Kirjahaku

This is a book-length study of the collaboration between Tennessee Williams and Elia Kazan. Their intense creative relationship, fuelled by a deep personal affinity that endured until Williams's death, lasted from 1947 until 1960. The production of A Streetcar Named Desire established Williams as America's greatest playwright and Kazan as its most important director; together they created some of the most influential theatrical events of the post-war era. In this book Brenda Murphy analyses this artistic partnership and the plays and theatrical techniques the artists developed collaboratively in their productions of A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, and Sweet Bird of Youth. In addition, Murphy suggests alternative ways to examine the working relationship between playwright and director which can be applied to other practitioners in twentieth-century drama. The book contains numerous illustrations from important productions.

The importance of Native American realism is traced through a study of the evolution of dramatic theory from the early 1890s through World War I and the uniquely American innovations in realistic drama between world wars.

The Provincetown Players was a major cultural institution in Greenwich Village from 1916 to 1922, when American Modernism was conceived and developed. This study considers the group's vital role, and its wider significance in twentieth-century American culture. Describing the varied and often contentious response to modernity among the Players, Murphy reveals the central contribution of the group of poets around Alfred Kreymborg's Others magazine, including William Carlos Williams, Wallace Stevens, Mina Loy and Djuna Barnes, and such modernist artists as Marguerite and William Zorach, Charles Demuth and Bror Nordfeldt, to the Players' developing modernist aesthetics. The impact of their modernist art and ideas on such central Provincetown figures as Eugene O'Neill, Susan Glaspell, and Edna St Vincent Millay and a second generation of artists, such as e. e. cummings and Edmund Wilson, who wrote plays for the Provincetown Playhouse, is evident in Murphy's close analysis of over thirty plays.

The importance of Native American realism is traced through a study of the evolution of dramatic theory from the early 1890s through World War I and the uniquely American innovations in realistic drama between world wars.

This is the first book-length study of the collaboration between Tennessee Williams and Elia Kazan. Their intense creative relationship, fuelLed by a deep personal affinity that endured until Williams’s death, lasted from 1947 until 1960. The production of A Streetcar Named Desire established Williams as America’s greatest playwright and Kazan as its most important director; together they created some of the most influential theatrical events of the post-War era. In this book Brenda Murphy analyses this artistic partnership and the plays and theatrical techniques the artists developed collaboratively in their productions of A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, and Sweet Bird of Youth. In addition, Murphy suggests new ways to examine the working relationship between playwright and director which can be applied to other practitioners in twentieth-century drama. The book contains numerous illustrations from important productions.

This is the first book to provide a critical history of one of American theatre’s most famous plays, Death of a Salesman. Brenda Murphy offers a detailed account of the most significant Salesman productions throughout the world, on the stage as well as in film, radio, and television. The Death of a Salesman that was first realised on stage was the culmination of the creative collaboration among playwright Arthur Miller, director Elia Kazan, and actor Lee J. Cobb, and was the starting point for hundreds of productions in many languages and styles. The play has also provided a number of memorable interpretations by actors such as Dustin Hoffman, George C. Scott, Frederic March, and Mel Gibson. The volume includes a production chronology, bibliography, discography, videography, and photographs from key productions.

Congressional Theatre is the first book to identify and examine the significant body of plays, films, and teleplays that responded to the actions of the House Committee on Un-American Activities during the ‘show business hearings’ it held between 1947 and 1960. Brenda Murphy discusses the dramatization in the works of HUAC’s effects on American life and the political, social, and moral issues that its actions raised for American citizens. Among the writers discussed are Arthur Miller, Bertolt Brecht, Lillian Hellman, Maxwell Anderson, Elia Kazan, Barrie Stavis, Herman Wouk, Eric Bentley, Saul Levitt, Budd Schulberg, Carl Foreman, Abraham Polonsky, and Walter Bernstein.

This is the first full production history of Long Day's Journey Into Night, by Eugene O’Neill, one of the most influential plays of the twentieth century. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. Brenda Murphy examines the unique circumstances that led to the posthumous world premiere in Stockholm, in a Swedish translation. Murphy also explores the subsequent first production in English, on Broadway, which established a standard for future directors and actors. The book conveys the unique interpretations of the Tyrone family by such actors as Fredric March, Jason Robards, Laurence Olivier, Ralph Richardson, Katharine Hepburn, Colleen Dewhurst, Ruby Dee, Kevin Spacey, Jack Lemmon, and Alan Bates, among other distinguished theatre artists. An extensive production chronology provides details about nearly 100 productions throughout the world. This illustrated history also includes an extensive bibliography, discography and videography.

This is the first full production history of Long Day's Journey Into Night, by Eugene O’Neill, one of the most influential plays of the twentieth century. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. Brenda Murphy examines the unique circumstances that led to the posthumous world premiere in Stockholm, in a Swedish translation. Murphy also explores the subsequent first production in English, on Broadway, which established a standard for future directors and actors. The book conveys the unique interpretations of the Tyrone family by such actors as Fredric March, Jason Robards, Laurence Olivier, Ralph Richardson, Katharine Hepburn, Colleen Dewhurst, Ruby Dee, Kevin Spacey, Jack Lemmon, and Alan Bates, among other distinguished theatre artists. An extensive production chronology provides details about nearly 100 productions throughout the world. This illustrated history also includes an extensive bibliography, discography and videography.

The Provincetown Players was a major cultural institution in Greenwich Village from 1916 to 1922, when American Modernism was conceived and developed. This study considers the group's vital role, and its wider significance in twentieth-century American culture. Describing the varied and often contentious response to modernity among the Players, Murphy reveals the central contribution of the group of poets around Alfred Kreymborg's Others magazine, including William Carlos Williams, Wallace Stevens, Mina Loy and Djuna Barnes, and such modernist artists as Marguerite and William Zorach, Charles Demuth and Bror Nordfeldt, to the Players' developing modernist aesthetics. The impact of their modernist art and ideas on such central Provincetown figures as Eugene O'Neill, Susan Glaspell, and Edna St Vincent Millay and a second generation of artists, such as e. e. cummings and Edmund Wilson, who wrote plays for the Provincetown Playhouse, is evident in Murphy's close analysis of over thirty plays.

Congressional Theatre is the first book to identify and examine the significant body of plays, films, and teleplays that responded to the actions of the House Committee on Un-American Activities during the ‘show business hearings’ it held between 1947 and 1960. Brenda Murphy discusses the dramatization in the works of HUAC’s effects on American life and the political, social, and moral issues that its actions raised for American citizens. Among the writers discussed are Arthur Miller, Bertolt Brecht, Lillian Hellman, Maxwell Anderson, Elia Kazan, Barrie Stavis, Herman Wouk, Eric Bentley, Saul Levitt, Budd Schulberg, Carl Foreman, Abraham Polonsky, and Walter Bernstein.

At the heart of After the Voyage is an American immigrant family making its way forward on a road that is sometimes rocky and steep. From different counties in Ireland, Maggie Qualter and Richard Terrett both sail to America as young adults in 1870 after surviving Ireland's Great Hunger as children. Maggie works as a maid for a wealthy family. Richard finds work in a tannery. After the death of the young wife he loves passionately, Richard marries Maggie with the help of a deceptive go-between who brews trouble in their marriage that never goes away. They raise three children in the midst of Irish American culture, the Catholic Church, and Richard's battles for the workingman in the Knights of Labor. Their daughter Mary dreams of being a nun, while Josie seeks the freedom of big-city life in Boston. Neither reckons on the future she will face, Mary as a wife and mother of nine children and Josie as a single working woman. Son Tom escapes factory life by joining the Navy, manages to see the world in the midst of two wars, and comes home to marry his sweetheart and start a new life. Their stories are both remarkable and familiar to everyone whose ancestors made their way to and in America.The events in the Terretts' lives are as they emerge from the public record. But their inner lives, their thoughts, their relationships, their words are imagined as a route to understanding these five complicated and fascinating people.

For the twenty years of her acting career, Carlotta Monterey was counted among the most beautiful women in America. Beginning life in 1888 as Hazel Tharsing, the daughter of a California fruit farmer, she grew up determined to matter in the world. At seventeen, she left Oakland to study acting in London. She married a British aristocrat and divorced him three years later to go back on the stage. After a liaison with a wealthy banker and marriages to the twenty-year-old son of her mother's lover in San Francisco and to a famous artist in New York, she married America's greatest playwright, Eugene O'Neill, a stormy union that endured until his death. In each part of her life, Hazel reinvented herself to pursue a new ambition. Intensely shy, she learned to meet the world in the character of the actress Carlotta Monterey, by far her greatest acting role. Becoming Carlotta is a biographical novel, an imagined narrative built on a base of facts with the goal of understanding Hazel Tharsing and what it meant for her to live her fascinating life as Carlotta Monterey. Along the way, it takes us to the cities and the back country of the Old West, to Edwardian London and an English country-house life reminiscent of Downton Abbey's, to the Broadway theater in its golden age and the tough reality of the actor's life on the road, and to bohemian Greenwich Village and Manhattan's arty Smart Set in the 1920s. Through it all, Carlotta is an outsized presence, inventing endless new faces to meet the challenges that life throws her way and turning from every defeat and disillusionment to look ahead with newfound energy and determination.

When Light Breaks Through takes us beyond the witch trials to tell a riveting, expansive story of what happened in Salem Village. In 1692, twelve-year-old Ann Putnam becomes notorious as a ringleader of the "afflicted children" whose accusations of witchcraft against the people of Massachusetts and Maine lead to twenty executions and untold misery. Five years later, Joseph Green, a young schoolteacher who is in love and eager to marry, takes on the ministry of Salem Village that no one else wants and sets about mending the bitter discord in the church and the village that the witch trials have intensified. As Joseph marries Elizabeth and they enter the life of the village, he gradually earns the respect and trust of his congregation, eventually taking some dramatic actions that move the people to confront their future together as a community. Nine years after Joseph's arrival, Ann asks his help, seeking forgiveness and the chance to become part of the community that has shunned her since the devastating effects of her actions during the witch trials. Together, they delve into the darkness of her past, uncovering startling truths about her family and her childhood motivations. Standing before the neighbors whose loved ones she has sent to jail or to their deaths, she makes an appeal that could finally unite the people in forgiveness. The compelling narrative takes us from what begin as adolescent games invented by Ann's friend Abigail Williams, the other ringleader in the witch trials, to the intense, often shocking drama of the trials themselves, and to the small farming village in 17th-century Massachusetts where Joseph Green pursues his quest to unite a bitterly divided people.When Light Breaks Through is a fact-based historical novel. Its characters are based on real people. Its account of the witch trials and the public events surrounding them is grounded in public documents and historical research.

When Light Breaks Through takes us beyond the witch trials to tell a riveting, expansive story of what happened in Salem Village. In 1692, twelve-year-old Ann Putnam becomes notorious as a ringleader of the "afflicted children" whose accusations of witchcraft against the people of Massachusetts and Maine lead to twenty executions and untold misery. Five years later, Joseph Green, a young schoolteacher who is in love and eager to marry, takes on the ministry of Salem Village that no one else wants and sets about mending the bitter discord in the church and the village that the witch trials have intensified. As Joseph marries Elizabeth and they enter the life of the village, he gradually earns the respect and trust of his congregation, eventually taking some dramatic actions that move the people to confront their future together as a community. Nine years after Joseph's arrival, Ann asks his help, seeking forgiveness and the chance to become part of the community that has shunned her since the devastating effects of her actions during the witch trials. Together, they delve into the darkness of her past, uncovering startling truths about her family and her childhood motivations. Standing before the neighbors whose loved ones she has sent to jail or to their deaths, she makes an appeal that could finally unite the people in forgiveness. The compelling narrative takes us from what begin as adolescent games invented by Ann's friend Abigail Williams, the other ringleader in the witch trials, to the intense, often shocking drama of the trials themselves, and to the small farming village in 17th-century Massachusetts where Joseph pursues his quest to unite a bitterly divided people.When Light Breaks Through is a fact-based historical novel. Its characters are based on real people. Its account of the witch trials and the public events surrounding them is grounded in public documents and historical research.

Everyone has a past, and sometimes letting go isn't easy. But do things from your past weigh you down? Do you carry a heavy burden, chained to former things and just don't know how to let go so you can move forward Brenda Murphy explores the realities of this subject, complete with a biblical approach and practical ways to finally release yourself from all that keeps you from living to the full purpose of God in your life. And at the end, the author challenges you with tough questions and space to record your answers. Take the journey of Forgetting Former Things and experience The Power of Letting Go. You'll be glad you did.

Perfect for students of English Literature, Theatre Studies and American Studies at college and university, The Theatre of Tennessee Williams provides a lucid and stimulating analysis of Willams' dramatic work by one of America's leading scholars. With the centennial of his birth celebrated amid a flurry of conferences devoted to his work in 2011, and his plays a central part of any literature and drama curriculum and uibiquitous in theatre repertoires, he remains a giant of twentieth century literature and drama.In Brenda Murphy's major open access study of his work she examines his life and career and provides an analysis of more than a score of his key plays, including in-depth studies of major works such as A Streetcar Named Desire, The Glass Menagerie, Cat on a Hot Tin Roof and others. She traces the artist figure who features in many of Williams' plays to broaden the discussion beyond the normal reference points.As with other volumes in Methuen Drama's Critical Companions series, this book features too essays by Bruce McConachie, John S. Bak, Felicia Hardison Londré and Annette Saddik, offering perspectives on different aspects of Williams' work that will assist students in their own critical thinking.The ebook editions of this book are available open access under a CC-BY-NC-ND 3.0 licence on bloomsburycollections.com. Open access was funded by Knowledge Unlatched.

While Guinness is a global product, it still contains references to Ireland and it occupies a particular place in imaginings of Irishness. Brewing Identities is unique in that, while it focuses on the (re)production of a specific kind of ethno-national identity– Irishness – it is simultaneously transnational in scope, as the author maps the trails of products, people and symbolic constructs through a globalised world. In pubs from Dublin to London to New York, the reader is taken on a multi-sited ethnography, where stories unfold through observation, interview, and conversation with fellow patrons and pub personnel, while drawing from an ample sampling of discursive and interactional sources from which the author derives her own interpretations and conclusions. Additionally, the book follows the trail of the political economy of Guinness. Brewing Identities produces an engaging and well-grounded mode of inquiry informed not only by multiple sources but by the interdisciplinary field of cultural studies, one that is particularly sensitive and responsive to both the convergences and discontinuities of diverse conditioning factors at work in the generally nebulous and complex sphere of identity production.

While Guinness is a global product, it still contains references to Ireland and it occupies a particular place in imaginings of Irishness. Brewing Identities is unique in that, while it focuses on the (re)production of a specific kind of ethno-national identity– Irishness – it is simultaneously transnational in scope, as the author maps the trails of products, people and symbolic constructs through a globalised world. In pubs from Dublin to London to New York, the reader is taken on a multi-sited ethnography, where stories unfold through observation, interview, and conversation with fellow patrons and pub personnel, while drawing from an ample sampling of discursive and interactional sources from which the author derives her own interpretations and conclusions. Additionally, the book follows the trail of the political economy of Guinness. Brewing Identities produces an engaging and well-grounded mode of inquiry informed not only by multiple sources but by the interdisciplinary field of cultural studies, one that is particularly sensitive and responsive to both the convergences and discontinuities of diverse conditioning factors at work in the generally nebulous and complex sphere of identity production.