Tennessee Williams' plays are performed around the world, and are staples of the standard American repertory. His famous portrayals of women engage feminist critics, and as America's leading gay playwright from the repressive postwar period, through Stonewall, to the growth of gay liberation, he represents an important and controversial figure for queer theorists. Gross and his contributors have included all of his plays, a chronology, introduction and bibliography.
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Battle of Angels; Glass Menagerie; Streetcar Named Desire.
THE STORY: The action takes place in Glorious Hill, Mississippi, shortly before the First World War. Alma Winemiller, a sensitive and lonely young woman, has become increasingly restive and disturbed by the fear that she will remain a spinster. Hem
A chronological arrangement of the noted American playwright's complete stories, published and unpublished, provides a veiled look at his life and concerns
From the master twentieth-century playwright Tennessee Williams-an adaptation of Chekhov'sThe Sea Gull, never before available to the general trade.The Notebook of Trigorin is faithful to Chekhov's story of longing and unrequited love. Set on a provincial Russian Estate, its peaceful environs offer stark contrast to the turbulent lives of its characters. Constantine, a young writer, must compete for the attention of his mother, a self-obsessed, often comical aging actress, Madame Arkadina, and his romantic ideal, Nina. His rival for both women is Trigorin, an established author bound to Arkadina by her patronage of his work, and attracted to Nina by her beauty. Trigorin cannot keep himself from consuming everything of value in Constantine's life. Only in the final scenes do all discover that the price for love and fragility can be horribly high. But if the words inThe Notebook of Trigorin are essentially Chekhov's, the voice belongs firmly to Tennessee Williams. The dialogue resonates with echoes of the themes Williams developed as his signatures-compassion for the artistic soul and its vulnerability in the face of the world's "successfully practiced duplicity" (Act I).
THE STORY: As New York Newsday describes: Its two central characters are the Princess, an aging motion picture actress in flight from her latest screen disaster, and Chance Wayne, a young hustler whom she has picked up. Taking advantage of
THE STORY: As described by New York critic Clive Barnes: Superficially the play is about the painter--famous, rich and lost--and his wife, who find themselves in a Tokyo hotel. The wife, wildly promiscuous, tries to seduce the Japanese barman in the
Development theory and practice are often taught in a manner that strips them of their historical context and obscures alternative intellectual assumptions and critical frameworks. This prevents students from acquiring a holistic understanding of the world and consequently, when it comes to development practice, most lack the skills to live and engage with people. It has become crucial to properly consider what it means to conceive and implement participatory development out in the field and not just in the boardroom. Building on the work of Robert Chambers and Arturo Escobar, Communicating Development with Communities is an empirically grounded critical reflection on how the development industry defines, imagines and constructs development at the implementation level. Unpacking the dominant syntax in the theory and practice of development, the book advocates a move towards relational and indigenous models of living that celebrate local ontologies, spirituality, economies of solidarity and community-ness. It investigates how subaltern voices are produced and appropriated, and how well-meaning experts can easily become oppressors. The book propounds a pedagogy of listening as a pathway that offers a space for interest groups to collaboratively curate meaningful development with and alongside communities. This is a valuable resource for academics and practitioners in the fields of Development Studies, Communication for Development, Communication for Social Change, Social Anthropology, Economic Development and Public Policy. Foreword by Robin Mansell.
With the chick flick arguably in decline, film scholars may well ask: what has become of the woman’s film? Little attention has been paid to the proliferation of films, often from the independent sector, that do not sit comfortably in either the category of popular culture or that of high art––films that are perhaps the corollary of the middle-brow novel, or "smart-chick flicks". This book seeks to fill this void by focusing on the steady stream of films about and for women that emerge out of independent American and European cinema, and that are designed to address an international female audience. The new woman's film as a genre includes narratives with strong ties to the woman’s film of classical Hollywood while constituting a new distinctive cycle of female-centered films that in many ways continue the project of second-wave feminism, albeit in a modified form. Topics addressed include: The Bridges of Madison County (Clint Eastwood, 1995); the feature-length films of Nicole Holofcener, 1996-2013; the film roles of Tilda Swinton; Rachel Getting Married (Jonathan Demme, 2008); Blue Jasmine (Woody Allen, 2013); Frances Ha (Noah Baumbach, 2012), Belle (Amma Asante, 2013), Fifty Shades of Grey (Sam Taylor-Johnson, 2015) and Jane Campion’s Top of the Lake (Sundance Channel, 2013-).
Script Analysis for Theatre: Tools for Interpretation, Collaboration and Production provides theatre students and emerging theatre artists with the tools, skills and a shared language to analyze play scripts, communicate about them, and collaborate with others on stage productions. Based largely on concepts derived from Stanislavski's system of acting and method acting, the book focuses on action - what characters do to each other in specific circumstances, times, and places - as the engine of every play. From this foundation, readers will learn to distinguish the big picture of a script, dissect and 'score' smaller units and moment-to-moment action, and create individualized blueprints from which to collaborate on shaping the action in production from their perspectives as actors, directors, and designers. Script Analysis for Theatre offers a practical approach to script analysis for theatre production and is grounded in case studies of a range of the most studied plays, including Sophocles' Oedipus the King, Shakespeare's Twelfth Night, Henrik Ibsen's Hedda Gabler, Georg Büchner's Woyzeck, Oscar Wilde's The Importance of Being Earnest, Tennessee Williams's A Streetcar Named Desire, and Paula Vogel's How I Learned to Drive, among others. Readers will develop the real-life skills professional theatre artists use to design, rehearse, and produce plays.