scholarly journals The Unfit Female Characters in two Tennessee Williams' Plays: A Streetcar Named Desire and The Glass Menagerie

1997 ◽  
Author(s):  
Angela Maria Rubel Fanini
Keyword(s):  
Tennessee Williams ◽  
Female Characters ◽  
Material Characteristics ◽  
Streetcar Named Desire ◽  
Social Praxis ◽  
Glass Menagerie ◽  
American Society ◽  
A Streetcar Named Desire ◽  
The Way ◽  
The Glass Menagerie

<p><span lang="EN-US">Two female characters were chosen to be analysed in this essay: Laura and Blanche from the plays The Glass Menagerie and A Streetcar Named Desire respectively written by Tennessee Williams (1911-83), an American playwright born in Columbus, Mississipi. There are many essays about these two plays but we decided to write ano ther one because we, like the author, feel sympathetic towards these two characters and writing about them is the way we found to trying to understand why their fate is so tragic and sad. We came to certain conclusions: the two women failed to succe ed because the personal features of their personality (tenderness, shyness, romanticism, restraint) contradict the objective and material characteristics of a society in which individualism, Social Darwnisim and competitiveness prevail. And although the two plays portray the American society in the late ‘30s and in the‘40s the author, through the characters’fall, criticizes our social "praxis" that was, and still is, based upon the lack of humanity and friendship.<strong></strong></span></p>

Tennessee Williams and Jo Mielziner: The Memory Plays

1982 ◽  
Vol 23 (2) ◽  
pp. 223-235
Author(s):  
Harry W. Smith
Keyword(s):  
Human Values ◽  
Tennessee Williams ◽  
American Drama ◽  
Streetcar Named Desire ◽  
Glass Menagerie ◽  
Definition Of ◽  
A Streetcar Named Desire ◽  
The Glass Menagerie

The conventional reliance upon “memory,” the lyric subtleties of both writing and scenery, and the ubiquitous mood of emotional despair characterize three early Tennessee Williams plays — The Glass Menagerie, A Streetcar Named Desire, and Summer and Smoke — and set them a part from the less “poetic” currents in the Williams canon. The plays are remarkably similar in organic configuration; their shape and texture reveal a theatrical form of considerable distinction. Although they gained articulate theatrical expression under three different directors, the scenery for all three was designed (in the “Broadway” productions) by Jo Mielziner, whose ideas have continued to influence subsequent productions. The unique fusion of the Williams-Mielziner artistry has given the American drama a consummate theatre aesthetic: a vision of dramatic life most subtle in its use of human values and most articulate in its visual definition of mood.

scholarly journals Bodies that Desire: The Melodramatic Construction of the Female Protagonists of The Glass Menagerie and A Streetcar Named Desire, by Tennessee Williams

Em Tese ◽  
2015 ◽  
Vol 21 (1) ◽  
pp. 130
Author(s):  
Xênia Amaral Matos
Keyword(s):  
Charles Dickens ◽  
Victor Hugo ◽  
Tennessee Williams ◽  
Female Protagonists ◽  
Streetcar Named Desire ◽  
Glass Menagerie ◽  
A Streetcar Named Desire ◽  
The Glass Menagerie

<p>O melodrama desenvolveu-se na França durante o século dezoito e é majoritariamente caracterizado por abordar relações amorosas e familiares através de uma abordagem emotiva. O melodrama influenciou diversos autores como Charles Dickens, Victor Hugo e Tennessee Williams. Tennessee Williams é um dramaturgo norte-americano famoso pela peça<em> A Streetcar Named Desire</em>. Suas peças exploram o emocionalismo, os conflitos amorosos, a decadência econômica e os problemas familiares. Este trabalho apresenta uma análise da construção melodramática das protagonistas femininas Amanda e Laura Wingfield (<em>The Glass Menagerie</em>) e Blanche DuBois (<em>A Streetcar Named Desire</em>). Discute também como o melodrama auxilia a construir o desfecho trágico dessas personagens.</p>

4. Salesmen, southerners, anger, and ennui

2016 ◽  
Author(s):  
Kirsten E. Shepherd-Barr
Keyword(s):  
Subject Matter ◽  
Tennessee Williams ◽  
Theatre Of The Absurd ◽  
Look Back ◽  
Streetcar Named Desire ◽  
Waiting For Godot ◽  
A Streetcar Named Desire ◽  
The Way ◽  
Death Of A Salesman

From 1940 to 1960 some of modern drama’s most famous plays were staged: Tennessee Williams’ A Streetcar Named Desire (1947) and Arthur Miller’s Death of a Salesman (1949), attaining a new kind of tragedy and a particularly American brand of realism; and, in London, Beckett’s Waiting for Godot (1955) and John Osborne’s Look Back in Anger (1956), introducing, respectively, the ‘theatre of the absurd’ and a new linguistic and emotional brutality, inaugurating an era of ‘kitchen sink’ realism. ‘Salesmen, southerners, anger, and ennui’ shows how these radically different dramas expanded plays’ subject matter as well as their formal and linguistic properties; in particular, they changed forever the way language (and silence) worked on stage.

scholarly journals Blue Mountain and Blue Roses: An Exploration of the Feminine Psyche in Tennessee Williams’ The Glass Menagerie

2021 ◽  
Vol 9 (1) ◽  
pp. 192-205
Author(s):  
Namitha V. S
Keyword(s):  
Identity Crisis ◽  
Role Expectations ◽  
Tennessee Williams ◽  
Traditional Role ◽  
Blue Mountain ◽  
The Feminine ◽  
Southern Belle ◽  
Close Study ◽  
Glass Menagerie ◽  
The Glass Menagerie

Tennessee Williams, the remarkably outstanding American dramatist of the 1920s, through his plays, presents a marked concern for the identity crisis a woman faces. He projects the crisis arising out of the conflict between a woman’s own aspirations and the traditional role expectations. The Glass Menagerie (1945) depicts the life of two women- Amanda Wingfield and her daughter Laura Wingfield. Amanda is the typical Southern belle that suffered a reversal of economic and social fortune, who withdraws from reality into fantasy. Her daughter Laura, the physically and emotionally crippled heroine of the play is a self-less character who does not speak as much of others. She is extra-ordinarily sensitive and delicate; and her cripple isolates herself into her own illusory world with her own glass menagerie. This paper is an attempt to close study the women protagonists in this play and to reveal that they are a combination of a particular personality type. Williams seems to be interested in the personal and psychological aspects of his women. This paper tries to analyse the psyche of these women and prove that they seem to be more complex and complicated than portrayed in the work.

The Mexican Premiere of Tennessee Williams's "A Streetcar Named Desire"

1994 ◽  
Vol 10 (2) ◽  
pp. 315-340 ◽  
Author(s):  
Philip C. Kolin
Keyword(s):  
Tennessee Williams ◽  
Streetcar Named Desire ◽  
A Streetcar Named Desire

En diciembre de 1948 y de mayo a agosto de 1949, la obra clásica de Tennessee Williams, Un Tranvía Llamado Deseo, se presentó por primera vez en México y con ella hizo historia, tanto en el teatro mexicano como en el estadounidense. La obra fue dirigida por Seki Sano, el director japonés a quien se le atribuye la transformación del teatro mexicano, y en ella actuaron Wolf Ruvinskis, quien después siguió una destacada carrera en el cine, y María Douglas. La joven compañía de Seki Sano recibió grandes alabanzas de los críticos mexicanos por introducir y representar de una manera muy bella uno de los dramas más importantes de los Estados Unidos.

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