Edward Albee and His Mother Characters: an Analysis of Selected Plays
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Interface Semiotics in the Dramaturgy of Tennessee Williams and Edward Albee
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by SZTE Doktori Értekezések Repozitórium... Ph.D. Dissertation Theses Interface Semiotics in the Dramaturgy of Tennessee Williams and Edward Albee Réka Mónika Cristian Szeged 2001 A. Objectives and Structure The topic of the present dissertation is the dramaturgy of two modem American playwrights, Tennessee Williams and Edward Albee. The aim is to map the common features of their works in the context of semiotic textual exchange between the two oeuvres and of the biographical background of the playwrights in the context of a dramatic interface of the two authors. The scope of the Albee-Williams dramatic interface is to explain both oeuvres through an internal patterning of events and characters by deriving concepts of the one (Williams) into the other (Albee). The study of both oeuvres provides the visualization of the enigmas, of the invisible patterns that work to build the intertextual Williams-Albee bind. The invisible in one play is a trope of representation in another play within the same oeuvre. One play is or might well be the other discourse of the other play both in the case of the same author and in case of two different authors. This trans-substantiation is present in the form of the dramatic intertext or, to be more precise - due to the biographical implication - of the dramatic interface. The influence of Williams on Albee’s works had been expressed by many literary critics, as well as by Albee himself The dramatic interface of the two authors is mapped with the theoretical help of semiotics, psychoanalysis, theories of myth, symbols and gender approaches. -
Newton Grisham Library Play Script List -By Author
Newton Grisham Library Play Script List -by Author BIN # PLAY # TITLE AUTHOR # MEN # WOMEN # CHILDREN OTHER 73 1570 Manhattan Class Company Class 1 Acts 1991-1992 161 2869 The Boys from Siam Connolly, John Austin 2 161 2876 Fugue Thuna, Lee 3 5 74 1591 Acrobatics Aaron, Joyce; Tarlo, Luna 96 1957 June Groom Abbot, Rick 3 6 99 2016 Play On! Abbot, Rick 3 7 103 2080 Turn For The Nurse, A Abbot, Rick 5 5 30 699 Three Men On A Horse Abbott, G. And J.C. Holm 11 4 34 802 Green Julia Ableman, Paul 2 133 2457 Tabletop Ackerman, Rob 5 1 86 1793 Batting Cage, The Ackermann, Joan 1 3 86 1798 Marcus Is Walking Ackermann, Joan 3 2 88 1825 Off The Map Ackermann, Joan 3 2 101 2051 Stanton's Garage Ackermann, Joan 4 4 10 227 Farewell, Farewell Eugene Ackland, Rodney; Vari, John 3 6 84 1776 Lighting Up The Two-Year Old Aerenson, Benjie 3 167 2970 Dark Matters Aguirre-Sacasa, Roberto 3 1 168 2982 King of Shadows Aguirre-Sacasa, Roberto 2 2 169 2998 The Muckle Man Aguirre-Sacasa, Roberto 5 2 169 3007 Rough Magic Aguirre-Sacasa, Roberto 7 5 doubling 101 2054 Edgar Lee Masters' Spoon River Anthology Aidman, Charles 3 2 101 2054 Spoon River Anthology Aidman, Charles [Adapt. By] 3 2 149 2686 Green Card Akalaitis, JoAnne 6 5 10 221 Fragments Albee, Edward 4 4 19 436 Marriage Play Albee, Edward 1 1 26 604 Seascape Albee, Edward 2 2 30 705 Tiny Alice Albee, Edward 4 1 34 800 The Zoo Story and The Sandbox: Two Short Plays Albee, Edward 34 800 Sandbox, The Albee, Edward 3 2 44 1066 Counting the Ways and Listening: Two Plays Albee, Edward 44 1066 Counting The Ways -
Three Tall Women: Director’S Notes Four Fortunate Women (And One Man)
PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY SYLVIA D. CHROMINSKA, DR. DESTA LEAVINE IN MEMORY OF PAULINE LEAVINE, SYLVIA SOYKA, THE WESTAWAY CHARITABLE FOUNDATION AND BY JACK WHITESIDE LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. -
“American Literature”
PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF ABDLHAMID IBN BADIS MOSTAGANEM FACULTY OF FOREIGN LANGUAGES DEPARTMENT OF ENGLISH MASTER IN AMERICAN AND BRITISH LITERATURE AND CIVILISATION “American Literature” Albee’s Women Representation from The American Dream (1960) to The Goat, or Who is Sylvia? (2000) SUBMITTED BY Fatma Houria Mahmoudi Board of Examiners: Chair: Mrs. Benmaati Fatima Zohra University of Mostaganem Supervisor: Pr. A. Bahous University of Mostaganem Examiner: Mrs. Abdelhadi Nadia University of Mostaganem Academic year: 2017-2018 DEDICATION I dedicate this dissertation to my family and friends. A special feeling of gratitude to my loving parents, Habib and Fatma Mahmoudi whose words of encouragement and push for tenacity ring in my ears.First and foremost, I am dedicating this thesis to a beloved person who has meant and continue to mean so much to me. Although he is no longer of this world, his memory continues to regulate my life.His love for me knew no bounds and, he taught me the value of hard work. Strength and faith during the last months of his life gave me a new appreciation for the meaning and importance of life. Thank you so much “papa”, I will never forget you. I dedicate this work to my Loving Mother too, for being the source of guidance and strength as I prepare and hand over this research paper. I also dedicate this dissertation to my daughters, Chanez and Malak who have supported me throughout the process. They kept me working when I wanted to give up. -
A Look at Aging Women in Four Contemporary American Dramas Rachel Thomas Western Kentucky University, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TopSCHOLAR Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-2015 Aging Ragefully: A Look at Aging Women in Four Contemporary American Dramas Rachel Thomas Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the American Literature Commons, and the Creative Writing Commons Recommended Citation Thomas, Rachel, "Aging Ragefully: A Look at Aging Women in Four Contemporary American Dramas" (2015). Masters Theses & Specialist Projects. Paper 1464. http://digitalcommons.wku.edu/theses/1464 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. AGING RAGEFULLY: A LOOK AT AGING WOMEN IN FOUR CONTEMPORARY AMERICAN DRAMAS A Thesis Presented to The Faculty of the Department of English Western Kentucky University Bowling Green, Kentucky In Partial Fulfillment Of the Requirements for the Degree Master of Arts By Rachel Thomas May 2015 For Jean. ACKNOWLEDGEMENTS First, I would like to thank my thesis chair, Dr. Kelly Reames, for her encouragement and instruction, as well as occasional prodding, throughout this process. I would also like to thank the other members of my committee, Dr. Sandra Hughes and Dr. Lloyd Davies, for their instruction, encouragement, and advice during my time here at WKU. I am eternally grateful to my parents, Jan and Marty Thomas, for instilling in me the work ethic and sense of humor which are equally necessary for an undertaking such as this. -
1. Ruby Cohn, New American Dramatists, (London: 2. Preface to the American Dream. Naturalism in Edward Albee's the Zoo Story, Tw
Notes 1. Ruby Cohn, New American Dramatists, (London: Macmillan, 1982) p. 5. 2. Preface to The American Dream. 3. Interview in Michael E. Rutenberg, Edward Albee: Playwright in Protest (New York: DBS Publications, 1969) pp. 231-2. Albee refers to Rose Zimbardo, 'Symbolism and Naturalism in Edward Albee's The Zoo Story, Twentieth Century Literature, 8, no. 1 (Apr 1962). 4. Interview in Rutenberg, Albee: Playwright in Protest, p. 247. 5. New York Times, 28 March 1976. 6. New York Times, 18 Feb 1963. 7. Los Angeles Times, 27 Dec 1964. 8. Digby Diehl, 'Edward Albee Interviewed', Transatlantic Review no. 13 (Summer 1963) p. 72. 9. New Yorker, 19 Dec 1964. 10. Quoted in Anita Maria Stenz, Edward Albee: The Poet of Loss (The Hague: Mouton, 1978) p. 55, n. 15. 11. Tom F. Driver, 'What's the Matter with Edward Albee', The Reporter, 2 Jan 1964. 12. Diehl interview, Transatlantic Review, no. 13, pp. 71-2. 13. Pittsburgh Press, 3 Feb 1974. 163 Edward Albee 14. New York Times, 30 July 1967. 15. New York Times, 18 Apr 1971. 16. Charles Marowitz (ed.), New American Drama (London: Penguin, 1966) p. 11. 17. New York Herald Tribune, 3 Oct 1971. 18. Interview in Rutenberg, Albee: Playwright in Protest, p. 298. 19. August Strindberg, Letters to the Intimate Theatre, tr. Walter Johnson (London: Peter Owen, 1967) p. 19. 20. Saturday Review, 24 Jan 1970. 21. Newsweek, 4 Feb 1963. 22. San Francisco Chronic/e, 12 Oct 1978. 23. Washington Post, 26 Mar 1967. 24. Interview in Rutenberg, Albee: Playwright in Protest, p. -
Speaking Flyer for April 2008
SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY The Shakespeare Guild IN COLLABORATION WITH The National Arts Club AND THE NEW YORK BRANCH OF The English-Speaking Union EDWARD ALBEE x Monday, May 12 In a gathering that will pay tribute to the author of such classics as The Zoo Story (1959), Who’s Afraid of Virginia Woolf? (1962), Tiny Alice (1964), A Delicate Balance (1966), Breakfast at Tiffany’s (1966), All Over (1971), Seascape (1975), Listening (1975), Counting the Ways (1976), The Man Who Had Three Arms (1981), Three Tall Women (1990), and The Goat, or Who is Sylvia? (2000), GUILD president John Andrews will join other admirers of EDWARD ALBEE in a conversation that will cele- NATIONAL ARTS CLUB brate the accomplishments of a dramatist whose many honors 15 Gramercy Park South include three Pulitzer Prizes and two Tony Awards. The CHERRY Manhattan LANE THEATRE is currently presenting two of Mr. Albee’s early one-act plays, The American Dream (1960) and The Sandbox Program 8:00 p.m. (1959), in a double bill, starring Judith Ivey, that was directed Members $25 Others $30 by a playwright who recently marked his eightieth birthday. JEFFREY HOROWITZ x Monday, June 9 One of today’s most innovative and influential producers, JEFFREY HOROWITZ began his career as an actor and appeared in several Broadway and Off-Broadway plays before founding THEATRE FOR A NEW AUDIENCE in 1979. Among TFANA’s many distinctions is the work it has done in coop- eration with institutions such as the ROYAL SHAKESPEARE COMPANY. Its 2007 production of The Merchant of Venice, for example, with F. -
Edward Albee Category : Whos Who:In American Theatre Published by Outreach on 2006/1/20
Theatre Port Houston - Theatre Auditions News and more! - Performing arts News and Film and Stage Auditions Edward Albee Category : Who's Who:In American Theatre Published by Outreach on 2006/1/20 Edward Albee -Playwright Edward Albee was born in Washington, DC on March 12, 1928. When he was two weeks old, baby Edward was adopted by millionaire couple Reed and Frances Albee. The Albees named their son after his paternal grandfather, Edward Franklin Albee, a powerful Vaudeville producer who had made the family fortune as a partner in the Keith-Albee Theater Circuit. Young Edward was raised by his adoptive parents in Westchester, New York. Because of his father's and grandfather's involvement in the theatre business, Edward was exposed to theatre and well-known Vaudeville personalities throughout his childhood. In 1940, twelve-year-old Edward entered the Lawrenceville School, a prestigious boys' preparatory school. During his high school days, he shocked school officials by writing a three-act sex farce entitled Aliqueen. At the age of fifteen, the Lawrenceville School dismissed Edward for cutting classes. Hoping to inspire some discipline in his wayward son, Reed Albee enrolled Edward at the Valley Forge Military Academy. Within a year, Valley Forge had dismissed Edward as well. Ultimately, Edward attended Choate from 1944 to 1946. Even as a teenager, Edward was a prolific writer. In 1945, his poem "Eighteen" was published in the Texas literary magazine Kaleidoscope. His senior year at Choate, Edward's first published play Schism appeared in the school literary magazine. After graduating from Choate, Edward enrolled at Trinity College, a small liberal arts school in Hartford, Connecticut. -
A Tribute to Edward Albee
The Rome Savoyards and Plays in Rome Present A tribute to Edward Albee The American Dream & The Sandbox Directed by Sandra Provost In English --------------------------- Cast Carolyn Gouger, Rishad Noorani, ShelaghStuchbery, Edoardo Camponeschi, Fabiana De Rose About the Play and Author Edward Albee (1928 – 2016) was an American playwright known for many works among which The Zoo Story (1958), The Sandbox (1959), The American Dream (1961), Who's Afraid of Virginia Woolf? (1962), and A Delicate Balance (1966). Three of his plays won the Pulitzer Prize for Drama, and two of his other works won the Tony Award for Best Play. His works are often considered as frank examinations of the modern condition which makes them still very applicable and real in the present day. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Samuel Beckett, Eugène Ionesco and Jean Genet. Written in 1961, The American Dream is a satire on American family life, it concerns a married couple and their elderly mother. On a particular day, they are visited by two guests who turn their worlds upside down. Albee explores not only the falsity of the American Dream but also the status quo of the American family. As he states in the preface to the play, "It is (...) an attack on the substitution of artificial for real values in our society, a condemnation of complacency, cruelty, emasculation, and vacuity...." Press notes state: "It is a ferocious, uproarious attack on the substitution of artificial for real values, a startling tale of murder and morality that rocks middle-class ethics to their complacent foundations..." Written in 1959, The Sandbox is a prelude to the themes addressed by The American Dream and indeed the two one- acts are often performed together. -
FOR IMMEDIATE RELEASE Contact: Kirstin Franko/Julia Suszynski Press
FOR IMMEDIATE RELEASE Contact: Kirstin Franko/Julia Suszynski [email protected]; 202-600-4055 April 26, 2011 STEPPENWOLF THEATRE COMPANY’S PRODUCTION OF EDWARD ALBEE’S WHO’S AFRAID OF VIRGINIA WOOLF? WHICH WAS RECENTLY PRESENTED AT ARENA STAGE AT THE MEAD CENTER FOR AMERICAN THEATER TO OPEN ON BROADWAY FALL 2012 WITH ORIGINAL COMPANY *** Directed by Pam MacKinnon, and featuring Steppenwolf ensemble members Tracy Letts and Amy Morton with Carrie Coon and Madison Dirks, the production will open exactly 50 years after of the original Broadway production *** (Washington, D.C.) On the heels of the April 24 conclusion of the two-month Arena Stage Edward Albee festival comes the news that the celebration of our greatest living playwright, Edward Albee, will continue when Steppenwolf Theatre Company’s critically acclaimed production of Who’s Afraid of Virginia Woolf? opens on Broadway Saturday, October 13, 2012—exactly 50 years to the date after the play’s original Broadway opening Saturday, October 13, 1962. It will feature the original Steppenwolf cast seen at Arena Stage at the Mead Center for American Theater (February 25 – April 10)—Tracy Letts, Amy Morton, Carrie Coon and Madison Dirks under the direction of Pam MacKinnon. "It is wonderful that Arena Stage could play a role in bringing Steppenwolf Theatre Company together with Edward Albee, an incomparable giant in American playwriting," shares Arena Stage Artistic Director Molly Smith. "From the day Pam MacKinnon discussed with us her idea to cast Tracy and Amy in this epic production, we knew this Virginia Woolf was meant to be something special. -
FOR IMMEDIATE RELEASE Contact: Julia Suszynski/Kirstin Franko Press
FOR IMMEDIATE RELEASE Contact: Julia Suszynski/Kirstin Franko [email protected]; 202-600-4055 January 27, 2011 ARENA STAGE ANNOUNCES CASTING AND COMPANIES FOR THE TWO-MONTH LONG EDWARD ALBEE FESTIVAL FULL PRODUCTIONS OF STEPPENWOLF THEATRE COMPANY’S WHO’S AFRAID OF VIRGINIA WOOLF? AND ARENA STAGE’S AT HOME AT THE ZOO TO OVERLAP WITH PRESENTATIONS OF NEARLY ALL OF EDWARD ALBEE’S PLAYS (Washington, D.C.) Arena Stage at the Mead Center for American Theater continues its inaugural season this spring with an unparalleled tribute to one of the nation’s greatest living playwrights, Edward Albee. The company has mounted a two-month festival featuring 30 events, making nearly every one of his plays available in performance spaces throughout the Mead Center. The festival kicks off with Steppenwolf Theatre Company’s highly acclaimed Who’s Afraid of Virginia Woolf? directed by Pam MacKinnon (Arena’s A Delicate Balance ) starring Pulitzer Prize and Tony Award winner Tracy Letts as George, Tony Award nominee Amy Morton as Martha, Carrie Coon as Honey and Madison Dirks as Nick in the Kreeger Theater February 25 – April 10. Simultaneously Arena Stage mounts At Home at the Zoo directed by Mary B. Robinson starring Jeff Allin as Peter, Colleen Delany as Ann and James McMenamin as Jerry in the Arlene and Robert Kogod Cradle February 25 – April 24. Beginning in March through the end of April, 16 theater troupes will present staged readings of Albee’s work. Participating companies include The Shakespeare Theatre Company , Theater J , Taffety Punk , Round House Theatre , American Century Theater and Forum Theatre and directors include Wendy C. -
RÉKA CRISTIAN EDWARD ALBEE's CASTINGS Edward Albee's Plays
RÉKA CRISTIAN EDWARD ALBEE’S CASTINGS A delicate balance is a shading between lőve and haté that exists between anyhody wlio caresfor one another. (Edward Albee) Edward Albee’s plays—together with a long list of modern American dramatists—are indebted to the works of Eugene O’Neill. The birth of American tragedy starts with O’Neill’s dramatic art, which conveys humán alienation in the context of modern society, and sheds light on the tension that appears between humán essence and existence in the context of modern America. The American tragedy, in Péter Egri’s words was “brought about by the increased tension between the face and the reverse of the American Dream” 1 2. Post-war American drama depicts many facets of O’Neill’s trope of alienation. Among the best to describe the consumerist American Dream within the context of American drama was Edward Albee. His plays are, according to Péter Egri “grotesquely grim and bitterly playful pieces crossbreeding Realistic relevance with Absurdist insight”“- Edward Albee’s dramatis personae entails a construction specific to the name of the playwright. Albee’s dramas have a careful composition and a special Tendering of characters. Most of his characters are dual, in the sense that it is the couple, which is the basic unit in the playwright’s dramatic universe. The characters seem to act in couples, which consist of individuals that supplement each other in 1 Péter Egri “Critical Approaches to the Birth of Modern American Tragedy. The Significance of Eugene O’Neill”. In The Birth o f American Tragedy (Budapest: Tankönyvkiadó, 1988), 34.