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Author: Michael Grawe Publisher: diplom.de ISBN: 3832432191 Category : Literary Collections Languages : en Pages : 30
Book Description
Inhaltsangabe:Abstract: This paper will compare and contrast the written form of Tennessee Williams' play A Streetcar Named Desire with the 1951 movie version. 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 A Streetcar Named Desire. It influenced the adaptation of the play to the big screen. The play A Streetcar Named Desire opened at the Ethel Barrymore Theater, New York City, on December 3, 1947. Following The Glass Menagerie it was only the second of Williams' plays to be performed on Broadway. Despite his relatively short history on the New York stage Streetcar was a great success, running for 855 performances. It also became the first play to win all three major awards: the Pulitzer Prize, the New York Drama Critics' Circle Award, and the Donaldson Award. Film makers were for two years uninterested in turning the play into a motion picture despite its overwhelming popularity. This was because A Streetcar Named Desire did not fit the standard Hollywood model for movies in the 1940s which was one of clean, wholesome family entertainment. Only William Wyler, one of Hollywood's most commercially successful directors at that time, was interested. He thought that it had the potential for box-office success, given both its popularity and its critical recognition. However, later he abandoned the project because of the censorship requirements. In 1951, the film A Streetcar Named Desire was released, directed by Elia Kazan. It had grown directly out of the New York stage production, which he had also directed. Tennessee Williams wrote the screenplay for the film together with Kazan, remaining close to the original text. Virtually the entire cast was retained for the movie, including leads Marlon Brando (as Stanley Kowalski), Kim Hunter (Stella Kowalski), and Karl Malden (Harold Mitchell or Mitch). However, as Blanche DuBois, Jessica Tandy [...]
Author: Michael Grawe Publisher: diplom.de ISBN: 3832432191 Category : Literary Collections Languages : en Pages : 30
Book Description
Inhaltsangabe:Abstract: This paper will compare and contrast the written form of Tennessee Williams' play A Streetcar Named Desire with the 1951 movie version. 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 A Streetcar Named Desire. It influenced the adaptation of the play to the big screen. The play A Streetcar Named Desire opened at the Ethel Barrymore Theater, New York City, on December 3, 1947. Following The Glass Menagerie it was only the second of Williams' plays to be performed on Broadway. Despite his relatively short history on the New York stage Streetcar was a great success, running for 855 performances. It also became the first play to win all three major awards: the Pulitzer Prize, the New York Drama Critics' Circle Award, and the Donaldson Award. Film makers were for two years uninterested in turning the play into a motion picture despite its overwhelming popularity. This was because A Streetcar Named Desire did not fit the standard Hollywood model for movies in the 1940s which was one of clean, wholesome family entertainment. Only William Wyler, one of Hollywood's most commercially successful directors at that time, was interested. He thought that it had the potential for box-office success, given both its popularity and its critical recognition. However, later he abandoned the project because of the censorship requirements. In 1951, the film A Streetcar Named Desire was released, directed by Elia Kazan. It had grown directly out of the New York stage production, which he had also directed. Tennessee Williams wrote the screenplay for the film together with Kazan, remaining close to the original text. Virtually the entire cast was retained for the movie, including leads Marlon Brando (as Stanley Kowalski), Kim Hunter (Stella Kowalski), and Karl Malden (Harold Mitchell or Mitch). However, as Blanche DuBois, Jessica Tandy [...]
Author: Valerie Hurst Publisher: GRIN Verlag ISBN: 3640537939 Category : Languages : en Pages : 25
Book Description
Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 1,8, University of Tubingen (Englisches Seminar), course: Introduction to Literary Studies, language: English, abstract: "'The marvelous performances in [this] great movie [...] [are] only slightly marred by [a] Hollywood ending.' Tennessee Williams" (cf. Yacowar). Tennessee Williams' play "A Streetcar Named Desire" from 1947 was often staged and interpreted. It was also the base of Elia Kazan's famous and remarkable movie from 1951. Since a book allows for interpretation, the movie features a different realization. This paper will contrast the written form with the film version. To illustrate the different realizations there will be a closer look at the two special and important scenes, ten and eleven, which are exemplarily for the differences in the general conversion. The decision for exactly these scenes is founded in the striking differences in conversion and adaptation and by reason of plenty of content rapidly beat down in these scenes. Due to many influences, the film departs in places completely from Williams' original. These influences and differences will be described in the following first part. Particular attention will then be paid to the music and noises, and the moods and emotions caused by these. And, due to being close linked to the adaptation of the whole movie, the effects of censorship will be explained. The impact is to work out in which ways the movie is adapted to the play and where it distinguishes from it.
Author: Harold Bloom Publisher: Infobase Publishing ISBN: 143812628X Category : New Orleans (La.) Languages : en Pages : 189
Book Description
Presents a collection of ten critical essays on Williams's play "A Streetcar Named Desire" arranged in chronological order of publication.
Author: Elia Kazan Publisher: Vintage ISBN: 0307277046 Category : Performing Arts Languages : en Pages : 370
Book Description
Elia Kazan was the twentieth century’s most celebrated director of both stage and screen, and this monumental, revelatory book shows us the master at work. Kazan’s list of Broadway and Hollywood successes—A Streetcar Named Desire, Death of a Salesman, On the Waterfront, to name a few—is a testament to his profound impact on the art of directing. This remarkable book, drawn from his notebooks, letters, interviews, and autobiography, reveals Kazan’s method: how he uncovered the “spine,” or core, of each script; how he analyzed each piece in terms of his own experience; and how he determined the specifics of his production. And in the final section, “The Pleasures of Directing”—written during Kazan’s final years—he becomes a wise old pro offering advice and insight for budding artists, writers, actors, and directors.
Author: Henriette Plienow Publisher: GRIN Verlag ISBN: 3640340051 Category : Literary Criticism Languages : en Pages : 19
Book Description
Seminar paper from the year 2008 in the subject English Language and Literature Studies - Literature, grade: 2.0, Johannes Gutenberg University Mainz, course: Proseminar Tennessee Williams, language: English, abstract: This paper compares Tennessee Williams's text with Elia Kazan's movie version from 1951 as well as with the so-called 'restored version' from 1993 which contains additional scenes that had been removed by the censors in the 1951 version. It examines the differences between text and film, considering changes which were made for merely artistic respectively medium-typical reasons, as well as changes which were made due to censorship, and it analyses which effects those changes had.
Author: Sam Staggs Publisher: Macmillan ISBN: 1466830484 Category : Performing Arts Languages : en Pages : 497
Book Description
Exhaustively researched and almost flirtatiously opinionated, When Blanche Met Brando is everything a fan needs to know about the ground-breaking New York and London stage productions of Williams' "Streetcar" as well as the classic Brando/Leigh film. Sam Staggs' interviews with all the living cast members of each production will enhance what's known about the play and movie, and help make this book satisfying as both a pop culture read and as a deeper piece of thinking about a well-known story. Readers will come away from this book delighted with the juicy behind-the-scenes stories about cast, director, playwright and the various productions and will also renew their curiosity about the connection between the role of Blanche and Viven Leigh's insatiable sexual appetite and later descent into breakdown. They may also-for the first time-question whether the character of Blanche was actually "mad" or whether her anxiousness was symptomatic of another disorder. "A Streetcar Named Desire" is one of the most haunting and most-studied modern plays. Staggs' new book will fascinate fans and richen newcomers' understanding of its importance in American theater and movie history.
Author: Martin Harris Publisher: D&B Publishing ISBN: 191286200X Category : Games & Activities Languages : en Pages : 706
Book Description
Introduced shortly after the United States declared its independence, poker’s growth and development has paralleled that of America itself. As a gambling game with mass appeal, poker has been played by presidents and peasants, at kitchen tables and final tables, for matchsticks and millions. First came the hands, then came the stories – some true, some pure bluffs, and many in between. In Poker & Pop Culture: Telling the Story of America’s Favorite Card Game, Martin Harris shares these stories while chronicling poker’s progress from 19th-century steamboats and saloons to 21st-century virtual tables online, including: Poker on the Mississippi Poker in the Movies Poker in the Old West Poker on the Newsstand Poker in the Civil War Poker in Literature Poker on the Bookshelf Poker in Music Poker in the White House Poker on Television Poker During Wartime Poker on the Computer From Mark Twain to “Dogs Playing Poker” to W.C. Fields to John Wayne to A Streetcar Named Desire to the Cold War to Kenny Rogers to ESPN to Star Trek: The Next Generation and beyond, Poker & Pop Culture provides a comprehensive survey of cultural productions in which poker is of thematic importance, showing how the game’s portrayal in the mainstream has increased poker’s relevance to American history and shaped the way we think about the game and its significance.
Author: S. E. Gontarski Publisher: Anthem Press ISBN: 1785276883 Category : Drama Languages : en Pages : 132
Book Description
Tennessee Williams, T-shirt Modernism and the Refashionings of Theater reappraises the received wisdom that Williams’s work fell into decline in the late 1960 as the Naturalism he was associated with, not always through his own choice, was replaced by European theatrical experimentalism and as culture saw a lifting of sexual restrictions. It suggests, instead, that Williams was always experimental, always more Chekhov than Ibsen, a lyrical playwright inflected with the poetry of Harte Crane, and that his late plays are as central to Williams’s reshaping of American theater as those works of the immediate post–World War II era that brought him fame and fortune. Its general aim, then, is to engage the perception that “Tennessee Williams is the greatest unknown playwright America has produced” (David Savran, City University of New York). In many respects the work of Tennessee Williams, after a protracted period of neglect, is primed for reappraisal , reinterpretations and, subsequently, re-stagings. This work is part of that process, academically at very least, but performatively as well as academic reinterest often regenerates theatrical reinterest.
Author: Sam Staggs Publisher: Macmillan + ORM ISBN: 1466830433 Category : Performing Arts Languages : en Pages : 505
Book Description
To millions of fans, All About Eve represents all that's witty and wonderful in classic Hollywood movies. Its old-fashioned, larger-than-life stars--including Bette Davis, Marilyn Monroe, Anne Baxter, George Sanders, and Celeste Holm--found their best roles in Eve and its sophisticated dialogue has entered the lexicon. But there's much more to know about All About Eve. Sam Staggs has written the definitive account of the making of this fascinating movie and its enormous influence on both film and popular culture. Staggs reveals everything about the movie--from who the famous European actress Margo Channing was based on to the hot-blooded romance on-set between Bette Davis and costar Gary Merrill, from the jump-start the movie gave Marilyn Monroe's career and the capstone it put on director Joseph L. Mankeiwicz's. All About "All About Eve" is not only full of rich detail about the movie, the director, and the stars, but also about the audience who loved it when it came out and adore it to this day.
Author: Michael Grawe
Author: Michael Grawe
Author: Valerie Hurst
Author: Harold Bloom
Author: Elia Kazan
Author: Henriette Plienow
Author: Sam Staggs
Author: Martin Harris
Author: Nicholas Grene
Author: S. E. Gontarski
Author: Sam Staggs