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Author : Brenda Murphy
Publisher : Cambridge University Press
Page : 240 pages
File Size : 46,6 Mb
Release : 1992-02-28
Category : Drama
ISBN : 0521400953
This is a book-length study of the intense creative relationship between Tennessee Williams and Elia Kazan.
Author : Valerie Hurst
Publisher : GRIN Verlag
Page : 25 pages
File Size : 45,7 Mb
Release : 2010-02
Category : Electronic
ISBN : 9783640537938
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 : Dominique Sipière
Publisher : Unknown
Page : 255 pages
File Size : 44,9 Mb
Release : 2003
Category : Electronic
ISBN : 2842742559
A Streetcar Named Desire connut, dès sa première à Broadway, un succès prodigieux, au point qu'il faut s'interroger sur la nature de la réussite internationale de la pièce et de son pendant cinéma tographique. Sa nouveauté tenait - entre autres choses - dans le sentiment qu'avait le public d'être traité en adulte. Le soldat Kowalski et ses amis, la sexualité de Blanche et de sa sueur, l'univers du Vieux Carré, proche en apparence du néo-réalisme italien de la même période, sont ici le matériau d'une tragédie hors du temps et d'une ambition poétique puissante et originale qui voulait assumer pleinement la complexité humaine. Quand Kazan parle du cinéma, il pense aussi au théâtre : " Sitting out front or before your screen, you realize you're witnessing a real event, une more real than life, for in "life" there are the limits of civilization - the police, for instance. In art, there should be none. " Ici, l'art - sans limites - se veut plus vrai que la vie, car il peut montrer la vérité, dans sa complexité et ses excès.
Author : Henriette Plienow
Publisher : GRIN Verlag
Page : 19 pages
File Size : 45,8 Mb
Release : 2009-06-03
Category : Literary Criticism
ISBN : 9783640340057
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 : Gilles Menegaldo,Anne-Marie Paquet-Deyris
Publisher : Ellipses Marketing
Page : 287 pages
File Size : 52,7 Mb
Release : 2003
Category : Streetcar named Desire (Motion picture)
ISBN : 2729816097
Ce volume présente par sa structure tripartite - études de la pièce, du film et textes croisés - des approches volontairement très diverses de A Streetcar Named Desire, œuvre emblématique de Tennessee Williams devenue film mythique grâce à Elia Kazan, Marlon Brando et Vivien Leigh. Ces analyses ont pour but de resituer l'œuvre dans un contexte historique, littéraire et cinématographique aussi inclusif que possible, tout en proposant des lectures approfondies de ses modalités de fonctionnement et des dispositifs d'écho ou, au contraire, des phénomènes de divergence entre les deux formes d'art. En offrant un éclairage sur quelques aspects essentiels de la pièce et du film, les différents contributeurs ont tenté d'expliciter les parcours singuliers de deux auteurs qui partagent le même territoire.
Author : Claude Coulon
Publisher : Armand Colin
Page : 160 pages
File Size : 44,9 Mb
Release : 2003-11-01
Category : Social Science
ISBN : 9782200279929
The Glass Menagerie avait apporté à son auteur une gloire nationale, A Streetcar Named Desire lui donna une renommée universelle. Tennessee Williams devint alors, et pour une vingtaine d'années, le plus grand dramaturge américain vivant, peut-être le plus grand simplement. La présence de Streetcar au programme des concours doit susciter une relecture en profondeur de cette pièce et en favoriser une réévaluation. Car cette oeuvre est une merveille de précision dont aucun élément n'apparaît comme gratuit ou superflu. Elle illustre aussi parfaitement l'univers de son créateur et, dès son entrée en scène, Blanche DuBois a partout conquis l'attention et le coeur du public qui a reconnu en elle l'incarnation tragique du Vieux Sud emporté par le vent, et l'héritière contemporaine des héroïnes raciniennes. Vivien Leigh, dans le film de Kazan, contribua à la rendre inoubliable. Tennessee Williams qui, aux États-Unis, a désormais sa place parmi les classiques, reste en France un glorieux inconnu. Puisse ce livre contribuer à le faire aimer. Claude COULON est maître de conférences à l'université Paris IV-Sorbonne. Président du RADAC (Recherches sur les Arts Dramatiques Anglophones Contemporains), membre du bureau de la Société d'histoire du théâtre, il a traduit et mis en scène des pièces du répertoire américain (dont Tennessee Williams) en France. Cet ouvrage est le fruit de la collaboration entre les éditions Armand Colin, et le Centre National d'Enseignement à Distance, établissement public d'enseignement qui dispense des formations de tous niveaux à plus de 350 000 inscrits répartis dans le monde entier. Cette contribution scientifique d'enseignants chercheurs de l'Université française s'intègre dans les préparations assurées par le CNED aux CAPES et aux agrégations d'anglais qui comprennent aussi des conseils méthodologiques et des entraînements aux épreuves des concours avec correction personnalisée. Les très riches heures du théâtre américain. De Tom à Tennessee. Les structures de Streetcar. Les personnages. Art et technique. Tragique et tragédie. De la scène à l'écran.
Author : Harold Bloom,Sterling Professor of Humanities Harold Bloom
Publisher : Infobase Publishing
Page : 189 pages
File Size : 53,5 Mb
Release : 2014-05-14
Category : New Orleans (La.)
ISBN : 9781438126289
Presents a collection of ten critical essays on Williams's play "A Streetcar Named Desire" arranged in chronological order of publication.
Author : Brian Neve
Publisher : Bloomsbury Publishing
Page : 265 pages
File Size : 52,7 Mb
Release : 2008-10-30
Category : Performing Arts
ISBN : 9780857712356
In 1999, Elia Kazan (1909-2003) received an honorary Oscar for lifetime achievement; it was a controversial award, for in 1952 he had given testimony to the HUAC Committee, for which he was ostracized by many. That Oscar also acknowledged Kazan's remarkable contribution to American and world cinema, making such films as 'On the Waterfront' and 'A Streetcar Named Desire'. Kazan's life in the cinema is due a reassessment, one that is presented expertly and gracefully by Brian Neve in this book, drawing on previously neglected and some hitherto untapped sources. Focussing in particular on the producer-director's post-'On the Waterfront', New York based independent work, and on his key artistic collaborations, including those with Tennessee Williams, John Steinbeck and Budd Schulberg, Neve gives a fascinating reassessment of Kazan's famed technique with such actors as Marlon Brando and James Dean, and his lifetime concern to provoke and photograph 'authentic' behaviour. He reveals a pattern, through the films, of personally resonant themes, relating for example to ethnicity and the American immigrant myth. He reviews Kazan's style, from the colour and wide screen of 'East of Eden' to the creative use of location in his Amercian South films, including 'Baby Doll'. He debates the reception of Kazan's work and the controversy - which dogged his career - of his 1952 Congressional testimony. These elements and more make this a very readable and memorable, fresh portrayal of the film career of this ever fascinating director. 'Working with an impressively wide variety of archival material, including Kazan's personal papers and notebooks, Brian Neve here offers a solidly researched, insightful, and historically grounded portrait of Elia Kazan, his working methods, his 19 feature films from 'A Tree Grows in Brooklyn' (1945) to 'The Last Tycoon' (1976), and his place in the cinematic and social world of his age.' - Chuck Maland, Professor of Cinema Studies & American Studies, University of Tennessee
Author : Elia Kazan
Publisher : Knopf
Page : 1387 pages
File Size : 50,5 Mb
Release : 2011-10-16
Category : Performing Arts
ISBN : 9780307959348
ONE OF THE HOLLYWOOD REPORTER'S 100 GREATEST FILM BOOKS OF ALL TIME • In this amazing autobiography, Kazan at seventy-eight brings us the undiluted telling of his story—and revelation of himself—all the passion, vitality, and truth, the almost outrageous honesty, that have made him so formidable a stage director (A Streetcar Named Desire, Death of a Salesman, All My Sons, Cat on a Hot Tin Roof, Tea and Sympathy), film director (On the Waterfront, East of Eden, Gentleman’s Agreement, Splendor in the Grass, Baby Doll, The Last Tycoon, A Face in the Crowd), and novelist (the number-one best-seller The Arrangement.) “This is the best autobiography I’ve read by a prominent American in I don’t know how many years. It is endlessly absorbing and I believe this is because it concerns a man who is looking to find a coherent philosophy that will be tough enough to contain all that is ugly in his person and his experience, yet shall prove sufficiently compassionate to give honest judgment on himself and others. Somehow, the author brings this off. Elia Kazan: A Life has that candor of confession which is possible only when the deepest wounds have healed and honesty can achieve what honesty so rarely arrives at—a rich and hearty flavor. By such means, a famous director has written a book that offers the kind of human wealth we find in a major novel.” —Norman Mailer Kazan gives us his sense of himself as an outsider (a Greek rug merchant’s son born in Turkey, an immigrant’s son raised in New York and educated at Williams College). He takes us into the almost accidental sojourn at the Yale Drama School that triggered his commitment to theatre, and his edgy, exciting apprenticeship with the new and astonishing Group Theatre, as stagehand and stage manager—and as actor (Waiting for Lefty, Golden Boy) . . . his first nervous and then successful attempts at directing for theatre and movies (The Skin of Our Teeth, A Tree Grows in Brooklyn) . . . his return to New York to co-found the Actors Studio (and his long and ambivalent relationship with Lee Strasberg) . . . his emergence as premier director on both coasts. With his director’s eye for the telling scene, Kazan shares the joys and complications of production, his unique insights on acting, directing, and producing. He makes us feel the close presence of the actors, producers, and writers he’s worked with—James Dean, Marlon Brando, Tennessee Williams, Vivien Leigh, Tallulah Bankhead, Sam Spiegel, Darryl Zanuck, Harold Clurman, Arthur Miller, Budd Schulberg, James Baldwin, Clifford Odets, and John Steinbeck among them. He gives us a frank and affectionate portrait of Marilyn Monroe. He talks with startling candor about himself as husband and—in the years where he obsessively sought adventure outside marriage—as lover. For the first time, he discusses his Communist Party years and his wrenching decision in 1952 to be a cooperative witness before HUAC. He writes about his birth as a writer. The pace and organic drama of his narrative, his grasp of the life and politics of Broadway and Hollywood, the keenness with which he observes the men and women and worlds around him, and, above all, the honest with which he pursues and captures his own essence, make this one of the most fascinating autobiographies of our time.
Author : Elia Kazan
Publisher : Vintage
Page : 674 pages
File Size : 54,5 Mb
Release : 2016-03-08
Category : Biography & Autobiography
ISBN : 9781101911396
This fully annotated selection of Elia Kazan’s letters reveals all the passion, vitality, and raw honesty that made him such a towering figure in American theater and film. Kazan’s determination to be a “sincere, conscious, practicing artist” resounds through every phase of his career: his apprenticeship with the Group Theatre, his co-founding of the Actors Studio and co-direction of the Repertory Theater of Lincoln Center, and his innovative directing on Broadway (A Streetcar Named Desire and Death of a Salesman) and in Hollywood (On the Waterfront and East of Eden). Kazan collaborated with some of the greatest writers of the era, including Arthur Miller, Tennessee Williams, Thornton Wilder, and John Steinbeck. His letters to and about Marlon Brando, James Dean, Warren Beatty, Robert De Niro, and others are full of insights on acting and directing. We see his heated dealings with studio moguls, his principled resistance to censorship, the upheavals of testifying before the House Committee on Un-American Activities. We glimpse his inner life in his startlingly candid letters to his first wife and those to and about his children. The Selected Letters provides an extraordinary portrait of a complex, intense, monumentally talented man who engaged the political, moral, and artistic currents of the twentieth century.
Author : Michael Grawe
Publisher : GRIN Verlag
Page : 62 pages
File Size : 42,5 Mb
Release : 2008-08
Category : Electronic
ISBN : 9783640119561
Seminar paper from the year 1999 in the subject American Studies - Literature, grade: very good, University of Paderborn (American Studies), course: Proseminar: New Orleans in Literature, 11 entries in the bibliography, language: English, abstract: This paper will compare and contrast the written form of Tennessee Williams' play $6WUHHWFDU1DPHG'HVLUH1 with the 1951 movie version.2 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 $6WUHHWFDU1DPHG'HVLUH. It influenced the adaptation of the play to the big screen. [...]
Author : Elia Kazan
Publisher : Vintage
Page : 370 pages
File Size : 43,7 Mb
Release : 2010-01-12
Category : Performing Arts
ISBN : 9780307277046
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 : Elia Kazan
Publisher : Univ. Press of Mississippi
Page : 300 pages
File Size : 48,8 Mb
Release : 2000
Category : Biography & Autobiography
ISBN : 1578062241
As a young New York director, Istanbul-born Kazan revolutionised American theatre with his productions. In this collection he discusses his social themes, his relationship with his actors, his collaborations with writers, and his film style.
Author : John Lahr
Publisher : W. W. Norton & Company
Page : 736 pages
File Size : 54,5 Mb
Release : 2014-09-22
Category : Biography & Autobiography
ISBN : 9780393247121
National Book Critics Circle Award Winner: Biography Category National Book Award Finalist 2015 Winner of the Sheridan Morley Prize for Theatre Biography American Academy of Arts and Letters’ Harold D. Vursell Memorial Award A Chicago Tribune 'Best Books of 2014' USA Today: 10 Books We Loved Reading Washington Post, 10 Best Books of 2014 The definitive biography of America's greatest playwright from the celebrated drama critic of The New Yorker. John Lahr has produced a theater biography like no other. Tennessee Williams: Mad Pilgrimage of the Flesh gives intimate access to the mind of one of the most brilliant dramatists of his century, whose plays reshaped the American theater and the nation's sense of itself. This astute, deeply researched biography sheds a light on Tennessee Williams's warring family, his guilt, his creative triumphs and failures, his sexuality and numerous affairs, his misreported death, even the shenanigans surrounding his estate. With vivid cameos of the formative influences in Williams's life—his fierce, belittling father Cornelius; his puritanical, domineering mother Edwina; his demented sister Rose, who was lobotomized at the age of thirty-three; his beloved grandfather, the Reverend Walter Dakin—Tennessee Williams: Mad Pilgrimage of the Flesh is as much a biography of the man who created A Streetcar Named Desire, The Glass Menagerie, and Cat on a Hot Tin Roof as it is a trenchant exploration of Williams’s plays and the tortured process of bringing them to stage and screen. The portrait of Williams himself is unforgettable: a virgin until he was twenty-six, he had serial homosexual affairs thereafter as well as long-time, bruising relationships with Pancho Gonzalez and Frank Merlo. With compassion and verve, Lahr explores how Williams's relationships informed his work and how the resulting success brought turmoil to his personal life. Lahr captures not just Williams’s tempestuous public persona but also his backstage life, where his agent Audrey Wood and the director Elia Kazan play major roles, and Marlon Brando, Anna Magnani, Bette Davis, Maureen Stapleton, Diana Barrymore, and Tallulah Bankhead have scintillating walk-on parts. This is a biography of the highest order: a book about the major American playwright of his time written by the major American drama critic of his time.
Author : Eva Tüttelmann
Publisher : GRIN Verlag
Page : 17 pages
File Size : 49,9 Mb
Release : 2007-06-16
Category : Literary Criticism
ISBN : 9783638807999
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Cologne (Englisches Seminar), course: Nobody sees anybody truly. Selected works by Tennessee Williams, 8 entries in the bibliography, language: English, abstract: Tennesse Williams' play A Streetcar Named Desire is one of the most successful plays in the history of American drama. It was written in 1947 and first staged on December 3, 1947 at the Barrymore Theatre in New York. Blanche DuBois was played by Jessica Tandy, who had worked with Tennessee Williams before. Marlon Brando played Stanley Kowalski and Kim Hunter played Stella, his wife. The Broadway stage production was directed by Elia Kazan. As the play had been such a great success one quickly began to discuss the production of a film version. Nearly the entire Broadway cast was kept for the film, apart from Jessica Tandy, who was replaced by Vivien Leigh. Leigh seemed to promise a larger success due to her award-winning performance in Gone with the Wind about ten years earlier. She had played Blanche in Laurence Olivier's production of A Streetcar Named Desire in London. Similar to the play, the film was directed by Elia Kazan. Kazan's attempt was to stick to the play as much as possible. He and Tennessee Williams were working together closely on the development of the script. The screenplay itself was written by Oliver Saul who had to rewrite a few passages but mostly followed the dramatist's version. The plot of A Streetcar Named Desire raised the interest of industry censor Joseph Breen, who was "the official administrator of the Code of the Motion Picture Association of America" (Phillips 1980: 81). Breen doubted the subjects discussed in A Streetcar Named Desire to be acceptable in case that they were presented in a motion picture. Although both Williams and Kazan were in opposition to the censor's demands, they were forced to find compromises as the association's influence on the audience was remarkably strong. This paper discusses the scenes that had to undergo a change as a consequence of censorship. I will compare the dramatic text and action with the film plot and try to depict the problems concerning the story, which do appear, even if Kazan and Williams did their very best to avoid this. I will illustrate how Kazan used subtle images and hints in attempt to transport the message he had been forbidden to transport. The ending of the film is of special interest and will be dealt with more explicitly as it changes not only the plot but also special features of the characters. Small modifications through which only little is lost in translation will not be discussed.