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1
Mees, Mary C. "The Tennessee Williams Scholars Conference/Tennesse Williams Annual Review." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/aa_rpts/3.
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In December 2007 I began an internship with the Tennessee Williams Scholars' Conference/Tennessee Williams Annual Review. The Conference and Review are co-produced by Williams expert and professor of English at Middle Tennessee State University Dr. Robert Bray and the publications department of The Historic New Orleans Collection. The majority of my internship took place from my home and at The Collection, where I also currently serve full-time as an editor on book projects and the institution's quarterly magazine. The following report provides an overview of my internship, my analysis of the operation of the Conference/Review, and my recommendations for the organization developed over the course of my tenure, which will conclude in December 2008.
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Correro, Augustine III. "Performing Tennessee Williams." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.
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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.
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Poarch, Megan L. "Three women of Tennessee Williams /." Read thesis online, 2010. http://library.uco.edu/UCOthesis/PoarchML2010.pdf.
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Bowlen, Creed. "The estate of mendacity an interpretation of Williams's most ambiguous character /." Orlando, Fla. : University of Central Florida, 2010. http://purl.fcla.edu/fcla/etd/CFE0002981.
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Weiss, Katherine. "Book Review of Tennessee Williams, Paul Ibell." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/2286.
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Roche-Lajtha, Agnès. "Les mythes dans l'oeuvre de Tennessee Williams." Paris 10, 2001. http://www.theses.fr/2001PA100126.
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L'approche mythocritique de l'oeuvre de Williams met en évidence la prégnance de quatre grands mythes de référence, entre lesquels oscille l'imaginaire williamsien, dans un ordre qui reflète l'histoire de la psyché occidentale et la stratification de l'inconscient collectif dont ils sont issus. Le mythe de Dionysos, immortalisé par Les Bacchantes, est le premier substrat du corpus williamsien, la tragédie d'Euripide apparaissant comme le paradigme dramatique de plusieurs pièces majeures. Les comédies de Williams révèlent également une homologie avec l'autre versant du mythe, celui du dieu phallique et de la hiérogamie avec Ariane. Le déclin du mythe de Dionysos est lié à l'émergence rivale du mythe d'Orphée, qui hanta toute sa vie le poète dramaturge à l'inspiration élégiaque. La résurgence des mythèmes de la descente aux enfers, du regard en arrière et du sparagmos final témoignent d'une identification profonde à l'aède grec, dont le sacrifice est assimilé à l'oblation du Christ, par un rapprochement sacrilège caractéristique du gnosticisme williamsien. L'auteur partage aussi avec l'ancienne hérésie la relecture blasphématoire des mythes de la Genèse et de la Chute. La même pulsion mythoclastique est à l'origine de la profanation du mythe de la Vierge, de la Passion homosexuelle démonique des Antéchrist williamsiens, des parodies hagiographiques, comme de l'inversion de l'oeuvre iconotropique accomplie par l'Eglise, ennemie des mythes païens. L'archétype christique apparaît finalement, à la lumière de la psychologie jungienne, comme la représentation incomplète de la totalité psychique symbolisée l'androgyne, dont la nostalgie sous-tend tout l'oeuvre williamsien. Au-delà de la triade Dionysos-Orphée-Christ se dessine donc l'image d'une quaternité, le mythe de l'androgyne sous-tendant les trois autres et les dépassant par le rêve alchimique de l'harmonisation des contrairesFour vying myths will be demonstrated to have held sway in Williams's imagination, their successive influence mirroring the history of religion and the layering of the collective unconscious from which they spring. The Dionysian myth, as it is recorded in The Bacchae, can be identified as the first mythic foundation of Williams's writing, Euripides's famous tragedy appearing as the dramatic paradigm of several major plays. The comic side of the myth is also celebrated in tributes to the phallic god, whose hierogamy with the mortal Ariadne, is reenacted in Williams's works. The Dionysian myth is eventually superseded by the myth of Orpheus, which was a lifelong source of inspiration to the playwright, who always thought of himself as a poet. Orpheus's descent into hell, his looking back and his final sparagmos are obsessively recurrent mythic motifs in Williams's works. Orpheus's death is sacrilegiously invested with messianic overtones. This points to Williams's deep-seated gnosticism, further evidenced in his blasphemous debunking of Genesis and his demonic parodies of the myths of Mary, Christ and the saints. His morbid obsession with self-sacrifice is ultimately overcome as, in the light of Jungian psychology, the Christ archetype is revealed as an incomplete symbol of the psychological wholeness exemplified by androgyny. Thus a quaternity emerges beyond the mythic triad formed by Dionysos, Orpheus and Christ --the myth of the androgyn underlying and transcending all three through the quest for the alchemical union of opposites
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Tam, Wing-han. "Caught in a labyrinth : the notion of vulnerability in selected works of Tennessee Williams /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31570859.
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Hoshikawa, Ana Maria Novi. "Anton Tchékhov e Tennessee Williams: dramaturgias em comparação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-12012016-145507/.
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O presente trabalho apresenta três possibilidades de comparação entre os textos de Anton Tchékhov e Tennessee Williams: a primeira trata-se de uma comparação formal, que investiga as semelhantes soluções dramatúrgicas encontradas pelos autores em relação à crise do drama, conceito elaborado por Peter Szondi; a segunda possibilidade se concentra sobre as semelhantes posições de classe (conceito de P. Bourdieu) encontradas na história russa e na história americana, que servem como substrato temático às peças analisadas; a terceira e última possibilidade de comparação apresentada está baseada no fenômeno de recepção das peças tchekhovianas nos Estados Unidos, considerando também a vasta repercussão das encenações do Teatro de Arte de Moscou sobre a cena americana.This work presents three distinct possibilities of comparison between the texts of Anton Chekhov and Tennessee Williams: the first one is a formal comparison, it investigates the similar dramatic solutions the authors found to dramas crisis, a concept created by Peter Szondi; the second possibility concentrates over the similarities of class position (P. Bourdieus concept) found in Russian and Amercian history, these serve as the thematic substract of the plays analysis; the third and last possibility explored is based upon the reception of Chekhovs plays in the United States, considering the reprecussions of their productions by the Moscow Art Theatre on the American stage.
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Tyrrell, Susan E. "Tennessee Williams' 'Plastic Theatre' : an examination of contradiction." Thesis, Keele University, 2013. http://eprints.keele.ac.uk/3826/.
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This thesis proposes a new reading of Tennessee Williams which enables his work to be seen as a cohesive dramaturgy which challenges realist and liberal notions of dramatic space, identity, and time. It examines the biographical and historical origins of ‘plastic theatre’, and the aesthetic and philosophical implications of this crucial term. This thesis analyses the development and hardening of Williams’ reputation during the 1940s and 1950s as a realist (or ‘failed’ realist) playwright through an examination of contemporary reviews and the work of literary critics such as Raymond Williams and Christopher Bigsby. The thesis argues that the critical reception of Williams during these decades was inflected by biographical readings which pathologised Williams and his work from the perspective of ‘straight’ realism. It considers more recent critical re-‐evaluations of Williams’ work: including those of David Savran, Annette Saddik and Linda Dorff. These re-‐evaluations, and Williams’ work as a whole, are seen in the cultural, political and historical contexts of the 1950s and 1960s, which saw the development of the notion that the ‘personal is political’ and a major shift in the ‘structure of feeling’. The thesis goes on to develop a new theoretical perspective on Williams’ work which draws on the philosophical work of G.W.R. Hegel’s views on contradiction and his analysis of the master/slave relationship, W.E.B. Du Bois’ notion of veiling and Malcolm Bull’s theories of hiddenness. This new perspective is employed in extended close readings of early successful plays (The Glass Menagerie and A Streetcar Named Desire) as well as the more problematic later plays (Camino Real, The-‐Two Character Play, The Remarkable-‐Rooming House of Mme Le Monde, I Can’t Imagine Tomorrow and In the Bar of a Tokyo Hotel). The final chapter makes use of Gérard Genette’s theories of narratology to explore the plasticity of time in Something Cloudy, Something Clear and Clothes for a Summer Hotel.
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Pereira, Eloíse Mara Grein. "The imagery of decadence in Tennessee Williams' Vieux Carré." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24341.
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Triplett, Janis Luzene. "Tennessee Williams' treatment of women in his major plays." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1988. http://digitalcommons.auctr.edu/dissertations/1435.
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This thesis was undertaken to determine the Impact that the females In Tennessee Williams' family had on his portrayal of female characters n his major plays and to determine the extent that these characters were actually reflections of Williams himself.
Williams' female characters fall Into three categories: the Southern genteel lady, female aggressor/mother-figure, and the survivors of corrupt societies. Williams' depiction of the women In each of these categories reflected his association with the females in his family. Rose, his sister, represented the fragile* sexually repressed Southern genteel lady. On the other hand, Williams' mother Edwina could be placed In all three categories of Williams' women since she possessed characteristics common to each category. She represented the fragile, genteel lady who lived 1n her own Illusions despite the drastic alteration of her life-style when her family made the move from Mississippi to Missouri. Like Amanda W1ngf1eld, Edwina was determined to keep her family going by any available means, and this characteristic was exemplary of a mother figure. Lastly, we may think of Edwina as having been a survivor who knew that life had to go on despite the fact that her daughter had to have a lobotomy and later was Institutionalized.
The three categories of Williams1 women can also be said to be indicative of the phases of Williams1 homosexuality. The Southern genteel lady represented the early sexually repressed years of Williams' life. The female aggressor/mother-figure delineated his "coming out of the closet" or the public expression of his sexual preference despite criticism or ostracism. Lastly, the survivors in corrupt societies can be identified with Williams' final accomodation with the homosexual life-style.
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Creek, Brooke Elaine. "Tennessee Williams/New Orleans Literary Festival: An Internship Report." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/179.
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The purpose of this internship report is to examine the daily activities, organizational structure, and festival planning of the Tennessee Williams/New Orleans Literary Festival (TW/NOLF). The report includes my assigned duties and tasks, the organization’s strengths and weaknesses, best business practices, and detailed recommendations for improvement. The internship consisted of 480 hours, working closely with the Director of Literary Programs and Development, J.R. Ramakrishnan. The organization’s main focus during the year is to construct and produce their annual festival. iv
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Tosio, Paul. "An object relational psychoanalysis of selected Tennessee Williams play texts." Thesis, Rhodes University, 2003. http://eprints.ru.ac.za/17/.
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Besse, Olivier. "Mythes et structures chez Tennessee Williams. . . Et Dieu dans tout çà ?." Bordeaux 3, 1997. http://www.theses.fr/1997BOR30020.
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Chez tennesse williams, l'idee de dieu se situe a un niveau inconscient. Dans une lutte interieure, williams cherche d'abord a se delivrer de ce supplice tres chretien du peche originel et de sa chute. En cela, son oeuvre est garante d'un discours qui supporte une ideologie propre a la societe americaine: le puritanisme dont williams reproduit tout un archetype ancestral qui trouve echo dans ses personnages, ses themes, mais aussi, ses mythes de predilection. Par cette incursion de dieu dans une oeuvre vouee a l'echec de l'humanite, tennessee williams s'inscrit a notre sens parmi les plus grands auteurs contemporains de tragedie. Cette affirmation prend non seulement son sens dans une etude approfondie des themes de son oeuvre mais aussi dans la mise a jour de la structure des recits de tennesse williams qui s'apparente sur de nombreux points a celle de la tragedie grecque. Enfin, en etudiant plus particulierement la structure interne de l'oeuvre de tennesse williams, nous avons pu metttre en evidence des mythes que le puritanisme a, tantot subrepticement infitres ca et la, tantot ouvertement legues a l'oeuvre de williams. Parmi ceux ci, nous avons privilegie l'etude de deux d'entre eux: l'eau et le feu pour rechercher dans l'intimite profonde de leur reflexion, l'influence la plus perceptible du puritanismeIn tennesse williams, the idea of god is located at a subconscious level. In an inner fight, williams is primarily trying to get rid of this very christian torment, the original sin and of its fall: through that, his works is the warrant of a discourse which bears an ideology specific to the american society: puritanism of which williams reproduces a whole ancestral archetype, which not only echoes in his characters, his themes but also in his favorite myths. Through that intrusion of god in a works dedicated to humanity failure, williams is acording to us among the greatest contemporary tragedy-writters. This statement originates its sense not only in a deep study of his works themes but also in the up dating of the stucture of tennessee williams stories which coresponde in many ways to the story line of the greek tragedy. Eventualy, by studying more particularly the tennesse williams' inner structure, we could find evidence of myths that puritanism sometimes infitred by and then, and at other times was openly granted to williams works. Among those, we have privileged the study of them: water and fire to analyse the most perceptible influence of puritanism in the deep intimaty of their reflexion
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Herrera, Gabriela Cardoso. "Do texto de Tennessee Williams ao filme de John Huston." reponame:Repositório Institucional da UFPR, 2011. http://hdl.handle.net/1884/25648.
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Resumo: Este estudo se propõe a analisar, a partir de uma abordagem intertextual e intermidiática, o texto dramático A noite do iguana (1961), de Tennessee Williams, e o filme homônimo de John Huston (1964). No passado, estudos sobre adaptação de obras literárias para o cinema colocavam o foco na questão da fidelidade da produção audiovisual em relação ao seu texto-fonte. Filmes baseados em textos literários, além de serem analisados levando em consideração sua fidelidade ao texto de origem, eram vistos como produções de menor valor artístico do que o texto-fonte. Havia uma supremacia implícita da literatura. Mas, a partir da década de 1990, esta visão cedeu lugar à intertextualidade, que diz que qualquer texto é construído como uma complexa rede de múltiplas relações com outros textos, discursos e influências, os quais foram apropriados e recriados. Não há lugar para hierarquias entre as obras, nem fidelidade ao “original”. O mesmo pode ser dito a respeito da noção de intermidialidade, já que a adaptação de um texto literário para outra mídia deve ser vista como uma livre recriação, com tanto valor quanto o texto-fonte. O filme de Huston não é apenas a transposição da peça de Williams para o cinema, mas também um trabalho de criatividade do cineasta, que usou, além do texto, outros elementos de seu próprio repertório para enfatizar aspectos diferentes da história, que agora é contada em outra mídia e a partir de seu ponto de vista. Além do processo de adaptação da peça para o cinema, esta dissertação explora a autotextualidade presente no texto dramático. Três obras anteriores de Williams foram consideradas fontes principais da peça: um conto com o mesmo título, um poema que o dramaturgo incorporou ao texto dramático e outra peça, que apresenta uma importante referência, principalmente ao protagonista de A noite do iguana. Todos esses diálogos entre textos e mídias contribuem para um entendimento mais aprofundado das obras e, consequentemente, é alcançada uma apreciação mais rica de ambos, peça e filme.
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Bak, John Steven. "Tennessee Williams and the southern dialetic : in search of androgyny." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/862289.
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Blanche DuBois marked the most significant literary achievement of Tennessee Williams. Though her rape functions dramatically as a powerful climax which has troubled critics and bothered audiences, it is more a thematic culmination of Blanche's inability to sequester her sexuality. In fact, nearly everything Williams wrote prior to 1947 was building toward Blanche's rape; nearly everything that came after was a thematic attempt to resolve that issue left incomplete in her character--the southern dialectic, the preponderant theme and unsolved riddle of Williams's long career.The southern dialectic--a model developed from the joint theories of southern historian W. J. Cash, theorist Allen Tate, novelist William Faulkner, literary critic C. Hugh Holman, and playwright Tennessee Williams--is the internalization of opposites virulent in human nature which seeks to synthesize its disparate traits. Williams juxtaposed onto most of his characters this metaphysical debate between antinomies, most notably flesh and spirit, past and present, and miscegenation. Although he explored each with precise attention to balance, Williams returnedto flesh and spirit and its teleological (as opposed to theological) assessment of the human condition as his thematic touchstone.From his first performed play in 1935 to his last works of-the Eighties, Williams harnessed the dialectic in himself --between his innate desire for flesh and his learned duties to spirit--and generated from it the art that was as much his career as it was his exercise in psychotherapy. By placing both traits in his characters and dramatizing their interaction through two key images--the cat and the bird, whose own timeless battle reflected the same attraction/ repulsion nexus of the flesh-spirit dialectic--Williams could search for the one-androgynous hero who, like Christ, would successfully integrate them.Androgyny, for Williams, was not strictly hermaphroditism, though he was drawn to the asexual, but the ideal state of human existence--the integration of paradoxically repellent and attractive forces created by the dialectic. Though his Grail-like pursuit led him to discover different ways to end or survive this dialectic (denial, then death, then endurance), Williams's search for his androgynous hero would ultimately be in vain.Department of English
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Zhang, Nan. "Dramatizing light: the theatre of Tennessee Williams and Jo Mielziner." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300991793.
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Shonk, Victor Eric. "Scenic Design for Tennessee William's Summer and Smoke." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274414875.
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Bain, Carolyn. "The Tennessee Williams/New Orleans Literary Festival as a theatrical event." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7144.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: Theatre. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Hooper, Michael Spencer David. "Desire over Protest : Sexual Politics in the Work of Tennessee Williams." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520460.
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Desire over Protest: Sexual Politics in the Work of Tennessee Williams examines growing claims that Tennessee Williams is fundamentally, or in large part, a political writer. Drawing on newly published texts from both ends of Williams's career, his prose fiction, essays and unpublished manuscript material, this study uniquely charts the writer's development from an apprenticeship influenced by the radical social drama of the nineteen thirties, through the commercial successes of the nineteen forties and fifties, to his most experimental late work. Unlike the books and articles that have tackled separate aspects of Williams's writing within the broad area of politics, this study is structured in chapters that combine mainstream ideology, homosexuality, race and gender. Many of the texts analysed contain both overt and indirect references to social conditions, discrimination, regimes and the ethics of America's foreign policy, but these are ultimately of secondary concern. Though Williams presented himself as a revolutionary instinctively allied to a leftist politics, his writing privileges private relationships, the power struggles that are, or emerge from, sexual encounters. The resulting vision is one of fractured communities, of individuals selfishly pursuing lines of desire that are self-destructive or, increasingly and conversely, just a mode of survival. As Robert F. Gross reminds us, Williams's work assumes a liberal individualist stance. Effectively, it deconstructs the tyranny and alienation of modern life only to admit the impossibility of refashioning something more structurally egalitarian and spiritually humane. Protest is diagnostic, not corrective; desire has sovereignty
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El, Majdoubi Ilham. "Désir, genre et identités dans les premières œuvres de Tennessee Williams." Toulouse 2, 2007. http://www.theses.fr/2007TOU20018.
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Le théâtre de Tennessee Williams des années 1940-1960, notamment les pièces écrites et produites sous le maccarthysme, suscite l’intérêt par sa force de suggestion. Le désir et la sexualité, considérés comme des sujets particulièrement tabous pour être représentés sur scène, n’y sont abordés que d’une manière oblique et allusive. Il n’en demeure pas moins que leur potentialité demeure subversive. Engagé, sans pour autant être sectaire, Williams se fait la voix des sans voix dans la société hétéropatriarcale binaire et normalisante. Il soulève des questions bien dérangeantes sur le genre (rapports sociaux de sexe) dans son œuvre, où la frontière n’est pas toujours franche entre le masculin et le féminin, entre l’homosexualité et l’hétérosexualité. Loin de réaffirmer les différences sexe/genre, il défend une vision plutôt hybride de l’identité, où les sujets apparaissent comme la somme des différentes identités qu’ils abritent. Sa création offre un large éventail d’identifications possibles et introduit l’idée queer qui soutient que l’identité est un concept socialement et culturellement construit, pluriel et en constant devenirThe theatre of Tennessee Williams covering the period from 1940-1960, most significantly the plays written and produced under McCarthyism, arouses interest through its suggestive force. Desire and sexuality, considered as largely taboo subjects for the stage, are only obliquely and allusively approached. Their potentiality remains nevertheless subversive. Williams, a committed but not sectarian writer, gives voice to those who are voiceless in the normative and binary structured heteropatriarcal society. He raises very disturbing questions about gender (sexually determined social relations) in his works, where the boundaries between masculinity and femininity, between homosexuality and heterosexuality, are not always clear-cut. Far from reasserting sex/gender differences, the playwright defends a rather hybrid view of identity in which subjects appear as a sum of the different identities they hold. His creation offers a wide range of possible identifications and introduces the queer idea claiming that identity is a socially and culturally constructed site of multiplicity and permanent becoming
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Villers, Sandrine. "L'image de la société américaine dans le théâtre de Tennessee Williams." Paris 4, 1995. http://www.theses.fr/1995PA040016.
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Dans ses pièces, Tennessee Williams est connu pour la complexité psychologique de ses personnages et la richesse esthétique déployée tant dans les décors et les sons que dans les lumières et les symboles. Taxé à tort de dramaturge régional parce qu'il situe la majeure partie de ses pièces dans le sud des États-Unis, il est le peintre d'une société à part entière. Sudiste, américaine ou universelle, cette société prend les traits de l'oppresseur et les hommes qui y vivent ne s'y reconnaissent pas. La seule alternative possible des anti-héros williamsiens est de fuir et d'aimer leur prochainTennessee Williams is mostly known for the psychological complexity of his characters and for the aesthetic richness of his plays (sets, sounds, lights, symbols). Mistakenly considered as a regional playwright because he situated most of his plays in the south of the United States, he is the painter of a specific society. Either southern, or American, or universal, this society, which has neither god, nor justice, is described as an oppressor in which men do not recognize themselves. The only alternative for the williamsian anti-hero, is to escape and to love
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LaRocque, Jeffrey. "The Fragmented Artist: Representations of Tennessee Williams in Biographical Solo-Performance." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277059458.
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Flandoli, Elizabeth Belleza. "Dramaturgia e ficção curta: um estudo de suas ligações e projeções na obra teatral de Tennessee Williams [1911-1983]." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-13042017-084409/.
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A proposta desta tese é comprovar o número expressivo da obra ficcional de Tennessee Williams, relativamente extensa por abranger cerca de cinquenta contos, que representou de formas variadas a gênese ficcional de peças posteriores, além de apontar casos de peças vistas como matrizes que prefiguram a matéria ficcional de contos ou até mesmo de roteiros cinematográficos criados pelo autor. A predominância dos episódios em que os contos se colocam como matrizes ficcionais de importantes trabalhos dramatúrgicos do escritor foi constatada através do levantamento e da análise da produção dramatúrgica e ficcional de Tennessee Williams. Ao empreendermos o estudo analítico de três peças em um ato e uma peça em três atos [peça longa], foi possível estabelecermos a relação entre as peças e a estrutura ficcional dos contos, assim como apresentar um entendimento mais profundo dos processos formais e dos elos compositivos ligando sua ficção curta e a dramaturgia: The Dark Room [O Quarto Escuro, peça e conto, de aproximadamente 1939/1940], Something Unspoken [Algo não Dito, peça de 1953] e Happy August the Tenth [Feliz Dez de Agosto, conto de 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, conto de 1935] e a peça em um ato de mesmo título [escrita antes de 1946] e The Night of the Iguana [A Noite do Iguana: conto escrito entre 1946-48 e peça de mesmo título, em um ato, de 1959 e em três atos, de 1961]. Dessa forma, o diálogo entre diversos tipos de arte foi mapeado e as representações da história na dramaturgia e em sua ficção curta investigadas.The purpose of this thesis is to prove the expressive number of short stories by Tennessee Williams, relatively high to be composed of around fifty short stories which represented in various manners the genesis of later theater plays, besides highlighting cases of plays seen/ considered sources of short-story telling or even screenplays written by the author. The supremacy of episodes in which the short stories are seen as fictional sources of dramaturgic works by the writer was confirmed by verifying and analyzing the theater and the production/creation of short stories by Tennessee Williams. By doing the analytical study of three theater plays in one-act and a three-act play [fulllength play] it was possible to establish the relationship between the theater plays and the structure of the short stories as well as present a more profound understanding of the formal processes and the links between the plays and his short stories: The Dark Room [O Quarto Escuro, theater play and short story, approximately 1939/1940], Something Unspoken [Algo não Dito, play, 1953] and Happy August the Tenth [Feliz Dez de Agosto, short story, 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, short story, 1935] and the one-act play with the same title [written before 1946] e The Night of the Iguana [A Noite do Iguana: short story written between 1946-48 and the play with the same title, in one act, in 1959 and in three acts, in 1961]. Therefore, the dialogue among various types of art was studied, besides the sources of inspiration of the playwright and the representations of history on drama and in his short stories investigated.
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Vilaró, Berdusan Jordi. "La recepció del teatre de Tennessee Williams a Barcelona durant el franquisme." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/457758.
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Aquesta proposta de tesi doctoral estudia la recepció del conjunt de la producció dramàtica de Tennessee Williams a la ciutat de Barcelona durant el franquisme. L’anàlisi d’aquesta recepció, emmarcada en un context internacional més global, permet plantejar si el procés de recepció del teatre de Tennessee Williams a Barcelona va ser el resultat d’unes circumstàncies locals determinades per la realitat política, social i cultural del moment (la dictadura franquista), o si, altrament, aquesta recepció podia circumscriure’s en una tendència artística compartida amb d’altres cultures i països.
El treball consta d’una introducció on es descriu sintèticament el context teatral existent en el moment de l’arribada del teatre de Tennessee Williams a l’escena occidental de postguerra (incloent-hi l’espanyola i la catalana), les característiques bàsiques del teatre d’aquest autor i una possible periodització del conjunt de la seva obra dramàtica.
El cos del treball presenta l’anàlisi detallada de la recepció de cadascun dels muntatges que es varen estrenar a Barcelona durant el franquisme: 1) El zoo de cristal (1950, 1955, 1956), 2) Un tranvía llamado Deseo (1950, 1961), 3) La rosa tatuada (1958), 4) La gata sobre el tejado de zinc (1959), 5) La caída de Orfeo (1961) i 6) Dulce pájaro de juventud (1966). Per elaborar aquesta anàlisi, s’ha traçat una panoràmica de la recepció crítica internacional del teatre de Williams per, tot seguit, estudiar-ne la recepció crítica a Barcelona. A més, també s’han analitzat els problemes que cada obra representada va tenir amb la censura, així com les traduccions originals de les obres a l’espanyol.
Les conclusions del treball permeten entendre com l’auge, la consolidació i la davallada de l’interès per Tennessee Williams als Estats Units i a Europa es projecta també a l’escena barcelonina tenint en compte les circumstàncies polítiques i culturals pròpies de l’estat espanyol.This essay studies the reception of Tennessee Williams’s plays in Barcelona during Franco’s regime. Analysing this reception within a broader international context led me to consider whether the reception of Tennessee Williams’s theatre in Barcelona was the result of local circumstances related to the political, social and cultural situation of the time (Franco’s regime) or whether it reflected an artistic trend shared with other cultures and countries. This essay starts with an introduction in which I concisely describe the theatrical context into which Tennessee Williams’s theatre began to be performed in European countries (including Spain and Catalonia) after the Second World War, outline his theatre’s basic characteristics and give a potential periodization of his work. The body of the essay consists of a detailed analysis of the reception of each of Williams’s plays performed in Barcelona during Franco’s regime: 1) El zoo de cristal (1950, 1955, 1956), 2) Un tranvía llamado Deseo (1950, 1961), 3) La rosa tatuada (1958), 4) La gata sobre el tejado de zinc (1959), 5) La caída de Orfeo (1961) and 6) Dulce pájaro de juventud (1966). I look at the critical reception of Williams’s theatre at an international level and then study its critical reception in Barcelona. I also analyse the problems that each play had with regard to censorship and their original translations into Spanish. The conclusion of this study helps us to understand how the rise, consolidation and decline of Tennessee Williams’s theatre in the United States and Europe are also seen in Barcelona, with due consideration of the political and cultural circumstances in Spain.
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Diyab, Halla. "Crossing the margin : minorities and marginality in the drama of Tennessee Williams." Thesis, University of Leicester, 2008. http://hdl.handle.net/2381/7824.
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The thesis examines the development of the concept of minority in the plays of Tennessee Williams, as it transforms from minority as the identity of a certain group in his early plays, into an experience of marginality. In The Glass Menagerie (1945), A Streetcar Named Desire (1947) and Suddenly Last Summer (1958) Williams' characters experience self-confinement within the body, which categorises them as identifiable minorities. Three versions of The Night of the Iguana will be pivotal in this thesis; the 1961 three-act version of Iguana finds the 'interior space' of the characters' confinement in conflict with 'the exterior space'. In Williams' later plays, including Kingdom of Earth (1968), In the Bar of a Tokyo Hotel (1969) and Small Craft Warnings (1972), the concept of marginality becomes more abstract, concerning the characters' interaction with one another to create a space of liberation. The thesis defines this space as 'the circle of 'one-ness' which is formed between two marginalized characters who come together in order to be liberated from their own confinement. Over the course of these plays Williams widens this dramatic circle to operate on a collective level of unity that includes two or more characters. The thesis ends with a discussion of Vieux Carré (1977), where Williams succeeds in dramatising the unity of these characters with the image of the loving God, and offering a return to the self as the source of salvation and liberation. By reading Williams' dramatic texts in relation to his use of stagecraft, including the visual and aural images, stage directions and the characters' movements on the stage, as well as their spoken words, the thesis aims to present a new framework for the study of Williams' dramatic work.
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Najar, Jean. "Costume design and production for Orpheus Descending, by Tennessee Williams." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1329156125.
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Zhang, Nan. "A Lighting Design Process for a Production of Tennessee Williams' Orpheus Descending." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392023032.
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Ricciuti, Marie-Gabrielle. "Le théâtre de Tennessee Williams de 1962 à 1983 : l'androgyne et l'artiste." Dijon, 2003. http://www.theses.fr/2003DIJOL008.
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Le théâtre de Tennessee Williams a connu une évolution à partir des années soixante. Celui que l'on connait surtout comme l'auteur de Un Tramway nommé Désir ou encore La Chatte sur un toit brûlant choisit de prendre une nouvelle direction qui, si elle n'est pas à proprement parler spectaculaire, n'en demeure pas moins étonnante. Le désir d'innover et de se mettre artistiquement en danger donneront un nouvel élan à la carrière de Williams dans le monde du théâtre américain. Les conséquences ne seront pas toutes positives : sa popularité décline, la critique dramatique essaie de le décourager. Wiiliams, personnage haut en couleurs, obstiné et romantique, persévère (parfois dans l'indifférence totale) et propose entre 1962 et 1983 des oeuvres où se mêlent quelques paramètres fondamentaux de son univers littéraire : la poursuite d'un certain idéal artistique et la quête de l'androgyne. Ces deux figures se rejoignent dans leur désir commun de (re)gagner une certaine harmonie, de promouvoir le renouveau (qu'il soit d'ordre artistique, sexuel, racial et même religieux) et enfin de remédier à la solitude inhérente à la nature humaine. L'androgyne et l'artiste williamsiens, chacun à leur manière, travaillent pour l'abolition des obstacles qui favorisent cette solitude et qui empêchent la réalisation de l'ambition première de Williams : la rencontre et l'union avec l'autre. Les oeuvres considérées dans cette étude sont : The Milk train doesn't stop here anymore, Slapstick tragedy, In the bar of a Tokyo hotel, Kingdom of Earth, Small crafts warnings, The Two-character play, The Red devil battery sign, Vieux Carré, A lovely sunday for Creve coeur, Clothes for a summer hotel et Something cloudy, something clearThe early Sixties mark the beginning of a significant evolution in the theatre of Tennessee Williams. The playwright mostly known for works such as A Steetcar named Desire or Cat on a hot tin roof takes a new direction, if not exactly spectacular then nonetheless surprising and challenging. This impulse stems from a wish to innovate and to take risks, artistically speaking, resulting in a somewhat negative impact on his career : Williams saw his popularity decline considerably and he lost the support of most drama critics. In these difficult circumstances where most of his plays were dismissed as incoherent, Williams' almost legendary determination only increased. In the plays written between 1962 and 1983, the playwright opens the stage to the founding figures of his literay landscape, the androgyne and the artist, and pursues the (con)quest of his ideals. These two figures share a common desire to regain harmony ; their aim is also to bring about a revival on several levels (artistic, sexual, social, racial and even religious) and, finally, to put an end to an inherent, yet intolerable, feeling of loneliness. In so doing, the androgyne and the artist work for the realization of Williams' premier ambition : the meeting and union with the other. The plays under consideration are : The Milk train doesn't stop here anymore, Slapstick tragedy, In the bar of a Tokyo hotel, Kingdom of Earth, Small crafts warnings, The Two-character play, The Red devil battery sign, Vieux Carré, A lovely sunday for Creve coeur, Clothes for a summer hotel and Something cloudy, something clear
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Systermans, Valérie. "Les paradoxes de l'engagement chez Tennessee Williams : les pièces des années trente." Thesis, La Réunion, 2010. http://www.theses.fr/2010LARE0002.
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Cette thèse se propose d'appréhender le parcours du dramaturge américain Tennessee Williams en démontrant qu'il existe une authentique dimension engagée dans son œuvre. Ceci va à l'encontre de la critique traditionnelle qui tend à le dépeindre comme l'homme de la nostalgie et du rêve, le dramaturge apolitique du désir et des passions, en faisant abstraction du contexte idéologique. Or, Williams a commencé sa carrière dans les années trente comme écrivain protestataire en produisant de violentes pièces de dénonciation dans la tradition du théâtre de gauche. L'analyse de ces pièces écrites entre 1936 et 1938 – Candles to the Sun, Fugitive Kind, Spring Storm et Not About Nightingales – permet de rendre intelligible le parcours d'un dramaturge qui s'est toujours défini comme un révolutionnaire et revendique sa conscience sociale comme l'élément déterminant de son œuvre. Dans ces pièces, il intègre les stratégies formelles du théâtre de gauche comme le réalisme révolutionnaire ou l'esthétique du Front Populaire tout en créant des œuvres atypiques qui se distinguent de la production de l'époque. Préférant l'ambiguïté à des messages clairs ou didactiques, il inscrit ses premiers écrits sous le signe de la non clôture et joue avec les mécanismes identificatoires. Théâtre de l'émotionnel, son théâtre parait être à l'opposé de celui de Brecht. Pourtant son impact est souvent remarquablement similaire. C'est finalement en théorisant le phénomène des identifications fluctuantes que l'on peut comprendre la manière dont Williams s'approprie les fondements du théâtre de Brecht en en transposant les structures stéréoscopiques. Ceci nous conduit à redéfinir l'engagement au théâtreThe object of my thesis is to reconsider the critical studies on Tennessee Williams by focusing on the political dimension of his early work. This is done by analysing the protest plays he wrote in the 1930s: Candles to the Sun, Fugitive Kind, Spring Storm and Not about Nightingales. These seminal plays reveal a virtually unknown Tennessee Williams, committed to fighting social injustice. This discovery is all the more important as the dramatist is often portrayed as an apolitical writer and described as a poet of the flesh and a depictor of sexual instincts and conflicts. This approach challenges the conventional vision of Williams' literary ambitions by showing that he may have been more socially and even politically subversive than generally admitted. A careful reading of Williams’s plays written in the thirties reveals that he closely followed the developments of left-wing theatre both in the choice of his subjects and of dramaturgical forms such as revolutionary realism or the aesthetics of the Popular Front. Still, he created original plays that went far beyond rigid formulaes or predictable plots. Because they propose no clearcut message, and through their permeating ambiguity and the feelings of empathy they trigger, these plays radically differ from the other productions of the period. Williams’ theatre could be described as a theatre of emotions at the opposite of Brecht’s theatre of alienation. However its impact is often remarkably similar. This can be explained by the phenomenon of fluctuating identifications that is Williams’s way of absorbing Brecht’s stereoscopic structures. This leads us to redefine the very principles of commitment in the theatre
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Al-Namer, Abdul-Salam. "Writers in conflict : a comparative study of Tennessee Williams and Truman Capote." Thesis, Bangor University, 1994. https://research.bangor.ac.uk/portal/en/theses/writers-in-conflict--a-comparative-study-of-tennessee-williams-and-truman-capote(aed29f4b-efd0-4a4f-9091-f962a4ad41fc).html.
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Baier, Jochen. "Der "American dream" in den Dramen von Tennessee Williams : "The long delayed but always expected something /." Trier : Wissenschaftlicher verl. Trier, 2001. http://catalogue.bnf.fr/ark:/12148/cb38905453x.
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Plotkina, Maria. "The 30th Anniversary Tennessee Williams/New Orleans Literary Festival: An Internship Academic Report." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/aa_rpts/206.
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This report presents a reflection and analysis of my internship with the Tennessee Williams/New Orleans Literary Festival, where I completed 480 hours of work in pursuit of the M.A. in Arts Administration. I worked primarily with Tracy Ferrington Cunningham, Director of Communications & Special Events, in preparing and organizing the 2016 Festival, which represented the organization’s 30th anniversary. In this report, I will deliver an organizational overview of the Festival, describe my internship duties and responsibilities, analyze the strengths and weaknesses of the organization, and provide best practices and recommendations in festival management.
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Mokhtari, Farida. "Les femmes et la problématique du genre dans la fiction de Tennessee Williams." Paris 8, 2000. http://www.theses.fr/2000PA081826.
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@Ma thèse tente d'opérer sur deux fronts (au moins) originaux. Le premier est celui de la fiction williamsienne qui a été marginalisée injustement par les critiques et le public; et le deuxième - le plus important - est celui de la problématique du genre chez Williams. . .
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Vernerie, Marie-Hélène. "Les structures du désir dans l'oeuvre de Tennessee Williams : nouvelles, poésies, théâtre, 1945-1960." Dijon, 2006. http://www.theses.fr/2006DIJOL018.
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Araújo, João Doía de. "A tragédia moderna e a dialética da eticidade: o antagonismo dramático entre blanche dubois e Stanley Kowalski em um bonde chamado desejo." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9311.
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The research developed in this study intends to analyze, in the light of the theory of social drama, the dramatic actions of the characters Blanche Dubois and Stanley Kowalski in Tennessee Williams’ play A Streetcar Named Desire (translated into Portuguese as Um Bonde Chamado Desejo). In the analysis of that dramatic text, we use, as a theoretical basis for this study, basic concepts related to the dramatic genre, taking as a starting point the fundamentals of Aristotelian tragedy, as well as the contributions of the analytical theory of modern drama formulated by authors such as Hegel, John Howard Lawson, Raymond Williams and Sandra Luna. The contributions of these theorists led us to discern conflictive events in the development of the plot, conflicts mainly engendered by the actions of the main characters: Blanche DuBois and Stanley Kowalski. The antagonism represented by these opponents reveals a dialectical interplay between each character’s ethos and their deeds and words. From the conflicts they experience in the plot, the dramatic actions become tragic, in the sense formulated by Raymond Williams who defines social drama as “modern tragedy”. This study does not intend to make an exhaustive investigation about the play, but to contribute to the debate on the proposal made in this research, opening further discussions regarding the dramatic action in the play.
A pesquisa bibliográfica desenvolvida neste estudo pretende analisar, à luz da teoria do drama social, as evoluções dos conflitos entre as ações das personagens Blanche DuBois e Stanley Kowalski na peça A Streetcar Named Desire (traduzida para o Português como Um bonde chamado Desejo) do escritor Tennessee Williams. Na análise do texto dramático, utilizaremos como fundamentação teórica, conceitos relacionados ao gênero dramático, tomando como ponto de partida os fundamentos aristotélicos da tragédia, bem como as contribuições analíticas da teoria do drama moderno formulados por autores como Hegel, John Howard Lawson, Raymond Williams e Sandra Luna. As contribuições desses teóricos nos conduziram a análises sobre os eventos conflituosos na evolução da trama. Conflitos esses engendrados pelas personagens principais: Blanche DuBois e Stanley Kowalski. O antagonismo representado desses oponentes revela uma dialética ação recíproca entre o ethos das personagens, de suas intenções e palavras. A partir dos conflitos e das experiências representadas na trama, as ações dramáticas das personagens tornam-se trágicas, de acordo com Raymond Williams, que define o drama social como “tragédia moderna”. Este estudo não pretende esgotar o tema investigado, mas, contribuir para a reflexão sobre a proposta realizada e abrir possibilidades de discussões posteriores com relação à ação dramática da peça.
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Tam, Wing-han, and 譚詠嫺. "Caught in a labyrinth: the notion of vulnerability in selected works of Tennessee Williams." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45007561.
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Maruéjouls-Koch, Sophie. "Le "Théâtre plastique" de Tennessee Williams : du "langage de la vision" à "l'écriture organique." Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0331/document.
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Tennessee Williams utilise pour la première fois l’expression « théâtre plastique » en 1944, dans un essai où il évoque les limites du langage verbal. Ce qu’il recherche, c’est un langage « des sons, des couleurs et des mouvements », un au-delà des mots censé redonner vie à un théâtre réaliste jugé moribond. Il se fixe ainsi pour objectif de retranscrire sur la page la totalité de l’expérience théâtrale. Créateur d’images, le dramaturge se compare fréquemment à un peintre et puise dans l’art pictural les éléments de son nouveau langage. Gauguin, Van Gogh, De Chirico, Hofmann ou encore Pollock font partie de la longue liste d’artistes qui lui ont permis d’échapper à la pétrification dans un mimétisme réaliste associé à l’image photographique. Cités dans ses essais ou dans ses pièces, ils orientent son théâtre vers l’abstraction à laquelle le dramaturge aspire. Or, l’influence des images sur le « théâtre plastique » ne se limite pas seulement à la peinture, la fascination de Williams pour le cinéma a également contribué à façonner son écriture, élargissant encore davantage l’alphabet de son langage théâtral. L’image apparaît en ce sens comme un agent libérateur du langage, un au-delà des mots dans lequel se profile un « je » en marge de la représentation comme système culturellement prédéterminé et prédéterminant. L’écriture de Williams désire l’image. De là vient sa puissance subversive. Le processus créateur tout entier se fonde sur l’entrelacement des logiques sémiotiques propres au langage et à l’image, faisant de l’un l’envers de l’autre, sa moitié indispensable. Le rapport de complémentarité qui unit l’image au langage dans toute l’œuvre de Williams met à jour l’originalité d’une écriture animée par un désir d’image, écriture vivante du théâtreWhen Tennessee Williams coined the phrase “plastic theater” in 1944, he described it as a language of “sounds, colors and movements,” a language freed from the limitations of words. His aim was to breathe new life into what he called “the exhausted theater of realistic conventions.” His ability to put the totality of theatrical experience into words manifests itself in the scripts of his plays. Williams is a creator of pictures, a playwright in the true sense of the word who found in painting and cinema the images he needed to elaborate his new language for the stage and move away from a “photographic likeness” he rejected because it was associated with realism. Gauguin, Van Gogh, De Chirico, Hofmann or Pollock are but a few of the many painters mentioned in his plays or essays who provided him with the means to enrich his vocabulary for the stage and lead his “plastic theater” toward “something more abstract.” But cinema also influenced him, giving him the opportunity to explore new possibilities and create a space between words and images where the elusive truth could be revealed. Images thus helped liberate Williams from the literary traditions as well as from the cultural codes that had defined and confined his writing from the very beginning. The writer who felt “wrapped up in literary style like the bandages of a mummy” found in images the subversive power he needed to express his true self and breathe life into words that he had always wanted to be “more than words.” From “the language of vision” to “organic writing,” Williams’s “plastic theater” evinces a desire for images
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Pontes, Newton de Castro. "Formas inacabadas: a questão da romancização em textos de Clarice Lispector e Tennessee Williams." Universidade Estadual da Paraíba, 2010. http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/1767.
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This paper considers the feasibility of applying the concepts of unfinished forms and romancization (proposed by Mikhail Bakhtin) to two literary forms (the modern short story and [modern] drama in one act), as well to verify the usefulness of the concept to the analysis of works of modern authors that are framed in these forms - in our case, the short stories, Onde estivestes de noite and Seco estudo de cavalos , by Clarice Lispector, and the oneact plays Talk to me like the rain and let me listen and The lady of larkspur lotion by Tennessee Williams. We tried thus problematizing the theories about the short story most used by the critical fortune (especially those by Poe, Cortázar and Piglia), arguing their applicability in a modern short story, while we verified the particular structure of the one-act play, considering its development within the dramatic genre and its relationship with the short story. Finally, we intend to establish the contribution of Clarice Lispector and Tennessee Williams in the questioning of traditional forms of short story and drama.
Este trabalho busca considerar a viabilidade da aplicação das noções de formas inacabadas e romancização (propostas por Mikhail Bakhtin) a duas formas literárias (o conto literário moderno e o drama [moderno] em um ato), assim como de verificar a utilidade do conceito à análise de obras de autores modernos que estejam enquadradas nestas formas no nosso caso, os contos Onde estivestes de noite e Seco estudo de cavalos , de Clarice Lispector, e as peças em um ato Fala comigo doce como a chuva [ Talk to me like the rain and let me listen ] e A dama de Bergamota [ The lady of larkspur lotion ], de Tennessee Williams. Tentamos, assim, problematizar as teorias do conto mais aceitas pela fortuna crítica (em especial as de Poe, Cortázar e Piglia), argüindo sua aplicabilidade na forma moderna do conto, ao mesmo tempo em que verificamos as particularidades estruturais do drama em um ato, considerando seu desenvolvimento no seio do gênero dramático e suas relações com a narrativa curta. Por fim, é nossa intenção estabelecer a contribuição de Clarice Lispector e de Tennessee Williams no questionamento das formas tradicionais do conto e do drama.
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Lazzaris, Fabiane. "Expressionistic aspects in some works by Tenessee Williams and by other american authors." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/23312.
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A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema.The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.
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Homan, Elizabeth A. "Cultural contexts and the American classical canon : contemporary approaches to performing Tennessee William's A Streetcar Named Desire /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9842537.
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Williams, Tennessee, and Katherine Weiss. "Sweet Bird of Youth (Student Editions)." Digital Commons @ East Tennessee State University, 2014. https://www.amzn.com/B00MUJDKFQ.
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Sweet Bird of Youth is Tennessee William's atmospheric play of 1959 about Chance Wayne, the one-time heart-throb of his hometown who returns hoping to break into the movies and find the girl he loved in his youth. Accompanied by faded movie star, Alexandra Del Lago, grieving in a haze of drugs and alcohol for her lost youth, he discovers that time is shortly to catch-up with him and wreak a terrible retribution for his past actions. In its exploration of corruption, ageing and the effects of time, the play offers a magnificent study of the dark side of the American dreams of youth and fame.This Student Edition provides an extensive introduction and notes by Katherine Weiss. The introduction includes a chronology of Williams' life and times, a summary of the plot, commentary on the characters, themes, language and context, and a production history of the play. Together with questions for further study and notes on words and phrases from the text, this is the essential edition of the play for students of literature and drama.https://dc.etsu.edu/etsu_books/1184/thumbnail.jpg
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Zúñiga, Hertz María del Pilar. "The glass menagerie and A streetcar named desire : Tennessee Williams and the confluence of experiences." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115664.
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Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura InglesaOur seminar, ‘The city and the urban subject in British and American Literature’, revolved around the problem of cities and urban subjects, considering the relations they have with the metropolis and the way in which the constant flux of cities affects them. The consolidation of the cities created a space for new subjects, and new genres. But there is one element of these cities that caught my attention, and this is a shared element with the countryside, and a reminiscent idea of the early human communities. This is the house.
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Gilbert, Chelsea Nicole. "The Unkindness of Strangers: Exploring Success and Isolation in the Dramatic Works of Tennessee Williams." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3225.
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This thesis aims to explore the theme of isolation in the dramatic works of Tennessee Williams using his essay “The Catastrophe of Success” as the base theory text. The essay attacks the American idea of success though an in-depth examination of the “Cinderella myth” that Williams claims is so prevalent in both Hollywood and American Democracy. Williams’ deconstruction of this myth reveals that America’s love for stories like it results the isolation of three groups: homosexuals, women and the physically disabled and terminally ill. Williams passes no judgment on his characters, instead showing their lives as they truly are. Through The Glass Menagerie (1945), A Streetcar Named Desire (1947), Orpheus Descending (1957) and Vieux Carre (1977), Williams gives readers and audiences a glimpse into the lives of isolated individuals, and the struggles each group faces.
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Andersson, Falk Erik. "Occupying a cage: : The construction of femininity in Tennessee Williams’ Cat on a Hot Tin Roof." Thesis, Högskolan Dalarna, Engelska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-21309.
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Martins, Rafael. "Nobody knows you when you´re down and out: a encenação de Alguns Blues do Tennessee pelo Grupo TAPA no Teatro de Arena Eugênio Kusnet." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-17042018-142235/.
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A proposta desse trabalho é a análise da encenação do espetáculo Alguns blues do Tennessee, dentro do projeto TAPA no Arena: uma ponte na História no ano de 2013 no Teatro de Arena, vencedor do Edital de Ocupação do Teatro de Arena Eugenio Kusnet. Trata-se da encenação de três peças em um ato, O quarto escuro, Verão no Lago e A dama da loção antipiolho, do dramaturgo estadunidense Tennessee Williams. O espetáculo é o resultado do trabalho iniciado no ano de 2009 com a direção de Eduardo Tolentino e Brian Penido Ross, tendo no elenco Conrado Sardinha, Isabella Lemos, Kadi Moreno e Rita Giovanna. A apresentação foi desenvolvida em sala de ensaios pelos atores do Grupo TAPA num processo que contou o estudo sistematizado da dramaturgia da obra de Williams. Recebeu a tradução de um lote de 26 peças curtas e 6 peças longas do autor, tendo como resultado, além da produção do espetáculo, na publicação, pela editora É Realizações, dos livros Mister Paradise e outras peças em um ato (WILLIAMS, 2011), 27 carros de algodão e outras peças em um ato (WILLIAMS, 2012), O zoológico de vidro; De repente no último verão; Doce pássaro da juventude (WILLIAMS, 2014) e Gata em telhado de zinco quente; A descida de Orfeu; A noite do iguana (WILLIAMS, 2016).The purpose of this work is the analysis of the performance staging of the play \"Some blues by1 Tennessee\" within Tapa no Arena project: a bridge in history in 2013 at Arena Theater, winner of the Edict of Occupation of the Arena Theater Eugenio Kusnet. It\'s the staging of three one act plays: \"The Dark Room\", \"Summer on the Lake\" and \"The lady of the Larkspur Lotion\" of the American playwright Tennessee Williams. The performance is the result of a work that began in 2009 with Eduardo Tolentino and Brian Penido Ross as directors and Conrado Sardinha, Isabella Lemos, Kadi Moreno and Rita Giovanna in the cast. This work has been developed in a rehearsal room by the Tapa Group actors during a process which included the systematic study of the dramaturgy work of Williams and the translation of a batch of 26 one-act plays and 6 long plays of the author. Besides the production of the show, it also resulted the publication of the books: \"Mister Paradise e outras peças em um ato\" (Williams, 2011), \"27 carros de algodão e outras peças em um ato\" (Williams, 2012), \"O zoológico de vidro; De repente no último verão; Doce pássaro da juventude (Williams, 2014) and \"Gata em telhado de zinco quente; A descida de Orfeu; A noite do iguana (Williams, 2016) by \"É Realizações\" publisher.
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Johnson, Sarah Elizabeth. "The influence of Japanese traditional performing arts on Tennessee Williams's late plays." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4656.
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Perkins, Bethany. ""In a roundabout way" evasive, oblique and indirect discourse in Allen Tate, Tennessee Williams and Lewis Nordan /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1494Perkins/umi-uncg-1494.pdf.
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Thesis (Ph.D.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Mar. 3, 2008). Directed by Scott Romine; submitted to the Dept. of English. Includes bibliographical references (p. 203-214).
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Cheung, Wai Lam. "The Jaded Garden:a cross-cultural comparison of nostalgic female characters by Pai Hsien-yung and Tennessee Williams." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/341.
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This study consist of a comparative analysis of the nostalgic female characters in Pai Hsien-yung's two short stories: "Wandering in a Garden, Waking from a Dream," and "A Celestial in Mundane Exile," and Tennessee Williams's two plays: The Glass Menagerie and A Streetcar Named Desire. Beginning with a brief discussion of the
socio-historical background of Pai's Republican China and Williams's American South, a general analysis of previous scholarship on Pai and Williams's works follows. The analysis of the selected works focuses on the stylistic and symbolic features in Pai and Williams's characterizations, such as Pai's use of stream-of-consciousness, reference to the k'un opera Peony Pavilion, elaboration over descriptive details of the setting, symbolic use of clothing and accessories, and Williams's symbolic use of music genres: "Blues Piano" and the "Varsouviana Polka," and his use of rhythm and other poetic elements in his characters' speech, in the style of "personal lyricism."
My study is based on a close-reading analysis of the selected works by Pai and Williams. Their humanistic approach to their respective declining aristocratic cultures and their sympathy for the nostalgic female characters' tragedies will be more apparent when the study focuses mostly on the texts themselves. Their similar belief in the universal values, such as compassion, sacrifice, and courage, has made their works comparable. In the discussion of themes, the idea of the humanistic role of literature articulated by William Faulkner in his Nobel Prize Speech is also used to connect Pai and Williams's sympathetic approach to their characters.
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Flores, Fúlvio Torres. "Da Depressão às raízes do macartismo: representação de questões sócio-históricas em American blues, de Tennessee Williams." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-15052013-093207/.
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A proposta desta tese é analisar a representação de questões sócio-históricas em American blues, de Tennessee Williams, coletânea de cinco peças curtas escritas durante as décadas de 1930 e 1940 e reunidas para publicação em 1948. Cada uma delas é de vital importância para a compreensão da sociedade norte-americana desse período. Considerando que o blues expressa o pathos e as condições de vida da classe trabalhadora e dos excluídos das relações de produção, afirma-se que as peças Moony´s kid don´t cry, The dark room e The long stay cut short, or The unsatisfactory supper figuram os efeitos causados sobre essa larga camada da população nos anos da Depressão Econômica. The case of the crushed petunias a lyrical fantasy parodia o impacto da sufocante ideologia do American way of life sobre a classe média e o desinteresse dessa pelos principais acontecimentos durante a II Guerra Mundial. Por fim, Ten blocks on the Camino Real a fantasy alegoriza a sociedade capitalista do pós-guerra e o nascedouro da era macartista. Por meio de um sucinto levantamento das peças escritas por Tennessee Williams até a publicação da coletânea é possível extrair elementos que permitem evidenciar a constituição e organicidade de American blues.The purpose of this thesis is to analyze the representation of socio-historical issues in American blues, by Tennessee Williams, a collection of five short plays written during the 1930s and 1940s and grouped for publication in 1948. Each one is vitally important to the understanding of the American society of that period. Taking into consideration that the blues express the pathos and the living conditions of the working class and those excluded from the relations of production, we assert that the plays Moony\'s kid don´t cry, The dark room and The long stay cut short, or The unsatisfactory supper represent the effects of the Great Depression on this broad population group. The case of the crushed petunias a lyrical fantasy parodies the impact of the American way of life ideology on the middle class as well as this class´s indifference concerning the major events of World War II. Finally, Ten Blocks on the Camino Real a fantasy allegorizes postwar capitalist society and the roots of the McCarthy era. Through a brief survey of the plays written by Tennessee Williams until the publication of the collection it is possible to draw elements that evidence the constitution and organicity of American blues.