gitille menll IIWIlY, and sellls herself sli/fiy befo,e the diag,am of Ihe manner tMo#gh Ihe hal en pOf'tieres lind d,lIWs them gent­ typew,iter keyboard 111 tho#gh it held her spellbo#nd. Some­ ly behind her. A shllft of 11 clear lighl is tMown on her fllCe thing hili hllppened to Amanda. II is written in her fllCe 111 she against the faded tllp8swy of e c#,tllins. Fllintly the m#s;c of climbs to the landing: II look thlll is grim lind hopeless and "The GIllis Menagerie" is he 111 she contin#es, lightly:] II little IIbs*1'd. She hili on one of those cheap Of' imitation lIelllety-looking cloth coats with imitation f#, collar. Her hili Not one gentleman caller? It ca 't be true! There must be a is fi,lIe Of' six years old, one of those d,eadf#l cloche hills that flood, there must have been a torn o! were wOt'n in the lllle Twenties, and she is cl#tching lin enQt'­ LAURA: It isn't a Bood, it's not a tor do, Mother. I'm just mo#s black patent-lelllher pocketbook with nickel cllllPS lind not popular like you were in Blue Moun . ... initials. This is her f#ll-dt'ess o#tfi,t, the one she #s~ly wears [Tom wiers another gf'oan. ~'II glance III him with II to the D.A.R. BefOf'e entering she looks tMo#gh the doOf'. faint, apologelic smile. Her lIoice clllches Ill' e:] She p*1'ses her lips, opens her eyes lIery wide, ,oils them #1'­ ward lind shllkes her head. Then she slowly lell herself in the Mother's afraid I'm going to be an old maid. doOf'. Seeing her mOlher's e"Fession ~'II lo#ches her lips [The scene dims o#t with the "GIlliS Menagerie\m#sic.] wilh II net'1IO#S gest#,e. ."'."'......",.,,,,t............,.,tW«>..... 'lt' __.... ,... _"'____-.....--.n~~....-....,"_..".lOo{_ .. LAURA: Hello, Mother, I was-- [She makes II net'1I0#S ges­ t#t'e toward the chart on the wall. Amandll luns IIgainst the sh#t doOf' and Jlares III ~'II with a martped 10Qk.] AMANDA: Deception? Deception? [She slowly t'lmOlles her hat and glolles, contin~g the sweet s#lJering stare. She lets the hat and glolles fallon the {lOOf'-II bit of IIcling.] II 10 • -' ~ - _. THE GLASS MENAGERIE SCENE TWO ...........,,,..'''''''.\III.'''.>1IU............,,,,...14_.....''I<....''m.IOII_.,'.......U_...."_..,...........................I1......'H'_...."mll.n...."..m......."........m.... LAURA [shakily]: How was the D.A.R. meeting? LAURA: Has something happened, Mother? [Amanda !lowly opens her f!Nrse and remotles a dainty [Amand .lraws a long breath, takes out the handkerchief white handkerchief which she shakes 0111 delicately and again, goes Ihrough Ihe dabbing process.] delicately tOtlches to her lips and nostrils.] Mother, has--something happened? Didn't you go to the D.A.R. meeting, Mother? AMANDA: I'll be all right in a minute, I'm just bewildered AMANDA [faintly, almost inaudibly]: -No.-No. [Ihen -[She heS;laJes.] -by life.... more /orcibly:] I did not have the strength-tO go to the LAURA: Mother, I wish that you would tell me what's D.A.R. In fact, I did not have the courage! I wanted to find a hole in the ground and hide myself in it forever! [She happened! crosses slowly to the wall and rem01les the diagram 0/ Ihe AMANDA: As you know, I was supposed to be inducted into typewriter keybOllrd.
Recommended publications
  • Finding Aid for the Bouchard Collection (MUM00041)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Bouchard Collection (MUM00041) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Bouchard Collection (MUM00041), Department of Archives and Special Collections, J.D. Williams Library, University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Bouchard Collection MUM00041 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Scope and Contents note Title Administrative Information Bouchard Collection Controlled Access Headings ID Collection Inventory MUM00041 Special Collections Map Case Drawer 1 Date [inclusive] 1949-1999 Special Collections Map Case Drawer 2 Extent Special Collections Map 4.0 Linear feet Case Drawer 3 Box 1 Preferred Citation Box 2 Bouchard Collection (MUM00041), Department of Archives and Special Collections, J.D. Williams Library, University of Mississippi Return to Table of Contents » SCOPE AND CONTENTS NOTE Mississippi film related items including posters, lobby cards, film stills, publicity books, etc. Return to Table of Contents » ADMINISTRATIVE INFORMATION Publication Information University of Mississippi Libraries Revision Description Revised by Lauren Rogers. 2016 Access Restrictions Open Copyright Restrictions The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction.
    [Show full text]
  • The Rise of Controversial Content in Film
    The Climb of Controversial Film Content by Ashley Haygood Submitted to the Department of Communication Studies in partial fulfillment of the requirements for the degree of Masters of Arts in Communication at Liberty University May 2007 Film Content ii Abstract This study looks at the change in controversial content in films during the 20th century. Original films made prior to 1968 and their remakes produced after were compared in the content areas of profanity, nudity, sexual content, alcohol and drug use, and violence. The advent of television, post-war effects and a proposed “Hollywood elite” are discussed as possible causes for the increase in controversial content. Commentary from industry professionals on the change in content is presented, along with an overview of American culture and the history of the film industry. Key words: film content, controversial content, film history, Hollywood, film industry, film remakes i. Film Content iii Acknowledgements I would like to thank my family for their unwavering support during the last three years. Without their help and encouragement, I would not have made it through this program. I would also like to thank the professors of the Communications Department from whom I have learned skills and information that I will take with me into a life-long career in communications. Lastly, I would like to thank my wonderful Thesis committee, especially Dr. Kelly who has shown me great patience during this process. I have only grown as a scholar from this experience. ii. Film Content iv Table of Contents ii. Abstract iii. Acknowledgements I. Introduction ……………………………………………………………………1 II. Review of the Literature……………………………………………………….8 a.
    [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]
  • The Glass Menagerie
    The Glass Menagerie By: Joe M., Emanuel M., Adrian M., Graham O. Choices of the Author Hubris Symbolism Character Foil Hubris Hubris: A great or foolish amount of pride or confidence Amanda Wingfield Euphoria for the past 17 Gentleman Callers Scene I Unrealistic Expectations for Children Lack of Motivation from both Laura and Tom Symbolism Glass Symbol for Laura: brittle, fragile representing sensitivity Amanda and Tom arguments always end with glass breaking Scene 3: Tom hits shelf of glass with overcoat “Laura cries out as if wounded” (24) Scene 7: Tom smashes his glass on the floor “Laura screams in fright” (96) At the peak of the fight when it has ended, someone leaves Character Foil Foil: A foil is another character in a story who contrasts with the main character, usually to highlight one of their attributes Jim to Tom That really good friend that does everything better and your parents are like why you can’t be like them. Tom: Lacks ambition and goes to movies Jim: Big dreams and public speaking classes Laura to Amanda Literary Lenses Marxist Psychoanalytic New Historicism Marxist The Wingfields, members middle class, function under the brutal economic laws of capitalist society during the Great Depression of the 1930's. Tom Wingfield is “a poet in a warehouse” I go to the movies because I like adventure. Adventure is something I don't have much at work, so I go to the movies. (Williams, 39). The temper of work in the warehouse does not satisfy Tom’s poetic ambitions This foreshadows Tom’s to escape from his life of hard labor and to enroll in The Union of Merchant Seamen Marxist (Contd.) Theme 1: Alienation within the workforce ambitions do not lie in the warehouse Theme 2: Limitations of Capitalism Inequality, visible in Tom’s dependency on unfulfilling manual labor Psychoanalytic Motif: Escape and Imprisonment Tom Wingfield “Yes, I have tricks in my pocket, I have things up my sleeve.
    [Show full text]
  • The Glass Menagerie Teachers´Packaug
    The Glass Menagerie Plot Overview The Glass Menagerie is known as a “ memory play” because it is based on the way the plays narrator, Tom, remembers events. The story is a told to us by Tom Wingfield, a merchant marine looking back on the Depression years he spent with his overbearing Southern genteel mother, Amanda, and his physically disabled, cripplingly shy sister, Laura. While Amanda strives to give her children a life beyond the decrepit St. Louis tenement they inhabit, she is herself trapped by the idealised memory of her life past . Tom, working at a shoe factory and paying the family’s rent, finds his own escape in drinking and going to the movies, while Laura pours her energy into caring for her delicate glass figurines. Tom, pressured by his mother to help find Laura a suitable husband, invites an acquaintance from the factory to the apartment, a powerful possibility that pushes Amanda deeper into her obsessions and makes Laura even more vulnerable to shattering, exposed like the glass menagerie she treasures. Williams’ intensely personal and brilliantly tender masterpiece exposes the complexity of our memories, and the ways in which we can never truly escape them. Detailed Summary Scene 1 “I give you truth in the pleasant disguise of illusion.” – Tom The narrator, Tom, explains directly to the audience that the scenes are “memory,” therefore nonrealistic. Memory omits (leaves out) details and exaggerates them according to the value of the memory. Memory, as he explains, rests mainly in the heart. We learn from the narrator that the gentleman- caller character is the most realistic because he is from the world of reality and symbolizes the “expected something that we live for.” The photograph is of the father who left the family a long time ago.
    [Show full text]
  • Images of Loss in Tennessee Williams's the Glass Menagerie
    Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 11-13-2007 Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive Dipa Janardanan Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Part of the English Language and Literature Commons Recommended Citation Janardanan, Dipa, "Images of Loss in Tennessee Williams's The Glass Menagerie, Arthur Miller's Death of a Salesman, Marsha Norman's night, Mother, and Paula Vogel's How I Learned to Drive." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/english_diss/23 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Images of Loss in Tennessee Williams’s The Glass Menagerie , Arthur Miller’s Death of a Salesman , Marsha Norman’s ‘night , Mother , and Paula Vogel’s How I Learned to Drive by DIPA JANARDANAN Under the Direction of Matthew C. Roudané ABSTRACT This dissertation offers an analysis of the image of loss in modern American drama at three levels: the loss of physical space, loss of psychological space, and loss of moral space. The playwrights and plays examined are Tennessee Williams’s The Glass Menagerie (1945), Arthur Miller’s Death of a Salesman (1949), Marsha Norman’s ‘night, Mother (1983), and Paula Vogel’s How I Learned to Drive (1998).
    [Show full text]
  • The Glass Menagerie by TENNESSEE WILLIAMS Directed by JOSEPH HAJ PLAY GUIDE Inside
    Wurtele Thrust Stage / Sept 14 – Oct 27, 2019 The Glass Menagerie by TENNESSEE WILLIAMS directed by JOSEPH HAJ PLAY GUIDE Inside THE PLAY Synopsis, Setting and Characters • 4 Responses to The Glass Menagerie • 5 THE PLAYWRIGHT About Tennessee Williams • 8 Tom Is Tom • 11 In Williams’ Own Words • 13 Responses to Williams • 15 CULTURAL CONTEXT St. Louis, Missouri • 18 "The Play Is Memory" • 21 People, Places and Things in the Play • 23 ADDITIONAL INFORMATION For Further Reading and Understanding • 26 Guthrie Theater Play Guide Copyright 2019 DRAMATURG Carla Steen GRAPHIC DESIGNER Akemi Graves CONTRIBUTOR Carla Steen EDITOR Johanna Buch Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 All rights reserved. With the exception of classroom use by ADMINISTRATION 612.225.6000 teachers and individual personal use, no part of this Play Guide may be reproduced in any form or by any means, electronic BOX OFFICE 612.377.2224 or 1.877.44.STAGE (toll-free) or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in guthrietheater.org • Joseph Haj, artistic director writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers. The Guthrie Theater receives support from the National The Guthrie creates transformative theater experiences that ignite the imagination, Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation stir the heart, open the mind and build community through the illumination of our by the Minnesota State Legislature. The Minnesota State Arts common humanity.
    [Show full text]
  • Women's Monologues
    WOMEN’S MONOLOGUE’S Bargaining by Kellie Powell Hannah: Ryan, there's something I have to tell you. (Pause.) I was born in 1931. I never lied to you, I am 23. But I've been 23 since the year 1954. I know, I know. It's impossible, right? No one lives forever? But, sometimes they do. In 1953, I got married. A few weeks after the wedding, I suddenly fell ill. My husband took me to a hospital. I was there for almost a week. I was in so much pain. And no one could say for sure what was wrong. One night, in the hospital, a stranger came to see me. He told me, "Janie, you're going to die tomorrow." That was my name then, the name I was born with. This man, the stranger, he offered me a chance to live forever. He said, "You can die tomorrow, or you can live forever. Stay young forever." Well, of course my first thought was, the devil has come to tempt me. He wasn't the devil. And of course, I don't believe in the devil anymore. There are powerful beings on this earth, but man created Satan. And God, for that matter. My point is, this man offered me a chance to live. And I took it. I will live forever. I will never age. I cannot be harmed, not physically. I can't be hurt by bullets, or knives, or fire, or even explosions. I can't be hurt by diseases - in fact, I can't even catch a cold.
    [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]
  • Directing Tennessee Williams' the Glass Menagerie in 2017 Jon Cole Wimpee University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Are Unicorns Extinct in the Modern World?: Directing Tennessee Williams' The Glass Menagerie in 2017 Jon Cole Wimpee University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Other Theatre and Performance Studies Commons Recommended Citation Wimpee, Jon Cole, "Are Unicorns Extinct in the Modern World?: Directing Tennessee Williams' The Glass Menagerie in 2017" (2018). Theses and Dissertations. 2928. https://scholarworks.uark.edu/etd/2928 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Are Unicorns Extinct in the Modern World ?: Directing Tennessee Williams' The Glass Menagerie in 2017 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theater by Jon Cole Wimpee Texas State University Bachelor of Fine Arts, Acting - 2003 August 2018 University of Arkansas This thesis is approved for recommendation to the Graduate Council. _________________________________ Michael Landman, M.F.A. Thesis Director _________________________________ ___________________________________ Patricia Martin, M.F.A. Shawn D. Irish, M.F.A. Committee Member Committee Member ABSTRACT What follows is a description of my process directing The Glass Menagerie by Tennessee Williams. I’ve made an effort to track the journey I undertook starting from my earliest encounter with the play and the selection of the story as a thesis project. This document contains my initial script analysis, notes from design meeting collaborations, casting decisions, general research approaches, the rehearsal process, performance insights, and evaluations after completion.
    [Show full text]
  • How to Cite Complete Issue More Information About This Article
    Vivat Academia ISSN: 1575-2844 Forum XXI Durán-Manso, Valeriano LOS RASGOS MELODRAMÁTICOS DE TENNESSEE WILLIAMS EN PEDRO ALMODÓVAR: ESTUDIO DE PERSONAJES DE LA LEY DEL DESEO, TACONES LEJANOS Y LA FLOR DE MI SECRETO Vivat Academia, no. 138, 2017, March-June, pp. 96-119 Forum XXI DOI: https://doi.org/doi.org/10.15178/va.2017.138.96-119 Available in: https://www.redalyc.org/articulo.oa?id=525754430006 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative Vivat Academia Revista de Comunicación · 15 Marzo-15 Junio 2017 · Nº 138 ISSN: 1575-2844 · pp 96-119 · http://dx.doi.org/10.15178/va.2017.138.96-119 RESEARCH Recibido: 11/06/2016 --- Aceptado: 04/12/2016 --- Publicado: 15/03/2017 THE MELODRAMATIC TRAITS OF TENNESSEE WILLIAMS IN PEDRO ALMODÓVAR: STUDY OF CHARACTERS OF THE LAW OF DESIRE, HIGH HEELS AND THE FLOWER OF MY SECRET Valeriano Durán Manso1: University of Cádiz, Spain. [email protected] ABSTRACT The main film adaptations of the literary production of the American playwright Tennessee Williams premiered in 1950 through 1968, and they settled in the melodrama. These films contributed to the thematic evolution of Hollywood due to the gradual dissolution of the Hays Code of censorship and, furthermore, they determined the path of this genre toward more passionate and sordid aspects. Thus, A Streetcar Named Desire, Cat on a Hot Tin Roof, or Suddenly, Last Summer incorporated sexual or psychological issues through tormented characters that had not been previously dealt with in the cinema.
    [Show full text]
  • Tennessee Williams's Auto-Da-Fé
    Self-Punishment for a “Heresy”: Tennessee Williams’s Auto-Da-Fé FUJITA Hideki ါలĶĵ࣢าक़ܮ໐ڠ૽໲ڠ५ఱີ ˎˌˍˍාˎ࠮ Self-Punishment for a “Heresy”: Tennessee Williams’s Auto-Da-Fé Self-Punishment for a “Heresy”: Tennessee Williams’s Auto-Da-Fé FUJITA Hideki Tennessee Williams’s Auto-Da-Fé is a one-act play collected in the original edition of 27 Wagons Full of Cotton and Other One-Act Plays, published in 1945. The title of this short play may attract a reader’s notice. It refers to the burning of a heretic by the Spanish Inquisition. Auto-Da-Fé is not, however, a period play; it is set in New Orleans in the twentieth century. But it ends with the main character subjecting himself to the gruesome penalty. Thus, the title suggests the way he meets his GRRP$VZHVKDOOVHHLWLVDOVRVLJQL¿FDQWLQWKDWLWDOOXGHVWRZKDWKHLVJXLOW\RIZKDWKLV³KHUHV\´LV The narrative opens with the description of the setting. The action takes place on the front porch of Madame Duvenet’s old frame cottage in the Vieux Carré of New Orleans. The opening stage direction is as follows. Scene: The front porch of an old frame cottage in the Vieux Carré of New Orleans. There are palm or banana trees, one on either side of the porch steps: pots of geraniums and other vivid ÀRZHUVDORQJWKHORZEDOXVWUDGH7KHUHLVDQHIIHFWRIVLQLVWHUDQWLTXLW\LQWKHVHWWLQJHYHQWKH ÀRZHUVVXJJHVWLQJWKHULFKQHVVRIGHFD\1RWIDURIIRQ%RXUERQ6WUHHWWKHOXULGSURFHVVLRQRI bars and hot-spots throws out distance-muted strains of the juke-organs and occasional shouts of laughter. Mme. Duvenet, a frail woman of sixty-seven, is rocking on the porch in the faint, sad glow of an August sunset.
    [Show full text]