Aspects of Transnationality in American Literature and American English

Total Page:16

File Type:pdf, Size:1020Kb

Aspects of Transnationality in American Literature and American English Aleksandra Izgarjan, Dubravka Đurić and Sabina Halupka-Rešetar (Editors) ASPECTS OF TRANSNATIONALITY IN AMERICAN LITERATURE AND AMERICAN ENGLISH Novi Sad 2020 ALEKSANDRA IZGARJAN, DUBRAVKA ĐURIĆ AND SABINA HALUPKA-REŠETAR EDITORS ASPECTS OF TRANSNATIONALITY IN AMERICAN LITERATURE AND AMERICAN ENGLISH Novi Sad 2020 UNIVERSITY OF NOVI SAD FACULTY OF PHILOSOPHY IN NOVI SAD 21000 Novi Sad Dr Zorana Đinđića 2 www.ff.uns.ac.rs For the Publisher Prof. dr Ivana Živančević Sekeruš Serbian Association for Anglo-American Studies ASPECTS OF TRANSNATIONALITY IN AMERICAN LITERATURE AND AMERICAN ENGLISH Electronic edition ISBN: 978-86-6065-632-4 Cover image: T-Glas REVIEWERS OF THE VOLUME Tatjana Bijelić, Full professor, Faculty of Philology, University of Banja Luka Tatjana Glušac, Associate professor, Faculty of Law and Business Studies Dr Lazar Vrkatić, Union University, Novi Sad Stipe Grgas, Full professor, Faculty of Humanities and Social Sciences, University of Zagreb REVIEWERS Maja Ćuk, Associate professor, Faculty of Foreign Languages, University of Niš Arijana Cvijanović Luburić, Associate professor, Faculty of Philosophy, Uni- versity of Novi Sad Sonja Filipović Kovačević, Associate professor, Faculty of Philosophy, Uni- versity of Novi Sad Vladislava Gordić Petković, Full professor, Faculty of Philosophy, University of Novi Sad Tatjana Jukić, Full professor, Faculty of Humanities and Social Sciences, University of Zagreb Magdalena Koch, Full professor, The Institute of Slavic Philology, University of Adam Mickiewicz, Poznań Ksenija Kondali, Associate professor, Faculty of Philosophy, University of Sarajevo Sanja Krimer Gaborović, Associate professor, Faculty of Civil Engineering, University of Novi Sad Marija Krivokapić, Associate professor, Faculty of Philology, University of Montenegro Marija Lojanica, Assistant professor, Faculty of Philology and Arts, Univer- sity of Kragujevac Sergej Macura, Assistant professor, Faculty of Philology, University of Bel- grade Sanja Manojlović, Foreign language instructor, Faculty of Business and Law, Union – Nikola Tesla University Ljubica Matek, Assistant professor, Faculty of Humanities and Social Scienc- es, University of Osijek Mira Milić, Associate professor, Faculty of Sport and Physical Education, University of Novi Sad Biljana Mišić Ilić, Full professor, Faculty of Philosophy, University of Niš Amelia María de la Luz Montes, Associate professor, College of Arts and Sciences, University of Nebraska – Lincoln Aleksandra Nikčević Batričević, Full professor, Faculty of Philology, Univer- sity of Montenegro Višnja Pavičić Takač, Full professor, Faculty of Humanities and Social Sci- ences, University of Osijek Darja Pavlič, Assistant professor, Faculty of Arts, University of Ljubljana Tomislav Pavlović, Associate professor, Faculty of Philology and Arts, Kragujevac Petar Penda, Full professor, Faculty of Philology, University of Banja Luka Timothy Petete, Full professor, University of Central Oklahoma Danijela Petković, Associate professor, Faculty of Philosophy, University of Niš László B. Sári, Associate professor, Faculty of Humanities and Social Scienc- es, University of Pécs Jelena Šesnić, Full professor, Faculty of Humanities and Social Sciences, University of Zagreb Sanja Šoštarić, Associate professor, Faculty of Philosophy, University of Sa- rajevo Miško Šuvaković, Full professor, Faculty of Media and Communications, Singi dunum University, Belgrade Biljana Vlašković Ilić, Associate professor, Faculty of Philology and Arts, University of Kragujevac Bojana Vujin, Associate professor, Faculty of Philosophy, University of Novi Sad Radojka Vukčević, Full professor, Faculty of Philology, University of Bel- grade Aleksandra Vukotić, Assistant professor, Faculty of Philology, University of Belgrade Aleksandra Žeželj Kocić, Independent scholar, Belgrade COPYRIGHT NOTICE All rights reserved. No part of this publication may be reprinted, reproduced or transmitted in any form or by any means without prior permission in writing from the author, as the holder of the copyright. NAPOMENA O AUTORSKOM PRAVU Sva prava su zaštićena. Nijedan deo ove publikacije ne može se preštampati, reprodukovati ili upotrebiti u bilo kom obliku ili na bilo koji način bez pisanog odobrenja autora, kao nos- ioca autorskog prava. This project was funded by the Office of Public Affirs, United States Embas- sy Belgrade. The Office of Public Affairs. United States Embassy Belgrade, or the United States Government neither endorses nor takes responsibility for the content of this project. TABLE OF CONTENTS Acknowledgements ........................................................................................ 7 Dubravka Đurić, Aleksandra Izgarjan, Sabina Halupka-Rešetar, Introduction .......................................................................................... 8 TRANSNATIONALIZATION AND TRAVELLING CULTURES ............ 27 Carmen Birkle, “Obama Sushi” and the Ch(i)ang Way of Life: Transculturating America and the World ....................................................................... 28 Réka M. Cristian, Transnational Encounters in a Selection of Works by Tennessee Williams .............................................................................................. 59 Aleksandra Izgarjan, Poetics of Translation in the Works of Contemporary Transcultural American Writers ................................................................................ 74 Jelena Šesnić, Margaret Fuller, America’s First Transnational Romantic ................. 91 Slađana Stamenković, The Transnational Memory of Violence: Terrorism and Identity in Don DeLillo’s Falling Man .............................................................. 109 TRANSNATIONALITY, (SELF)REPRESENTATIONAL PRACTICES, SPACE AND IDENTITY POLITICS .............................................. 127 Sanja Runtić and Ivana Drenjančević, “Witnessing Beyond Recognition”: An Existentialist Reading of Francisco Cantú’s The Line Becomes A River: Dispatches from the Border ......................................................................................... 128 Mirna Ćurić, Rading Space and Identity in Sandra Cisnero’s The House on Mango Street ..................................................................................... 158 Sanja Manojlović, Images of the Other in Kiran Desai’s The Inheritance of Loss ........ 183 Aleksandra Žeželj Kocić, Towards Transnational Identification: Hemingway’s Revision of Africa ................................................................................................ 200 Jovana Petrović, Space in Linda Hogan’s Mean Spirit ................................................ 221 Vladimir M. Vujošević, Transnational Condition and Spatial Control: (De)sacralization of Space in Jhumpa Lahiri’s “This Blessed House” ............................. 244 Ivana Dejanović, The Image of Post-War Serbia in Jelena J. Dimitrijević and Helen Leah Reed’s Writings ....................................................................... 260 INTERMEDIALITY/TRANSMEDIALITY AND NARRATIVE PRODUCTION ................................................................................ 276 Ágnes Zsófia Kovács, Becoming Visible: On the Role of Pictures in Michelle Obama’S Becoming .......................................................................................... 277 Dubravka Đurić, (Trans)nationalism and American Feminist Experimental Writing ....299 Kalina Maleska, Encounters of Cultures in Climate Change Narratives ..................... 314 Selma Jerković Veseljević, (Trans)nationalism of Super-Hero Films .......................................... 330 TRANSNATIONALITY IN LINGUISTICS ............................................. 351 Ljiljana Knežević and Sabina Halupka-Rešetar, What Causes the Scarce Use of Dictionaries in ESP Courses? A Qualitative Analysis of the Teachers’ Perspective ........................ 352 Olga Panić Kavgić, Transnationality in Language: Translated Titles of Recent U.S. Films Depicting Distinctly American Topics ................................... 372 Contributors .............................................................................................. 392 Reviews of Aspects of Transnationality in American Literature and American English ............................................................................. 399 ACKNOWLEDGEMENTS We would like to thank the American Embassy in Belgrade for its fi- nancial support for the publication of the Book of abstracts and this volume. In particular, we are grateful to Ms. Vukica Stanković, Cultural Affairs Spe- cialist, for her patience and help throughout the process of grant application and the preparation of this volume and to Mr. Tim Standaert, Counselor for Public Affairs, for his understanding when we had to cancel the conference and modify the terms of the agreement. A special note of thanks goes to the Faculty of Philosophy in Novi Sad for agreeing to publish this volume and for their support in bringing it to the public. We are particularly indebted to the Dean of the Faculty of Philosophy, professor Ivana Živančević Sekeruš and to the Head of the Department of English Studies, professor Ivana Đurić Paunović. We would also like to express our gratitude to our colleagues who are members of the Serbian Association for American Studies (SAAS) and the Association for American Studies in South East Europe (AASSEU) for their support and cooperation through the years. This year, the Serbian Association for Anglo-American Studies celebrates thirteen years of work
Recommended publications
  • The Monthly Magazine of the Atlanta Memorial Arts
    AtlantaTHE MONTHLY MAGAZINE OF THE ATLANTA MEMORIALArts ARTS CENTER FEBRUARY 1973 American comfort, European handling. They meet in Monte Carlo. Monte Carlo has always ment panel reflect Monte been a car unlike any other. Carlo's individuality. Yet, our 73 Monte Carlo S The new flow-through is even more unique. power ventilation system Chassis, frame and sus­ adds to its quietness. pension geometry were Power front disc brakes, extensively redesigned to power steering and a big V8 achieve special handling are standard of course. traits like those found in the A power-operated sky roof great road cars of Europe. can be added. Coach windows, molded Monte Carlo S. We think full foam seats, rich uphol­ you'll find it one of the best stery and a classic instru­ road cars you've ever driven. 1973 Chevrolet Buildingabetterway to seethe U5A 1 Chevrolet Art for everyone's sake More than a repository, The Atlanta Memorial Arts Center continues its forward thrust, its dedicated presentation of the arts as a force in today's life, an inspiration for tomorrow's. Rich's salutes the gifted men and women who have made this so. and now our second location 107 Peachtree Street. N.E.. Phone (404) 522-4786 Atlanta, Georgia 30303 Of Special interest AT THE CENTER ATLANTA SCHOOL OF ART Don’t go School Strides Toward National Recognition through The Atlanta School of Art has ac­ life cepted an invitation to entry-year mem­ without bership in the Union of Independent Colleges of Art (U.I.C.A.), beginning your own with the next academic year.
    [Show full text]
  • Producing Tennessee Williams' a Streetcar Named Desire, a Process
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF THEATRE PRODUCING TENNESSEE WILLIAMS’ A STREETCAR NAMED DESIRE, A PROCESS FOR DIRECTING A PLAY WITH NO REFUND THEATRE J. SAMUEL HORVATH Spring, 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Finance with honors in Theatre Reviewed and approved* by the following: Matthew Toronto Assistant Professor of Theatre Thesis Supervisor Annette McGregor Professor of Theatre Honors Adviser * Signatures are on file in the Schreyer Honors College. ABSTRACT This document chronicles the No Refund Theatre production of Tennessee Williams’ A Streetcar Named Desire. A non-profit, student organization, No Refund Theatre produces a show nearly every weekend of the academic year. Streetcar was performed February 25th, 26th, and 27th, 2010 and met with positive feedback. This thesis is both a study of Streetcar as a play, and a guide for directing a play with No Refund. It is divided into three sections. First, there is an analysis Tennessee Williams’ play, including a performance history, textual analysis, and character analyses. Second, there is a detailed description of the process by which I created the show. And finally, the appendices include documentation and notes from all stages of the production, and are essentially my directorial promptbook for Streetcar. Most importantly, embedded in this document is a video recording of our production of Streetcar, divided into three “acts.” I hope that this document will serve as a road-map for
    [Show full text]
  • A Streetcar Named Desire by Tennessee Williams
    A Streetcar Named Desire by Tennessee Williams Copyright Notice ©1998-2002; ©2002 by Gale Cengage. Gale is a division of Cengage Learning. Gale and Gale Cengage are trademarks used herein under license. For complete copyright information on these eNotes please visit: http://www.enotes.com/streetcar/copyright eNotes: Table of Contents 1. A Streetcar Named Desire: Introduction 2. A Streetcar Named Desire: Summary ® Scenes 1 and 2 Summary ® Scenes 3, 4, 5, 6 Summary ® Scenes 7, 8, 9, 10, 11 Summary 3. A Streetcar Named Desire: Tennessee Williams Biography 4. A Streetcar Named Desire: Themes 5. A Streetcar Named Desire: Style 6. A Streetcar Named Desire: Historical Context 7. A Streetcar Named Desire: Critical Overview 8. A Streetcar Named Desire: Character Analysis ® Blanche du Bois ® Stanley Kowalski ® Stella Kowalski ® Other Characters 9. A Streetcar Named Desire: Essays and Criticism ® Sex and Violence in A Streetcar Named Desire ® The Structure of A Streetcar Named Desire ® Theater Review of A Streetcar Named Desire 10. A Streetcar Named Desire: Compare and Contrast 11. A Streetcar Named Desire: Topics for Further Study 12. A Streetcar Named Desire: Media Adaptations 13. A Streetcar Named Desire: What Do I Read Next? 14. A Streetcar Named Desire: Bibliography and Further Reading A Streetcar Named Desire: Introduction A Streetcar Named Desire is the story of an emotionally-charged confrontation between characters embodying the traditional values of the American South and the aggressive, rapidly-changing world of modern America. The play, begun in 1945, went through several changes before reaching its final form. Although the scenario initially concerned an Italian family, to which was later added an Irish brother-in-law, Tennessee Williams changed the characters to two Southern American belles and a Polish American man in order to emphasize the A Streetcar Named Desire 1 clash between cultures and classes in this story of alcoholism, madness and sexual violence.
    [Show full text]
  • The East Lansing Food Co-Op and Allen Neighborhood Center Present
    FREE a newspaper for the rest of us www.lansingcitypulse.com 2 www.lansingcitypulse.com City Pulse • February 18, 2015 City Pulse • February 18, 2015 www.lansingcitypulse.com 3 4 www.lansingcitypulse.com City Pulse • February 18, 2015 VOL. 14 Feedback ISSUE 27 City Pulse should offer Vaccinations save lives (517) 371-5600 • Fax: (517) 999-6061 • 1905 E. Michigan Ave. • Lansing, MI 48912 • www.lansingcitypulse.com In the article on "Immunization conservative voice and viewpoints ADVERTISING INQUIRIES: (517) 999-6705 I cannot think of anything neater than Obligation," Ms. Skurnowicz stated: "Up PAGE CLASSIFIED AD INQUIRIES: (517) 999-5066 having your own business. It is your baby until 100 years ago, there were no vacci- or email [email protected] and you can do what you want as long as nations. How did civilization survive to 5 you don't break any laws. You do your best that point in time without having vaccina- PUBLISHER • Berl Schwartz [email protected] • (517) 999-5061 to keep your customers happy and hope- tions?" ASSOCIATE PUBLISHER • Mickey Hirten fully you will earn a good living. What hap- Sure, civilization survived, but with the Profile: Old-school barber Duane Stoolmaker [email protected] • (517) 999-5064 pens if this business is a publication? Do premature loss of many individual mem- EDITOR • Belinda Thurston you still have the opportunity to do what bers. Go to any early cemetery and look at [email protected] • (517) 999-5065 you want? Or should there be a balance if the gravestones from the 19th and early PAGE ARTS & CULTURE EDITOR • Ty Forquer business owner only has one point of view? 20th centuries, and you will see how many [email protected] • (517) 999-5068 Please hear me out.
    [Show full text]
  • The Role of Betrayal in Selected Drama of Tennessee Williams Craig E
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1977 The Role of Betrayal in Selected Drama of Tennessee Williams Craig E. Sanderson Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Sanderson, Craig E., "The Role of Betrayal in Selected Drama of Tennessee Williams" (1977). Masters Theses. 3331. https://thekeep.eiu.edu/theses/3331 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author I respectfully request Booth Library of Eastern Illinois University not allow my thesis be
    [Show full text]
  • Tennessee Williams' Kind of Theater
    TENNESSEE WILLIAMS’ KIND OF THEATER: SIGNATURE AND BIOGRAPHY By NICHOLAS OSBORNE PAGAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1 989 UNIVERSITY OF FLORIDA LISRURIffH Copyright 1989 by Nicholas Osborne Pagan ACKNOWLEDGMENTS I am greatly indebted to my mother, my two brothers, and Keitha Wakefield because in 1977 they encouraged me to pursue a BA in humanities and provided me with much-needed emotional and financial support. I am also greatly indebted to Stanley Cook, Steve Evans, Stuart Linney, and Hugh Robertson, all of whom taught at the Polytechnic, Huddersfield, where I began to attend English and philosophy classes. Here at the University of Florida several friends, sometimes knowingly, sometimes unknowingly, have greatly contributed to the development of this dissertation. In particular, I must thank Jesus Mejia, and also William Jernigan and Harvey Molloy. I would also like to thank the members of my supervisory committee: Sidney Homan, John P. Leavey, Jr., Anne Jones, John Seel ye (replaced because of a summer absence by A. Carl Bredahl), and Sheila Dickison. Here Sidney Homan and John Leavey deserve special mention. I am deeply indebted to Sid, my director, because of his boundless enthusiasm for the project and his unflinching faith in my ability to carry it out. I owe a particular debt of gratitude to John who in reading the various drafts, was able to combine a meticulous attention to detail with a concern for i i i the broader issues, forcing me to question my assumptions and be more rigorous.
    [Show full text]
  • A Streetcar Named Desire
    STUDY STUDY STUDY AND A AND REVISE Your year-round course for AS/A-level A Streetcar REVISE companions for English literature Named Desire Read, analyse and revise your set texts throughout the Streetcar course to achieve your very best grade, with support at every by Tennessee Williams f stage from expert teachers and examiners. O r AS/A- r Named Each Study and Revise guide: ▸ Offers accessible and stimulating coverage of all aspects of the text, from Desire characterisation and themes to form, structure and language L eve ▸ Challenges and develops your knowledge and understanding so you reach your by Tennessee Williams full potential L ▸ Builds the skills you’ll need to succeed, with plenty of opportunities for exam- focused practice ▸ Suggests ways that you can extend your knowledge on a particular aspect of Desire Named A Streetcar the text ▸ Provides crucial exam advice on structuring your writing and analysing texts in detail through a dedicated ‘Working with the text’ section ▸ Helps you appreciate critical views of the text and develop your own personal response Additional grade-boosting features include: ▸ Build critical skills ▸ Top ten quotations ▸ Critical view ▸ Taking it further ▸ Context Onyett For a full list of titles in this series, see the inside front cover. { Written by experienced teachers and examiners { Learn how to respond critically to your text { In-depth analysis of all aspects of the text Nicola Onyett Series Editors: ISBN 978-147-1-85373-9 Nicola Onyett and Luke McBratney 9 781471 853739 853739_Street_Car_Named_Desire_FINAL.indd
    [Show full text]
  • Gender Stereotyping in Tennessee Williams's a Streetcar Named Desire
    Gender Stereotyping in Tennessee Williams's A Streetcar Named Desire Magdić, Mihaela Undergraduate thesis / Završni rad 2016 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:069472 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-30 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Osijek Preddiplomski studij engleskog jezika i književnosti i hrvatskog jezika i književnosti Mihaela Magdić Gender Stereotyping in Tennessee Williams's A Streetcar Named Desire Završni rad Mentor: doc. dr. sc. Biljana Oklopčić Osijek, 2016. Sveučilište J.J. Strossmayera u Osijeku Filozofski fakultet Osijek Odsjek za engleski jezik i književnost Preddiplomski studij engleskog jezika i književnosti i hrvatskog jezika i književnosti Mihaela Magdić Gender Stereotyping in Tennessee Williams's A Streetcar Named Desire Humanističke znanosti, filologija, teorija i povijest književnosti doc. dr. sc. Biljana Oklopčić Osijek, 2016 2 Table of Contents ABSTRACT .............................................................................................................................. 4 INTRODUCTION ...................................................................................................................
    [Show full text]
  • A Streetcar Named Desire Study Notes
    268 A Streetcar Named Desire CHARACTERS Blanche DuBois enters. She is carrying a small Landlady The Landlady, who is also referred to suitcase and a piece of paper. She is a fading as Miss Gallaway, is a middle-aged woman who Southern belle, whose appearance suggests she is runs a boardinghouse. Because her husband is an going to a garden party, but her search for her sis- invalid, she seeks out sexual relationships with her ter, Stella, has landed her in the slums of the male boarders. She plays the balalaika and hates French Quarter. Eunice notices the confused Musso’s cat, Nitchevo. Blanche, and she asks whether she is lost. Blanche explains that she was instructed to take a streetcar Musso A frail and weak man who is given the named Desire to Elysian Fields via a streetcar nickname “Musso” by his Landlady. When Musso called Cemetery. Eunice informs her that she is moves into Miss Gallaway’s boardinghouse he indeed in the right place. Eunice lets her into the befriends the cat Nitchevo, who also occupies his Kowalskis’ apartment to wait for Stella while the room. Negro Woman fetches Stella from the bowling alley. Blanche has arrived unannounced, and she Old Man He is the father-in-law of the Land- is shocked to discover Stella living in such a dis- lady. An alcoholic, the Old Man is thrown out of mal place. the boardinghouse for fraternizing with the tenants Blanche searches for a drink, and Stella enters. late one night. The two sisters are ecstatic to be reunited.
    [Show full text]
  • A Streetcar Named Desire
    PREVIN'S A Streetcar Named Desire PRESS KIT PRESENTS A Streetcar Named Desire Opera in three acts Music by André Previn Libretto by Philip Littell First performed by San Francisco Opera, September 19, 1998. Sung in English with English supertitles. Supported, in part, by a grant from the San José Office of Cultural Affairs. PRESS CONTACT Bryan Ferraro Communications Manager Office (408) 437-2229 Mobile (408) 316-2008 [email protected] operasj.org For additional information go to http://www.operasj.org/news-events/press-room/press-kit/ CAST ARTISTIC TEAM CONDUCTOR PRINCIPAL COACH IN ORDER OF APPEARANCE Ming Luke Ronny Greenberg YOUNG COLLECTOR Matthew Piatt* MUSIC STAFF Xavier Prado STAGE DIRECTOR Veronika Agranov-Dafoe BLANCHE DUBOIS Brad Dalton Victoria Lington Ariana Strahl FIGHT CHOREOGRAPHER SUPERTITLE CUEING EUNICE HUBBELL Wesley Daniel Victoria Lington Cabiria Jacobsen SET DESIGN STELLA KOWALSKI Brad Dalton Stacey Tappan COSTUME DESIGNER Sara Duchovnay* Johann Stegmeir OLD RELATIVE LIGHTING DESIGN Teressa Foss David Lee Cuthbert STANLEY KOWALSKI WIG AND MAKEUP DESIGN Matthew Hanscom Vicky Martinez Eugene Brancoveanu* PROPERTIES MASTER HAROLD “MITCH” MITCHELL Lori Scheper-Kesel Kirk Dougherty TECHNICAL DIRECTOR STEVE HUBBELL John Draginoff Michael Boley ASSISTANT STAGE DIRECTOR DOCTOR Karyn Morton SILAS ELASH PRODUCTION STAGE MANAGER NURSE Allie Bailey Teressa Foss *Appears in the 5/1 performance *Appears in the 4/29 and 5/1 performances 4 Opera San José A Streetcar Named Desire Press Kit 5 SYNOPSIS Act I Intermission (15 minutes) SCENE 1 Blanche DuBois has suffered the loss of both her ancestral home and her job when she arrives in New Orleans to visit her sister, Stella, who has married Stanley Kowalski, an ex-GI trucker.
    [Show full text]
  • A STREETCAR NAMED DESIRE by Tennessee Williams
    A STREETCAR NAMED DESIRE By Tennessee Williams 8 SEPTEMBER – 15 OCTOBER 2016 DIRECTOR Sarah Frankcom DESIGNER Fly Davis SOUND DESIGNER Peter Rice LIGHTING DESIGNER Jack Knowles PERFORMED BY Ben Batt (Stanley Kowalski), Michelle Butterfly (Eunice Hubbel), Sandra Cole (Black Woman & Ensemble), Sharon Duncan-Brewster (Stella Kowalski), Etta Fusi (Mexican Woman & Ensemble), Reuben Johnson (Pablo Gonzales), Youssef Kerkour (Harold Mitchell), Reece Noi (A Young Collector), Maxine Peake (Blanche Du Bois), Ryan Pope (Steve Hubbel). TEACHER RESOURCE This resource has been created by the Royal Exchange Participation & Learning team. It has been written with Key Stage 3, 4 & 5 Drama and English teachers in mind, but many of the activities can be adapted to suit other subject areas and age groups. The resource aims to enhance students’ understanding of the A STREETCAR NAMED DESIRE rehearsal process and spark interesting conversations about the production. CONTENTS PAGE The Play’s Original Context 2 Characters and Themes 3 Concept and Design 8 References 10 1 THE PLAY’S ORIGINAL CONTEXT A STREETCAR NAMED DESIRE was a ground-breaking play when it appeared on Broadway in 1947. The post-World War II period was dominated by musicals and revivals of classical texts; the ‘well-made play’ of the 1920s and 1930s did not sit readily with audiences who had lived through the anxieties of the late 1930s depression, and the devastating repercussions of nuclear technology employed during the war. Into this uncertain world came Tennessee Williams’ A STREETCAR NAMED DESIRE, which seemed to encapsulate the anxieties of a society in transition. The men who appear in the play and gather around the table to play poker have all fought in the war; Blanche holds memories of her liaisons with off duty soldiers at Belle Reve.
    [Show full text]
  • Gramofon, 1999 (4. Évfolyam, 1-12. Szám)
    A z ECONOVUM „Iványi prof. és Társai" Gazdasáqi Tanácsadó és Szolqáltató Kft. az alábbi szolgáltatásokat ajánlja: Stratégiai diagnosztika és akciótervezés SWOT és portfolió-elemzéssel. Szervezetfejlesztés, reengineering és a javadalmazási rendszer korszerűsítése. ■ Átfogó költséggazdálkodás (Total Cost Managament) kiépítése és költségcsökkentő értékelemzés végigvitele. A kaliforniai Newport University magyarországi képviseleteként - rugalmas távoktatási formában - magyar vagy angol nyelven amerikai közgazdász és doktori fokozat megszerzésének lehetővé tétele. Egy fecske... Amikor egy éwel ezelőtt a kerületi kábeltévé-társaság jóvoltából képernyőmre került a MUZZIK nevű tévéadó, alig hittem a szememnek: zene napi 24 órában a hét minden napján, sztereóban, méghozzá nagyobbrészt klasszikus, kisebb részben pedig jazz, blues és world music. A manapság mindent elárasztó kommersz popzene nem szerepel a kínálatban, sőt reklám sincs. Az egyes műsorokat szellemes, rajzfilmszerű kis klipek választják el egymástól, időnként rövid előzetesek láthatók. A MUZZIK Párizsból sugár­ zott francia és angol nyelvű televízió, mely a hírek szerint sikeres, Európa minden na­ gyobb országában nézhető. Lapunk premisszája, hogy a klasszikus zene és a jazz ha­ sonló, részben pedig azonos közönséget feltételez, feltűnő hasonlóságot mutat a Muz- zik-tévé koncepciójával, így érdemes figyelemmel kísérnünk itthoni fogadtatását. Az ol­ -.VIOUN“” vasók egy része bizonyára találkozott már valahol valamilyen formában a szóban forgó OUN^^ «S***-"*' Anne-Sophie Mutter tévéadóval, amelynek kivonatos műsorát több magyar lap is közli. Az adás a csatorna magyarországi képviselőjének adatai szerint március közepén 350 ezer magyar háztar­ tásba jutott el kábelen, ennek körülbelül egyharmada budapesti. Ez elvileg akár egymil­ lió nézőt is jelenthet. Meglepően nagy szám, ehhez képest budapesti ismerőseim több­ sége nem tudja fogni az adót, s irigykedve hallgatja beszámolóimat a jobbnál jobb mű­ sorokról, amelyek többsége más adókon nem látható.
    [Show full text]