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eBook A Streetcar Named Desire download

by Tennessee Williams

ISBN: 0451093720
Author: Tennessee Williams
Publisher: Signet; Movie Tie-In Edition edition (October 1, 1951)
Language: English
ePub: 1900 kb
Fb2: 1899 kb
Rating: 4.6
Other formats: docx mbr azw lrf
Category: Literature

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Читать онлайн A Streetcar Named Desire. A Streetcar Named Desire. by. Tennessee Williams.

A Streetcar Named Desire by Tennessee Williams And so it was I entered the broken world To trace the visionary company of love, its voice An instant in the wind (I know not whither hurled) But not for long to hold each desperate choice. Читать онлайн A Streetcar Named Desire. And so it was I entered the broken world. To trace the visionary company of love, its voice.

A Streetcar Named Desire is a play written by Tennessee Williams that opened on Broadway on December 3, 1947.

A Streetcar Named Desire. BLANCHE : They told me to take a streetcar named Desire, and then transfer to one called Cemeteries and ride six blocks and get off at-Elysian Fields! EUNICE: That's where you are now.

A Streetcar Named Desire is a very powerful and thought-provoking play, with characters who breathe strong . Tennessee Williams is one of America's finest playwrights, and his 1947 Pulitzer-Prize winning "A Streetcar Named Desire" is his undisputed masterpiece.

A Streetcar Named Desire is a very powerful and thought-provoking play, with characters who breathe strong emotion throughout, making the scenes really come to life. It is no wonder that this epic play was made into a fine classic 1951 film with Marlon Brando as Stanley and Vivien Leigh as Blanche. The Glass Menagerie" moves us to tears and "Suddenly, Last Summer" is luridly fascinating, but "Streetcar" remains in, and haunts, our souls.

D A STREETCAR NAMED DESIRE by Tennessee Williams. This is one of the most. remarkable plays of our times. By tennessee williams. With an Introduction by the Author. Published by the Penguin Group.

Tennessee Williams (1911-1983) is the acclaimed author of many books of letters, short stories, poems, essays, and a large collection of plays, including The Glass Menagerie, A Streetcar Named Desire, Camino Real,Cat on a Hot Tin Roof, Orpheus Descending, The Night of the Iguana, and The Rose Tattoo. Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App.

A Streetcar Named Desire book. A Streetcar Named Desire, Tennessee Williams A Streetcar Named Desire is a 1947 play written by American playwright Tennessee Williams that received the Pulitzer Prize for Drama in 1948. The play opened on Broadway on December 3, 1947, and closed on December 17, 1949, in the Ethel Barrymore Theatre. The Broadway production was directed by Elia Kazan and starred Jessica Tandy, Marlon Brando, Karl Malden, and Kim Hunter. Author: Tennessee Williams. Streetcar launched the careers of Marlon Brando, Jessica Tandy, Kim Hunter and Karl Malden, and solidified the position of Tennessee Williams as one of the most important young playwrights of his generation, as well as that of Elia Kazan as the greatest American stage director of the ’40s and ’50s. Who better than America’s elder statesman of the theater, Williams’ contemporary Arthur Miller, to write as a witness to the lightning that struck American culture in the form of A Streetcar Named Desire?

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A Streetcar Named Desire has been added to your Cart. Sam Staggs, in his definitive history of "Streetcar," correctly describes the play as "a root canal on the soul

Tennessee Williams (1911-1983) is the acclaimed author of many books of letters, short stories, poems, essays, and a large collection of plays, including The Glass Menagerie, A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, Orpheus Descending, The Night of the Iguana, an.

Tennessee Williams (1911-1983) is the acclaimed author of many books of letters, short stories, poems, essays, and a large collection of plays, including The Glass Menagerie, A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, Orpheus Descending, The Night of the Iguana, and The Rose Tattoo. Библиографические данные.

Found this great old book in a rummage sale and has some age wear.

Comments: (7)

Ricep

There’s a strong drive and passion in many of the characters in A Streetcar Named Desire. A definite rawness in emotion and complexity is within many of the scenes and situations.

I had read A Streetcar Named Desire once before, but never really caught on at how so much is working underneath the surface of the dialogue. In many estimations, Blanche is a character deeply rooted in pathos and tragedy. Her vision of what the world should be, as opposed to what it truly is, is at the center of her unhinging. Arriving to her sister’s apartment in New Orleans, she has taken a leave of absence from her teaching, and there are more undercurrent issues that have taken hold of her, most notably losing Belle Reve, their childhood home. At her opposite, Stanley, Stella’s husband, represents the brute, harsh, realities of the world.

I think that, in many respects, Williams creates an intensity that builds as the play moves forward until the dramatic final scene. There is a power in Stanley and Blanche’s confrontations, especially in the final scenes as we learn more and more about Blanche’s past. These moments are written so eloquently, so human, clearly by someone who has experienced, witnessed, and reflected on the impact of human sufferings and failings. In short, clearly Williams was a man who could project real human situations into dialogue in such a clear, convincing way.

A Streetcar Named Desire is a very powerful and thought-provoking play, with characters who breathe strong emotion throughout, making the scenes really come to life. It is no wonder that this epic play was made into a fine classic 1951 film with Marlon Brando as Stanley and Vivien Leigh as Blanche.

Xava

Tennessee Williams is one of America's finest playwrights, and his 1947 Pulitzer-Prize winning "A Streetcar Named Desire" is his undisputed masterpiece. "The Glass Menagerie" moves us to tears and "Suddenly, Last Summer" is luridly fascinating, but "Streetcar" remains in, and haunts, our souls. Sam Staggs, in his definitive history of "Streetcar," correctly describes the play as "a root canal on the soul."
The production of "Streetcar" recorded here played at the Vivian Beaumount Theatre in New York from April-July, 1973. The plot, in brief, concerns Blanche DuBois, who arrives in New Orleans seeking refuge from her troubled past in her sister Stella's small apartment. Blanche hadn't counted on her brother-in-law, Stanley Kowalski, being so brutish and intensely sexual, however. She hopes to find a measure of happiness and peace with Stanley's friend Harold Mitchell (Mitch). A lesser playwright than Williams may well have given Blanche, and the audience, a happy ending with Mitch. But neither Williams nor his characters are that easy or simplistic. His characters are not all good or all bad. They exist in a morally gray area; with Williams exposing the harsh realities of life. When the truth of Blanche's sordid past is crudely, relentlessly exposed by Stanley, Mitch cruelly rejects her. Blanche and Stanley have a final, violent confrontation; which in turn leads to one of the most soul-shattering conclusions in theatre history.
The big question here is: how does the 1973 Lincoln Center revival compare to the excellent ensemble cast of Vivien Leigh, Marlon Brando, Kim Hunter, and Karl Malden in the 1951 film version? Of course, the 1973 cast does not have to contend with the censorship issues that plagued the otherwise outstanding 1951 film version. So, here we have the full text and content of Williams' original play. If you are not familiar with the play, however, I strongly advise you to have a copy of the script with you as you listen to this recording. Otherwise, you might not understand the important actions that occur in several key scenes-- including Stanley's violent actions during the poker game and, more importantly, Stella's exact reaction to it.
Rosemary Harris is often her own worst enemy as Blanche DuBois. Her powerful performance is undermined by her own unfortunate penchant for over-acting in several scenes where a more subtle approach would have been much more effective. Harris totally goes over the top in the scene just before the newspaper boy arrives, ("Ah, me...") and the scene where Blanche describes the suicide of her gay husband; completely ruining the beautiful end line of the scene, when Blanche says to Mitch, "sometimes, there is God-- so quickly!" While she does not match or equal Vivien Leigh's definitive and devastating portrayal, it is truly heartwrenching when Harris' Blanche loses her tenuous grip on reality. Elsewhere, while she is not exactly mis-cast, Patricia Conolly is a rather odd choice, and makes some rather odd acting choices, as Stella. Robert Symonds is merely adequate as Mitch. The most startling surprise here is James Farentino as Stanley. As Sam Staggs shrewdly observes, Farentino "does what few actors can: he makes you forget (Marlon) Brando. To do this, he discards nuance in favor of hustler directness. You hear the price tag in his voice."
The genius of Tennessee Williams and the power of "A Streetcar Named Desire" remains undiminished. This CD recording of one of the greatest plays is essential in the library of every fan of Tennessee Williams and every serious theatre aficionado.

GAMER

A masterpiece. Tennessee Williams may be the best contemporary playwright America has ever seen (may he rest in peace). The story is flawless, and the stage directions are so specific and meaningful. Every word is filled with intent, every color is painted through the text, and the message is timeless. The relationships the characters share are well flushed out and highly sophisticated. Williams even describes the music playing during scenes. I hope you read this over and over again, just as I do. A timeless classic, a masterpiece of American Theatre.

Lucam

It's amazing how much of its original power this play has maintained even though by all accounts it should be dated by now. After all, we have come far, have we not, from the south in those backwards years? Or have we? This was one of the works that we read in my AP English class this year and I was surprised how well a group of 11th graders were able to identify with the sexual tension, the deceptions, the characters and the plot. Blanche's hopeless situation is still quite poignant and Stanley's animal magnetism is something all of them could relate to. After reading the play countless times (and seeing various performances), I can say that this short play packs quite a wallop. Williams fits in a myriad of human emotions into this one short play. If for some reason you missed this one, read it and then rent the movie with Marlon Brando. With memorable characters like Stanley, Stella, Blanch and Mitch who have made their way into our everyday vocubulary, and a sizzling dialogue, it's a lasting work. The movie Body Heat is the closest modern parallel I can think of in terms of setting and mood.

GYBYXOH

I'm in no position to review Tennessee Williams. Plenty of scholars have done this far better than I ever could. I'll be seeing this play this summer in New York, so I've purchased this to go through before we see it. I vaguely remember the context from high school, but it has been eye-opening to reread this again. What a powerful, brutal play!

I highly recommend.

Gosar

Arrived speedily. Using it to teach--and of course, it IS one of the great plays, even minus the hype. Williams is one of our true treasures.

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