A House Not Meant to Stand by Tennessee Williams

By Tennessee Williams

Christmas 1982: Cornelius and Bella McCorkle of Pascagoula, Mississippi, go back domestic one hour of darkness in a thunderstorm from the Memphis funeral in their older son to a home and a existence actually falling apart--daughter Joanie is in an insane asylum and their more youthful son Charlie is upstairs having intercourse along with his pregnant, holy-roller female friend because the McCorkles input. Cornelius, who has political pursuits and a litany of illnesses, is attempting to discover a large number of moonshine cash his light spouse Bella has hidden someplace of their collapsing apartment, yet his noisy efforts are disrupted by means of a movement of outstanding characters, either residing and dead.

While Williams frequently used drama to show wish and desperation in human hearts, it was once via this darkish, expressionistic comedy, which he referred to as a "Southern gothic spook sonata," that he used to be top in a position to chronicle his imaginative and prescient of the delicate nation of our global.

Show description

Read or Download A House Not Meant to Stand PDF

Similar drama books

The Tragedy of Coriolanus (The Complete Shakespeare Translated by Liang Shiqiu, Book 26) (Bilingual Edition)

It's a Bilingual variation of chinese language and English.

中国广播电视出版社从台湾远东图书公司引进版权,出版了梁实秋翻译的《莎士比亚全集》中英文对照版,这是梁译本《莎士比亚全集》以中英文对照的形式首次在内地出版发行。梁译本的最大特点为:白话散文式的风格;直译,忠实于原文;全译,决不删略原文。除此之外,梁译本还有独到之处:一是加了注释。莎翁作品原文常有版本的困难,晦涩难解之处很多,各种双关语、熟语、俚语、典故也多,猥亵语也不少,梁实秋不但直译,而且加了大量注释,帮助读者理解原文。二是每剧前都加了序言。序言中对该剧的版本、著作年代、故事来源、舞台历史、该剧的意义及批评意见等均有论述。

The Cambridge Companion to American Women Playwrights (Cambridge Companions to Literature)

This quantity addresses the paintings of ladies playwrights during the background of the yank theater, from the early pioneers to modern feminists. every one bankruptcy introduces the reader to the paintings of 1 or extra playwrights, overlaying major writers comparable to Rachel Crothers, Susan Glaspell, Lillian Hellman, Sophie Treadwell, Lorraine Hansberry, Alice Childress, Megan Terry, Ntozake Shange, Adrienne Kennedy, Wendy Wasserstein, Marsha Norman, Beth Henley and Maria Irene Fornes, within the context of themes similar to early comedy and melodrama, feminism and realism, the Harlem Renaissance and feminism.

Tennessee Williams and the theatre of excess : the strange, the crazed, the queer

The performs of Tennessee Williams' post-1961 interval have frequently been misunderstood and brushed off. In gentle of Williams' centennial in 2011, which used to be marked across the world via productions and global premieres of his overdue performs, Annette J. Saddik's new interpreting of those works illuminates them within the context of what she phrases a 'theatre of excess', which seeks liberation via exaggeration, chaos, ambiguity, and laughter.

Extra info for A House Not Meant to Stand

Example text

In his autobiography, Entrances, Schneider tells of his frustration with Lahr's constant desire, in his own words, to be "top banana": Bert soon discovered that what I called "Ping-Pong games" between Estragon and Vladimir were very much like vaudeville routines, and began to have a little fun . . Every two minutes, Bert would smile and say, "It's all opening up, kid. " Or ask me to cut the Lucky speech because no one understood it. And, anyhow, the audience was coming to see him and not the guy playing Lucky, wasn't it?

Any action, any line, any gesture, can be interpreted two different ways: as a performance, or as a "real" event in the characters' fictional lives. 19 Like Alvin Epstein, Klaus Herm is especially good at communicating the idea that Lucky was once a clever man. He appears crazed, but one senses him constantly thinking; it's as if his nervous tension were a physical impairment that diverts perfectly rational thoughts away from their proper outlet. When he begins the speech, his voice is slow and clear as in a lecture, but he soon becomes emotionally involved and gestures wildly; at this point, however, unlike in most other Godots, Didi and Gogo edge closer to him, and he grows more humanly animated, not more machine-like.

Beckett's critics seem to have satisfied themselves with answers to these questions much more often than his actors and directors. The simultaneous authenticity and histrionism in Beckett's theater has been used by numerous commentators, for example, as a ground for associating Beckett with Bertolt Brecht — as typified by this statement of Enoch Brater's: "in a fundamental sense Beckett parallels Brecht's dramatic technique: the actor in his theater is as consistently 'alienated' from the role he is playing as he is meant to be in Brecht's repertory.

Download PDF sample

Rated 4.05 of 5 – based on 39 votes