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A streetcar named Desire : [a play.

Autor: Tennessee Williams; Herman Finkelstein Collection (Library of Congress)
Editorial: [New York] : New Directions, [1947]
Edición/Formato:   Print book : Inglés (eng)Ver todas las ediciones y todos los formatos
Base de datos:WorldCat
Resumen:
Repressed widow visits sister in New Orleans after family estate dwindles to nothing. She is raped and eventually driven mad by her brutal brother-in-law.
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Detalles

Género/Forma: Domestic drama
Drama
Formato físico adicional: Online version:
Williams, Tennessee, 1911-1983.
Streetcar named Desire.
New York] New Directions [1947]
(OCoLC)573196407
Tipo de documento: Libro/Texto
Todos autores / colaboradores: Tennessee Williams; Herman Finkelstein Collection (Library of Congress)
Número OCLC: 964354
Descripción: 171 pages ; 24 cm

Resumen:

Repressed widow visits sister in New Orleans after family estate dwindles to nothing. She is raped and eventually driven mad by her brutal brother-in-law.

Notas:

por stamref (Usuario de WorldCat en 2008-04-28)

This is probably the most famous piece of literature from the US that I hadn'd read yet, until now. Nor watched as a play or movie. And still I seemed to know everything about it. Having just read Gore Vidal's memoirs, where he calls TW the 'glorious bird', I was motivated to finally get acquainted with the streetcar. What fun. It is Gone with the Wind updated for the 20th century. It is the downsizing of rural gentry. It shows downward social mobility in a narrative framework of Southern Gothic. It is powerfully vulgar and perceptive. It is so politically not correct. ('Polacks are like Irish, only less highbrow.') But with all the mad fun, let's be clear about this: despite the popular use of the term 'tragic' for the descent of Ms. Blanche into madness, this is not really a tragedy in the full sense of the word. Being a piece of stage writing makes it one only in the sense of not being a comedy. What it is, it is a really great melodrama. A word about the genius casting for the movie: Marlon Brando dominated it more than the text justifies. Gore Vidal says in his memoirs that Kazan actually destroyed the play by pushing the Blanche character into 2nd row. He says that TW did not mind, since it made him famous.

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