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Horton Foote HORTON FOOTE CASEBOOKS ON MODERN DRAMATISTS VOLUME 24 GARLAND REFERENCE LIBRARY OF THE HUMANITIES VOLUME 2.038 CASEBOOKS ON MODERN DRAMATISTS KIMBALL KING, General Editor SAM SHEPARD JOHN OSBORNE A Casebook A Casebook edited by Kimball King edited by Patricia D. Denison CHRISTOPHER HAMPTON DAVID HARE A Casebook A Casebook edited by Robert Gross edited by Hersh Zeifman HOWARD BRENTON MARSHA NORMAN A Casebook A Casebook edited by Ann Wilson edited by Linda Ginter Brown DAVID STOREY BRIAN FRIEL A Casebook A Casebook edited by William Hutchings edited by William Kerwin PETER SHAFFER NEIL SIMON A Casebook A Casebook edited by c.]. Gianakaras edited by Gary Konas SIMON GRAY TERRENCE MCNALLY A Casebook A Casebook edited by Katherine H. Burkman edited by Toby Silverman Zinman JOHN ARDEN AND STEPHEN SONDHEIM MARGARETTA D'ARCY A Casebook A Casebook edited by Joanne Gordon edited by Jonathan Wike HORTON FOOTE AUGUST WILSON A Casebook A Casebook edited by Gerald C. Wood edited by Marilyn Elkins HORTON FOOTE A CASEBOOK EDITED BY GERALD C. WOOD 8PXYZV[IRPYOLKI_9HXRHTK@[IRPYOPTN#;TJ% COPYLKPZPUTV[IRPYOLK)'(*I_AU[ZRLKNL AU[ZRLKNL AU[ZRLKNL CH_RUX8XHTJPY9XU[V CH_RUX8XHTJPY9XU[V .((COPXK3\LT[L )@HXQBW[HXL#=PRZUT@HXQ >L]FUXQ#>F(''(. 3IPTNKUT#?^UT#'E(++A> 5UV_XPNOZa(00/I_9LXHRK5%DUUK 3RRXPNOZYXLYLX\LK <PIXHX_UM5UTNXLYY5HZHRUNPTN$PT$@[IRPJHZPUT6HZH :UXZUT8UUZL 1 HJHYLIUUQ & LKPZLKI_9LXHRK5%DUUK% V% JS% ` !9HXRHTKXLMLXLTJLRPIXHX_UMZOLO[SHTPZPLY 2 \%)'*/% 5HYLIUUQYUTSUKLXTKXHSHZPYZY 2 \%)+" ;TJR[KLYIPIRPUNXHVOPJHRXLMLXLTJLYHTKPTKL^% ;B4>'$/(,*$),++$+!HRQ%VHVLX" (%8UUZL#:UXZUT`5XPZPJPYSHTKPTZLXVXLZHZPUT% )%CL^HY`;T RPZLXHZ[XL% ;%DUUK#9LXHRK5% ;;%BLXPLY19HXRHTKXLMLXLTJLRPIXHX_UMZOL O[SHTPZPLY 2 \UR%)'*/% ;;;%BLXPLY19HXRHTKXLMLXLTJLRPIXHX_UMZOL O[SHTPZPLY% 5HYLIUUQYUTSUKLXTKXHSHZPYZY 2 \UR%)+% @B*,((%'*++G-0 (00/ /() %,+`KJ)( 0.$*(*00 5;@ 5U\LXVOUZUNXHVOUM:UXZUT8UUZLJU[XZLY_UM7XPJ:%3TZUTPU[% For Tim and Sarah This page intentionally left blank Table.. of Contents General Editor's Note .......................................................... ix Acknowledgments ............................................................... xi Introduction ........................................................................ 1 Foote Chronology .. , ............................................................. 7 Biographical/Contextual Essays Remembering Wharton, Texas MARION CASnEBERRY ......................................................... 13 Horton Foote's TV Women: The Richest Part of a Golden Age TERRY BARR ........................................................................ 35 Southern Accents: Horton Foote's Adaptations of William Faulkner, Harper Lee, and Flannery O'Connor REBECCA BRILEy .................................................................. 49 Perspectives on StyleIThemes More Real Than Realism: Horton Foote's Impressionism TIM WRIGHT ...................................................................... 67 "To Be Quiet and Listen": The Orphans' Home Cycle and the Music of Charles Ives CRYSTAL BRIAN .................................................................... 89 Subtext as Text: Language and Culture in Horton Foote's Texas Cycle LAURIN PORTER ................................................................ 109 Performing The Death ofPapa: A Review KIMBALL KING ............................................................•.•... 131 Vlll Horton Foote's Film Aesthetic S. DIXON McDoWELL ....................................................... 137 The Signature Theatre Series Singing in the Face of Devastation: Texture in Horton Foote's Talking Pictures SUSAN UNDERWOOD .......................................................... 151 Boundaries, the Female Will, and Individuation in Night Seasons GERALD C. WOOD ............................................................ 163 The Nature of Mystery in The Young Man from Atlanta GERALD C. WOOD ............................................................ 179 Squeezing the Drama out of Melodrama: Plot and Counterplot in Laura Dennis DEAN MENDELL ................................................................ 189 A Bibliography of Horton Foote's Work ........................... 203 A Selective Annotated Bibliography of Critical Work on Horton Foote ................................... 215 Contributors .. .................................................................. 223 Index ............................................................................... 227 General Editor's Note., Horton Foote, who has won the Pulitzer Prize for Drama, the Wil­ liam Inge Lifetime Achievement Award, the Lucille Lortel Award, two Academy Awards for his screenplays, and numerous Writers Guild Awards, considers himself primarily a playwright, although he is equally well known for his television and film work. A major interpreter of American experience, he is famous for his realistic portrayals oflife in rural Texas. Like Faulkner, who drew upon the legends and history of his native Mississippi and who blended actual events with fictitious characters in his mythical Yoknapatawpha County, Foote has popu­ lated his hometown of Wharton, Texas (renamed Harrison) with a large cast of characters, who appear in both major and minor roles in a cycle of semi-autobiographical dramas. Often referred to as the "American Chekhov" because of his dark humor and his compassion for flawed characters, Foote locates the small victories and defeats of everyday life in a spiritual and historical context. The editor of this volume, Gerald Wood, has interviewed Horton Foote several times and has edited a selection of his one-act plays for Southern Methodist University Press. He has also written critical es­ says on Foote for Christianity and Literature and for the Journal of American Drama and Theatre. Wood is currently completing a book­ length study of Foote for the Louisiana State University Press. He is professor and chair of English at Carson-Newman College. Kimball King This page intentionally left blank Acknowledgments I began this project while studying collateral material on Foote under a John Stephenson Fellowship with the Appalachian College Associa­ tion. I want to thank that organization and its director, Alice Brown, for continuing support of my research and writing. These opportuni­ ties and many others were made possible by the leadership of Larry Osborne, then Dean of Academic Special Programs, Mike Carter, Provost, and Cordell Maddox, President-all of Carson-Newman College. I also want to thank Horton Foote for offering early and gener­ ous access to his personal papers, when they were still in his guest house in Wharton, Texas. The other contributors and I appreciate his gracious permission to study those manuscripts at the DeGolyer Li­ brary, Southern Methodist University and to use material from that collection-with care and discretion-in this volume. Attendance at the Signature Theater Company's series of Foote plays inspired many of the essays in this casebook. Angela Ellis Roberts, at Carson-Newman, was responsible for much of the correspondence, proofing, and organization in prepara­ tion of this manuscript. Kimball King and Phyllis Korper have been most encouraging and supportive throughout the process. This page intentionally left blank IntroduClion Horton Foote began writing plays when he was an actor in (and co­ founder of) the American Actors Company in the late 1930s. Since then, more than 85 of his dramas have been produced for theater, television, and film. He has received two Academy Awards for his screenwriting: the first for his adaptation of Harper Lee's novel To Kill a Mockingbird (1962) and the second for his original screenplay for Tender Mercies (1983). His adaptation of his own stageplay and tele­ play The Trip to Bountifol was also nominated by the Academy, and other Foote screenplays are recognized as major achievements in American independent filmmaking: Tomorrow (1972),1918 (1985), and Courtship (1987), for example. For these contributions to the art of film Foote has been honored by the Writers Guild, both East and West. But Horton Foote's primary allegiance has always been to the theater. During the 1950s, when Foote was writing successfully for television, he considered himself a playwright using the new medium to showcase his work for the stage. Barely 20 of his works have been shown on TV, only half of that number being original productions. Despite many excursions into film and television, Foote has continu­ ally returned to the theater even when there were few financial incen­ tives for his many homecomings. After almost 40 years in the theater and turning sixty years old, he began his most ambitious dramatic work-the nine-play cycle The Orpham' Home. The production of those plays throughout the United States was eventually followed by the Signature Theatre Company 1994-95 series of four Foote plays. For one of his original works in that program-The Young Man from Atlanta-the writer received the 1995 Pulitzer Prize for Drama. And yet, this two-time Academy Award winner, recipient of the Lucille Lortel Award, and Pulitzer dramatist is often considered a relatively obscure figure, a secret of the contemporary American stage. Because Foote is less well known than writers with similar careers (for example, Sam Shepard and David Mamet), this casebook begins by establishing the biographical, theatrical, and critical contexts for 2 Gerald C Wood his work. The first essay, Marion Castleberry's "Remembering Wharton, Texas," describes the influence of the writer's East Texas past on his
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