A Streetcar Named Desire shows a turbulent confrontation between traditional values in the American South - an old-world graciousness and beauty running decoratively to seed - set against the rough-edged, aggressive materialism of the new world. Through the vividly characterised figures of Southern belle Blanche Dubois, seeking refuge from physical ugliness in decayed gentility, and her brutal brother-in-law Stanley Kowalski, Tennessee Williams dramatises his sense of the South's past as still active and often destructive in modern America. This revised edition features a new production history of the play that considers both stage and screen presentations, an updated bibliography and extensive notes on the language of the play. Commentary and notes by Patricia Hern and Michael Hooper.
tennessee williams s a streetcar named desire
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A guide to reading "The Glass Menagerie" and "A Streetcar Named Desire" with a critical and appreciative mind encouraging analysis of plot, style, form, and structure. Also includes background on the author's life and times, sample tests, term paper suggestions, and a reading list.
Seminar paper from the year 2009 in the subject English - Literature, Works, grade: 1,7, RWTH Aachen University (Institut fur Anglistik I), course: Hauptseminar "American Drama," language: English, abstract: Tennessee Williams, born Thomas Lanier Williams, is not only known for being a "talented, perceptive and influential American playwright" (Day 1987, vii), but also for his frequent use of symbols. "A Streetcar Named Desire" (1947), the work which will be dealt with in this paper, is a good example for of usage, since it contains a lot of different kinds of symbolism, for example concerning colours, names, music and many more. Numerous works will be found, if anyone searches for essays about symbolism in Williams' works. Moreover, it is common knowledge that Streetcar is a play which deals not only superficially with a woman going insane, but a play which "bring s] into violent contrast a neurotic woman's dream world and the animalistic realism of her brother-in-law" (back of the book in the Diesterweg edition). But since there does not seem to be any work which deals with the question of how exactly Williams drew this contrast by use of symbolism, it will be my aim in this paper to analyse this question. Consequently, I will try to point out the main symbols with which Williams underlined the contrast between realism and illusion, especially considering names, colours, clothes, light, music and certain rituals of the main characters. In the second part of this paper, I will deal with the question to what degree the main characters Stanley and Blanche are strictly opposed to each other or may have something in common. I will also deal with the meaning of the ending concerning realism and illusion. Therefore, what will be discussed are the most striking antinomies and similes in the main characters' attitudes. A general conclusion about the topic of symbolism in Tennessee Williams' Streetcar will be given in the end. To introduce the reader to the topic an"
A continuous history of the play, Streetcar named desire in production from 1947 to 1998, with emphasis on the Broadway premiere.
Presents a collection of ten critical essays on Williams's play "A Streetcar Named Desire" arranged in chronological order of publication.
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, Ruhr-University of Bochum, language: English, abstract: 1. Introduction For this term paper I analyse scene nine of Tennessee William's play A Streetcar Named Desire. The episodic drama was written in 1947 and is set in New Orleans. It is divided into eleven different scenes. The main characters of the play are Blanche DuBois, her sister Stella and her husband Stanley Kowalski. In a supporting part appears Mitch. Blanche is a thirty year old woman from Mississippi. At the beginning of the play she comes to visit her younger sister Stella in New Orleans, because she does not know where else to go. All of her family are dead except Stella. Blanche is helpless and seeks protection, because she has lost her home “Belle Reve”, her inheritance and her employment. Stella and Stan are living in a small apartment in the French Quarter of New Orleans called “Elysian Fields”. Blanche has to take the streetcars called “Desire” and “Cemeteries”. Here the strong symbolism of Williams' writing can already be seen clearly. The names of the streetcars foreshadow the course of the play and its outcome and in general show Blanche's journey in the play, from longing and desire to destruction.
Presents a collection of essays on the play that analyze its characters, major themes, and critical history.
A Streetcar Named Desire (1947) and Cat on a Hot Tin Roof (1955) are major plays by Tennessee Williams, one of America's most significant dramatists. They both received landmark productions and are widely-studied and performed around the world. The plays have also inspired popular screen adaptations and have generated a body of important and lasting scholarship. In this indispensable Reader's Guide, Thomas P. Adler: • charts the development of the criticism surrounding both works, from the mid-twentieth century through to the present day • provides a readable assessment of the key debates and issues • examines a range of theoretical approaches from biographical and New Criticism to feminist and queer theory. In so doing, Adler helps us to appreciate why these plays continue to fascinate readers, theatregoers and directors alike.
Seminar paper from the year 1999 in the subject American Studies - Literature, grade: very good, University of Paderborn (American Studies), course: Proseminar: New Orleans in Literature, 11 entries in the bibliography, language: English, abstract: This paper will compare and contrast the written form of Tennessee Williams' play $6WUHHWFDU1DPHG'HVLUH1 with the 1951 movie version.2 It will explain and discuss the major differences between the two, focusing on the issue of censorship as it was an important factor in the development of the play from its Broadway form into a film. As this paper will show this was due to the fact that during the 1940s and 50s the world of theater in America was much more permissive than that of film. This paper will also examine Williams' concept of a 'plastic theater', an innovative approach by him which utilized music, sound effects, movement and lighting to express abstract themes. His idea of a 'plastic theater', was closer to the world of film than to the traditional form of the stage and is evident in $6WUHHWFDU1DPHG'HVLUH. It influenced the adaptation of the play to the big screen. [...]
Set in St. Louis during the Depression of the 1930s, this work is a personal account of the author's family and its gradual disintegration as it succumbed to external and internal pressures.