Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ:  êíèãó âîøëè äâå ïüåñû: Òðàìâàé Æåëàíèå (1947) - òðàãè÷åñêàÿ èñòîðèÿ ðàçîðèâøåéñÿ àðèñòîêðàòêè, çà êîòîðóþ àâòîð áûë óäîñòîåí Ïóëèòöåðîâñêîé ïðåìèè (1955), è Ñòåêëÿííûé çâåðèíåö (1944) - îò÷àñòè àâòîáèîãðàôè÷åñêàÿ ïüåñà, ïðèíåñøàÿ àâòîðó ïåðâûé ãðîìêèé óñïåõ

Àííîòàöèÿ: Writing in 1959, at about the time when Elia Kazan directed Sweet Bird of Youth on Broadway, Tennessee Williams desribed his first successful play as being 'about as violent as you can get on the stage. During the nineteen years since then i have only produced five plays that are not violent'. First among these he placed The Glass Menagerie, the 'memory' play which was first presented in London in 1948 and in which he employed every device of scenery, lighting, and music to evoke nostalgia. The following year, however, he scored one of his biggest successes with A Streetcar Named Desire, in which a woman's pathetic fantasies of primness and respectability are stripped down and violantly exposed in New Orleans.

Àííîòàöèÿ: Tennessee Williams was born in 1911 in Columbus, Mississippi, where his grandfather was the episcopal clergyman. When his father, a travelling salesman, moved with his family to St Louis some years later, both he and his sister found it impossible to settle down to city life. He entered college during the Depression and left after a couple of years to take a clerical job in a shoe company. He stayed there for two years, spending the evening writing. He entered the University of Iowa in 1938 and completed his course, at the same time holding a large number of part-time jobs of great diversity. He received a Rockefeller Fellowship in 1940 for his play Battle of Angels, and he won the Pulitzer Prize in 1948 and 1955. Among his many other plays Penguin have published Summer and Smoke (1948), The Rose Tattoo (1951), Camino Real (1953), Cat on a Hot Tin Roof (1955), Baby Doll (1957), Orpheus Descending (1957), Something Unspoken (1958), Suddenly Last Summer (1958), Period of Adjustment (1960), The Night of the Iguana (1961), The Milk Train Doesn't Stop Here Anymore (1963), and Small Craft Warnings (1972). Tennessee Williams died in 1983.

Àííîòàöèÿ: The Rose Tatoo was first produced on Broadway in 1951, Camino Real in 1953 and Orpheus Descending in 1957. Taking up where Bernard Shaw and others had left off, Tennessee Williams exploited, in such plays as these, the full visual, aural and emotional possibilities of the theatre. Each of these plays demonstrates certain of his concerns and achievements as a playwright: his urge to create drama outside of time, which destroys life and makes us small with its 'whirling wire-cage of business activity', and yet to recognize the hold of time over the audience; his drive to extend the visual range of the stage by lighting and transparent walls; his composer's gift for orchestration, blending human dialogue and the noises of the town into one score; and finally (above all in Camino Real), his perfection of a freedom and mobility in poetic expression as the vehicle for a work of art that is, before all else, dynamic and organic.

Àííîòàöèÿ: The film of Baby Doll was produced and directed by Elia Kazan in 1956 from the screen-play contained in this volume - the original one written by Tennessee Williams. The Daily Telegraph called it 'a work of art - an absorbing study in frustration and poverty and racial intolerance', and The Times: 'That rare thing, a film script which makes easy and vivid reading'. John Osborne said of it: 'Williams has hit off the American Girl-Woman of the last hundred years... Make no mistake about it - this Baby Doll kid is a killer'. Something Unspoken and Suddenly Last Summer were staged together under the title Garden District in 1958. The former is a humorous little vignette of the social manoeuvres of a wealthy Southern spinster. The letter, which was later scripted and filmed, is an intense and moving study of madness, of a man's escape from a mother-fixation, and of the revenge planned by the mother for the girl who liberated him and witnessed the final drama of his death.

Àííîòàöèÿ: No play in the modern theatre has so captured the imagination and heart of the American public as Tennessee Williams's The Glass Menagerie. Menagerie was Williams's first popular success and launched the brilliant, if somewhat controversial, career of our pre-eminent lyric playwright. Since its premiere in Chicago in 1944, with the legendary Laurette Taylor in the role of Amanda, the play has been the bravura piece for great actresses from Jessica Tandy to Joanne Woodward, and is studied and performed in classrooms and theatres around the world. The Glass Menagerie (in the reading text the author preferred) is now available only in its New Directions Paperbook edition. A new introduction by prominent Williams scholar Robert Bray, editor of The Tennessee Williams Annual Review, reappraises the play more than half a century after it won the New York Drama Critics Circle Award: "More than fifty years after telling his story of a family whose lives form a triangle of quiet desperation, Williams's mellifluous voice still resonates deeply and universally." This edition of The Glass Menagerie also includes Williams's essay on the impact of sudden fame on a struggling writer, "The Catastrophe of Success," as well as a short section of Williams's own "Production Notes." The cover features the classic line drawing by Alvin Lustig, originally done for the 1949 New Directions edition.

Àííîòàöèÿ: The Rose Tatoo was first produced on Broadway in 1951, Camino Real in 1953 and Orpheus Descending in 1957. Taking up where Bernard Shaw and others had left off, Tennessee Williams exploited, in such plays as these, the full visual, aural and emotional possibilities of the theatre. Each of these plays demonstrates certain of his concerns and achievements as a playwright: his urge to create drama outside of time, which destroys life and makes us small with its 'whirling wire-cage of business activity', and yet to recognize the hold of time over the audience; his drive to extend the visual range of the stage by lighting and transparent walls; his composer's gift for orchestration, blending human dialogue and the noises of the town into one score; and finally (above all in Camino Real), his perfection of a freedom and mobility in poetic expression as the vehicle for a work of art that is, before all else, dynamic and organic.