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~~ Free Ebook A Streetcar Named Desire (Turtleback School & Library Binding Edition), by Tennessee Williams

Free Ebook A Streetcar Named Desire (Turtleback School & Library Binding Edition), by Tennessee Williams

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A Streetcar Named Desire (Turtleback School & Library Binding Edition), by Tennessee Williams

A Streetcar Named Desire (Turtleback School & Library Binding Edition), by Tennessee Williams



A Streetcar Named Desire (Turtleback School & Library Binding Edition), by Tennessee Williams

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A Streetcar Named Desire (Turtleback School & Library Binding Edition), by Tennessee Williams

FOR USE IN SCHOOLS AND LIBRARIES ONLY. Tennessee Williams' classic drama studies the emotional disintegration of a Southern woman whose last chance for happiness is destroyed by her vindictive brother-in-law

  • Sales Rank: #4184694 in Books
  • Brand: Brand: Turtleback
  • Published on: 1989-08-01
  • Original language: English
  • Number of items: 1
  • Dimensions: .65" h x 4.30" w x 7.10" l, .35 pounds
  • Binding: School & Library Binding
  • 144 pages
Features
  • Used Book in Good Condition

From Publishers Weekly
Williams's classic play begins with Blanche DuBois's arrival in New Orleans to stay with her sister and brother-in-law, Stella and Stanley Kowalski. The determinedly genteel Blanche is shocked by their lower-class lifestyle—and by Stanley's frequently aggressive behavior. As Blanche's secrets catch up with her, a seedy reality trumps her love for romance. Rosemary Harris embodies Blanche with all the flare, attitude and Southern drawl commonly associated with the cultural icon. The role of Stanley is so physical that his presence is diminished by the lack of a visual performance, but James Farentino's Stanley is excellent. The overall production quality is excellent with musical segues and sound effects that enhance without distracting the listeners. This recording captures the cast of the 1973 Broadway revival (which won Harris a Drama Desk award and Farentino a Theatre World award). (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
Play in three acts by Tennessee Williams, first produced and published in 1947 and winner of the Pulitzer Prize for drama for that year. One of the most admired plays of its time, it concerns the mental and moral disintegration and ultimate ruin of Blanche DuBois, a former Southern belle. Her neurotic, genteel pretensions are no match for the harsh realities symbolized by her brutish brother-in-law, Stanley Kowalski. -- The Merriam-Webster Encyclopedia of Literature

About the Author
Tennessee Williams was born in 1911 in Columbus, Mississippi, where his grandfather was the episcopal clergyman. When his father, a travelling salesman, moved with his family to St Louis some years later, both he and his sister found it impossible to settle down to city life. He entered college during the Depression and left after a couple of years to take a clerical job in a shoe company. He stayed there for two years, spending the evenings writing. He entered the University of Iowa in 1938 and completed his course, at the same time holding a large number of part-time jobs of great diversity. He received a Rockefeller Fellowship in 1940 for his play Battle of Angels, and he won the Pulitzer Prize in 1948 and 1955. Among his many other plays Penguin have published The Glass Menagerie (1944), Summer and Smoke (1948), The Rose Tattoo (1951), Camino Real (1953), Cat on a Hot Tin Roof (1955), Orpheus Descending (1957), Sweet Bird of Youth (1959), Period of Adjustment (1960), The Night of the Iguana (1961), The Milk Train Doesn't Stop Here Anymore (1963; revised 1964) and Small Craft Warnings (1972).

Most helpful customer reviews

3 of 3 people found the following review helpful.
TENNESSEE WILLIAMS' MASTERPIECE :"A STREETCAR NAMED DESIRE" HAUNTS OUR SOULS
By DEWEY M.
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.

46 of 50 people found the following review helpful.
Williams's Intense Desire
By Blaine Bisel
Tennessee Williams's masterfully written drama explores the extremes of fantasy versus reality, the Old South versus the New South, and primitive desire versus civilized restraint. Its meager 142 page spine is no indication of the complexity and significance that Williams achieves in his remarkable work. A strong aspect of the play is Williams's amazingly vivid portrayal of desperate and forsaken characters who symbolize and presumably resolve his battles between extremes. He created and immortal woman in the character of Blanche DuBois, the haggard and fragile southern beauty whose pathetic last grasp at happiness is cruelly destroyed. She represents fantasy for her many outrageous attempts to elude herself, and she likewise represents the Old South with only her manners and pretentions remaining after the foreclosure of her family's estate. The movie version of A Streetcar Named Desire shot Marlon Brando to fame as Stanley Kowalski, a sweat-shirted barbarian and crudely sensual brother-in-law who precipitated Blanche's tragedy. He symbolizes unrestrained desire with the recurring animal motif that follows him throughout the play. A third major character, Stella Kowalski, acts as mediator between her constantly conflicting husband and older sister. She magnifies the New South in her renounce of the Old pretentions by marrying a blue collar immigrant. Conflicts between these and other vividly colorful characters always in light of the cultural New Orleans backdrop provide a reader with a lasting impression and an awe for Williams's impeccable style and intense dialogue.

2 of 3 people found the following review helpful.
an emotional rollercoaster
By M. H. Bayliss
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.

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