By Tennessee Williams
Christmas 1982: Cornelius and Bella McCorkle of Pascagoula, Mississippi, go back domestic one dead night 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 together 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 funds his light spouse Bella has hidden someplace of their collapsing residence, yet his noisy efforts are disrupted through a flow of outstanding characters, either residing and dead.
While Williams frequently used drama to show desire and desperation in human hearts, it was once via this darkish, expressionistic comedy, which he known as a "Southern gothic spook sonata," that he was once top capable of chronicle his imaginative and prescient of the delicate nation of our global.
Read Online or Download A House Not Meant to Stand PDF
Similar drama books
Among 1854 and 1929, so-called orphan trains ran frequently from the towns of the East Coast to the farmlands of the Midwest, sporting millions of deserted youngsters whose fates will be decided through natural good fortune. may they be followed through a type and loving relatives, or might they face a formative years and early life of difficult exertions and servitude?
First produced in 1998 on the well-known Vienna Burgtheater, the striking and provocative activities Play via Austrian playwright Elfriede Jelinek is a postdramatic theatrical exploration of the making, advertising and marketing and sale of the human physique and of feelings in activity. It explores modern society's obsession with health and physique tradition bringing into sharp concentration our have to belong to a bunch, a group or a country.
The Cambridge spouse to Oscar Wilde bargains a vital advent to 1 of the theater's most vital and enigmatic writers. even supposing a common evaluation, the quantity additionally deals many of the most recent considering at the dramatist and his effect at the 20th century. half One locations Wilde's paintings in the cultural and old context of his time and contains a gap essay via Wilde's grandson, Merlin Holland.
The early glossy interval used to be an age of anatomical exploration and revelation, with new discoveries taking pictures the mind's eye not just of scientists but in addition of playwrights and poets. Approximate our bodies examines, in interesting aspect, the altering illustration of the physique in early glossy drama and within the period's anatomical and gynaecological treatises.
- Machine of Death: A Collection of Stories About People Who Know How They Will Die (Machine of Death, Book 1)
- The Glass Menagerie
- Orestes and Other Plays
- After the Lie
- Mimetic Disillusion: Eugene O'Neill, Tennessee Williams, and U.S. Dramatic Realism
Additional info for A House Not Meant to Stand
Indeed, there is a real danger that the imperative of reaching the broadest audiences possible could result in having to empty the plays of all engaging and radical content. Such a move would effectively reinscribe at the heart of francophone theatre what Dean MacCannell has termed the “performative primitive” (1992, 17–73), a racist category produced by the commodification by Western entertainment and tourist industries of the performance traditions of non-industrial peoples. Such cultural events include “charging visitors admission to their sacred shrines, ritual performances, and displays of more or less ‘ethnologized’ everyday life.
It postulates a place that can be delimited as its own and serve as the base from which relations with an exteriority composed of targets and threats . . can be managed. . By contrast a tactic is a calculated action determined by the absence of a proper locus. . The space of the tactic is the space of the other. Thus it must play on and with a terrain imposed on it and organized by the law of a foreign power. . it is a maneuver within the enemy’s field of vision. (2002, 36–37) It is precisely this second style of action, the tactic, which characterizes the storyteller’s artistic practice, because he “must play on and with a terrain [the plantation] imposed on [him] and organized by the law of a foreign power,” namely, the master or the overseer, and the spaces of his operation are provided by the interstices in that terrain which he invests to his advantage.
Statements made by dramatists such as Souleymane Koly, according to whom recourse to dance, body movements, and so on provides access to “every African whatever their ethnic background” (in Boiron 1993a, 17), or Liking, claiming that “we privilege gestures and sounds; these are things that can appeal to everyone and can go across frontiers, cultural barriers” (in Boiron 1993b, 52), must be judged with caution, at the very least because of their facile Pan-Africanism. This reductive and unanimist vision of African societies, one that erases history and national, ethnic, gender, and class differences and that subsumes all Africans under an undifferentiated and generalized sameness, has been incisively discussed by the Beninese philosopher Paulin Hountondji (2002, 107–8, 131–33).