DOCSLIB.ORG

The Theatre of Tennessee Williams: Languages, Bodies and Ecologies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. 3, 5, 205 – 31 violence in 36 Baker, Christopher 264 Beauty Is the Word 270 Bakhtin, Mikhail 244 Beckett, Samuel 221 Rabelais and His World 243 Behrman, Samuel N. 38 295 TTheatre.indbheatre.indb 229595 110/11/20130/11/2013 110:28:420:28:42 AAMM Index Bentley, Eric 116 – 20, 215, 219 Cagney, James 21 Th e Dramatic Event 225 Cairo! Shanghai! Bombay! 271 Best Years of Our Lives, Th e 193 Caldwell, Erskine Bigelow, Paul 53 Tobacco Road 41 Bishop, Elizabeth 51 Caldwell, Zoe 168 Black, Clara Atwood 51 Camino Real 23 , 32, 85, 91, Blake, William 93 – 106 , 121, 217 – 18, “ Ah! Sun-fl ower ” 157 273 – 4 Blanchett, Cate 6 and Casablanca 97 Boccaccio, Giovanni homosexuality in 101 Decameron , Th e 91 Lord Byron in 102 Bowden, Charles 139 production of 95 – 9, Bowles, Jane 97 273 – 4 Bowles, Paul 97, 99, 122, 149 reviews of 104 – 5, 217 – 19 Brando, Marlon 85 – 7, 89, revision of 105 – 6 111, 181 stage design of 96 – 7 Bray, Robert 207, 268n. 13 symbolism in 91 Bresnahan, Alyssa 265 theme of 98 Bretzfelder, Anne 25 transgressive sexuality in Britneva, Maria, the Lady St 94 – 5 Just 2, 122, 152 – 3 writing of 94 – 7 and Suddenly Last Summer Canby, Vincent 263 122 Candles to the Sun 9 , 12 – 15 , Brook, Peter 95 16, 210 Brown, John Mason 104 production of 271 Brown, Pamela 86 sexuality in 23 Browning, Robert Case, Claudia Wilsch 211 “ My Last Duchess ” 55 Cash, Wilbur Joseph Brustein, Robert 147, 208, Th e Mind of the South 192 221 – 5 Cassidy, Claudia 62, 160, Th e Th eatre of Revolt: An 211 – 12, 255 Approach to Modern Castro, Fidel 274 Drama 225 Cat on a Hot Tin Roof 6 – 7, 49, Bultman, Fritz 53, 55, 81 85, 107 – 20 , 121, 226, 236, Byron, George Gordon 5, 273 – 4 102 – 3 homosexuality in 24, 119 296 TTheatre.indbheatre.indb 229696 110/11/20130/11/2013 110:28:420:28:42 AAMM Index and Kazan ’ s interference 114 Cronyn, Hume 52, 86 mendacity in 112 – 14 Crowther, Bosley 189 production of 273 – 4 Cukor, George 67 reviews of 219 “ Cyclops Eye ” ( “ I have a stage design of 118 – 19 vast traumatic eye ” ) writing of 109 – 10 5, 232 – 4, 237 Cavalier for Milady, A 6, 164, 250 – 4 Dakin, Rev Walter Chalky White Substance, (grandfather) 4, 270, 273 Th e 264 death 273 Chapman, John 72, 188 – 9, and Th e Night of 218 Iguana 137 – 8 Chaucer, Geoff rey Dakin, Rose Otte Th e Canterbury Tales 91 (grandmother) 270 Chekhov, Anton 27, 42 death 55, 272 Chicago Herald American Danner, Blythe 76 (newspaper) 212 Darling, Candy 169 Clothes for a Summer Hotel 6 , Darlington, W. A. 159 161, 163 – 4 Davis, Bette 139 production of 164, 277 de Jongh, Nicholas 170 Clum, John 3, 75, 171 Demolition Downtown, Clurman, Harold 87 Th e 264 Lies Like Truth 221 Denby, Edward 55 Coleman, Robert 187 “ Desire and the Black Masseur ” Conkle, Ellsworth Prouty 9 23, 125 – 6, 144 Prologue to Glory 9 Devlin, Albert J. 2, 215 Conrad, Joseph Dewey, John 51 Heart of Darkness 150 Diaghelev, Sergei 254 Cornell, Katharine 36, 66, 79 Dorff , Linda 3, 206, 264 Corsaro, Frank 138 – 9 Dowling, Eddie 55 – 6, 65, Crane, Hart 5, 102, 277 168, 214 Crawford, Cheryl 95, 133, Dramatic Event, Th e 116 135 D u ff -McCormick, Cara 154 Creve Coeur Dumas, Alexandre fi ls 78 production of 276 La dame aux cam é lias 105 Crisp, Clement 129 Duncan, Robert 55 297 TTheatre.indbheatre.indb 229797 110/11/20130/11/2013 110:28:420:28:42 AAMM Index Eccentricities of a Nightingale aesthetic of 59 – 60 6 , 67, 73 – 6 Chicago reception 62 production of 76 drunk scene 56 reviews of 76 ending 59 8 by Tenn 264 entrapment theme 57 – 8 lighting of 62 Farber, Manny 189 as memory play 59 Farrell, James T. 51 New York reception 62 Federal Th eatre Project 9 production of 272 – 3 Feingold, Michael 180 reviews of 213 – 14 Fitzgerald, F. Scott 5, 161 stage design of 60 – 1 Fitzgerald, Zelda 5, 161, 163 Glavin, William 154 Save Me the Waltz 163 Glenville, Peter 154, 159 Foote, Horton 54 Gn ä diges Fr ä ulein, Th e 160 , Freud, Sigmund 161 – 2 , 166, 205, 226 – 7, “ Th e ‘ Uncanny ’ ” 253 264 Frost, David 170, 235, 276 artist theme 161 – 2 Frosted Glass Coffi n, Th e 151 Promethean imagery 162 Frye, Northrop 92 stage design of 161 Fugitive Kind (play) 9, 15 – 19 , Gone with the Wind 189 165, 210 Greenstreet, Sydney 97 production of 18 – 19, 271 Greenwich Village Little Fugitive Kind, Th e (fi lm) 42, 274 Renaissance 11 Greggory, David 137 Garden District 128 Grodal, Torben 185, 191 production of 274 Embodied Visions: Evolution, Garfi eld, John 86 Emotion, Culture and Gassner, John 209 Film 185 – 6 Th e Th eatre in Our Times 209 Group Th eatre, Th e 36, 85 – 7 Gentleman Caller, Th e 53 – 5 Gussow, Mel 7, 241, 263 Gielgud, John 273 Gilman, Richard 150, 225 Hagen, Uta 205, 267n. 11 Glass Menagerie, Th e 2 , 6, 16, Hall, Peter 274 30, 51 – 63 , 64, 66 – 7, 160, Hartford Stage Williams 165, 173 – 4, 177, 211 – 13, Marathon 264 215, 233 – 4, 255, 272 – 3, 276 Hartung, Philip T. 189 298 TTheatre.indbheatre.indb 229898 110/11/20130/11/2013 110:28:420:28:42 AAMM Index Hawkins, William 188 Inge, William 217 Haydon, Julie 55 Isaac, Dan 12 Helburn, Th eresa 37 Hemingway, Ernest 5 Jacobson, Max 150, 275 Th e Sun Also Rises 115 Jentsch, Ernst Hepburn, Katharine 139 “ Th e Psychology of the Herlie, Eileen 154 Uncanny ” 253 Hill, George Roy 274 Johansson, Scarlett 7 H o ff man, E. T. A. Jones, Margo 55 – 6, 65, 81, “ Th e Nutcracker and the 86 – 7, 272 – 3 Mouse King ” 253 Summer and Smoke “ Th e Sandman ” 253 production 66 – 8 Holditch, Kenneth 7, 241 Jones, Robert Edmond 60 Holland, Willard 9, 12, 19 – 20 Kaiser, Georg Hollifi eld, Joseph Phelan From Morn To Midnight 29 Th e Lamp 12 Kanfer, Stefan 151, 225 Hopkins, Miriam 38 – 40 Kauff mann, Stanley 230 House Not Meant to Stand, A Kaufman, George S. 38, 219 6, 164, 254 – 62 , 277 Kazan, Elia 2, 60, 80, 85 – 7, production of 277 95 – 6, 106, 113, 133, 181, House Un-American Activities 183, 204, 215, 272 – 4 Committee (HUAC) 216 on A Streetcar Named Hughes, Elinor 211 Desire 89 Hunter, Kim 76, 87 and Cat on a Hot Tin Hunter, Mary 54 Roof 114 , 116 – 18 Huston, John 275 and revision of Camino Hynds, Reed 210 Real 98 – 9 Kazan, Molly Day Th acher 36, I Rise in Flame, Cried the 85 – 6, 106 Phoenix 52, 249 and Camino Real 99 In the Bar of a Tokyo Hotel Keathley, George 133, 154 6 , 160, 205, 233, 235 – 7 , Keith, Don Lee 205 264, 275 Keith, Th omas 255 – 6, 259 – 60, production of 275 269n. 21 reviews of 151, 225, 237 Kelly, Kevin 147 299 TTheatre.indbheatre.indb 229999 110/11/20130/11/2013 110:28:430:28:43 AAMM Index Kerr, Walter 105, 120, 180, Leigh, Vivien 86, 89, 181, 186, 217 – 20, 230, 237 189, 196, 200 – 1, 205, 273 Kiernan, Kip 136, 173 – 4, 271 Leighton, Margaret 139, 154, Kingdom of Earth (Th e Seven 167 – 8 Descents of Myrtle) 6 , 164, Lerner, Alan Jay 205, 244 – 50 , 275 – 6 My Fair Lady 268 n. 16 London production 276 Leverich, Lyle 25 Kingsley, Sidney Lewis, Robert 87 Dead End 18 Life (magazine) 151, 189 Kirche, Kutchen, und Kinder: An Lifeboat Drill 264 Outrage for the Stage Living Newspaper 9 production of 277 Londr é , Felicia Hardison 3, 5, Kirkland, Jack 160, 232 – 43 Tobacco Road 41 Lord Byron ’ s Love Letter 264 Kolin, Philip C. 3, 181, 206 Loring, Eugene 54 Kramer, Hazel 178 Lovely Sunday for Creve Krasner, Lee 55 Coeur, A 165 Kretzmer, Herbert 159 production of 277 Kristeva, Julia 243 – 4 Lowe, Frederick Kronenberger, Louis 62, 188 – 9, My Fair Lady 268 n.
Load more

Recommended publications
  • A Transcultural Perspective on the Casting of the Rose Tattoo
    RSA JOU R N A L 25/2014 GIULIANA MUS C IO A Transcultural Perspective on the Casting of The Rose Tattoo A transcultural perspective on the film The Rose Tattoo (Daniel Mann, 1955), written by Tennessee Williams, is motivated by its setting in an Italian-American community (specifically Sicilian) in Louisiana, and by its cast, which includes relevant Italian participation. A re-examination of its production and textuality illuminates not only Williams’ work but also the cultural interactions between Italy and the U.S. On the background, the popularity and critical appreciation of neorealist cinema.1 The production of the film The Rose Tattoo has a complicated history, which is worth recalling, in order to capture its peculiar transcultural implications in Williams’ own work, moving from some biographical elements. In the late 1940s Tennessee Williams was often traveling in Italy, and visited Sicily, invited by Luchino Visconti (who had directed The Glass Managerie in Rome, in 1946) for the shooting of La terra trema (1948), where he went with his partner Frank Merlo, an occasional actor of Sicilian origins (Williams, Notebooks 472). Thus his Italian experiences involved both his professional life, putting him in touch with the lively world of Italian postwar theater and film, and his affections, with new encounters and new friends. In the early 1950s Williams wrote The Rose Tattoo as a play for Anna Magnani, protagonist of the neorealist masterpiece Rome Open City (Roberto Rossellini, 1945). However, the Italian actress was not yet comfortable with acting in English and therefore the American stage version (1951) starred Maureen Stapleton instead and Method actor Eli Wallach.
    [Show 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.
    [Show full text]
  • 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 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]
  • 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]
  • 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]
  • The Theatre of Tennessee Williams: Languages, Bodies and Ecologies
    Barnett, David. "The 1930s’ Plays (1936–1940)." The Theatre of Tennessee Williams: Languages, Bodies and Ecologies. London: Bloomsbury Methuen Drama, 2014. 9–34. Bloomsbury Collections. Web. 28 Sep. 2021. <http://dx.doi.org/10.5040/9781472515452.0007>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 04:57 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. CHAPTER 1 THE 1930s ’ PLAYS (1936 – 1940) Williams in the Thirties Much of Williams ’ s early playwriting was shaped by the social, economic, and artistic environment of the 1930s. His most important theatrical relationship at the time was with director Willard Holland and Th e Mummers of St Louis, a group dedicated to the drama of social action that was vital to American theatrical culture in the 1930s. Candles to the Sun (1937), based on a coal mining strike, and Fugitive Kind (1937), about the denizens of a seedy urban hotel, were both produced by Th e Mummers, and Not About Nightingales (1938), about brutal abuses in the American prison system, was intended for them, although they disbanded before the play was produced. Th e other major infl uence on Williams ’ s early development as a playwright was the playwriting program at the University of Iowa, which he attended in 1937 – 38. Its director, E. C. Mabie, had worked for the Federal Th eatre Project (FTP), the only federally subsidized theatre in American history, which existed briefl y from 1935 until 1939, when its funding was cut by a Congress that objected to its leftist leanings.
    [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]