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Academic literature on the topic 'Williamson Theatres'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Williamson Theatres"

1

Maver, Igor. "American 'committed' drama in Slovene theatres." Acta Neophilologica 27 (December 1, 1994): 57–65. http://dx.doi.org/10.4312/an.27.0.57-65.

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The purpose of this study is essentially to demonstrate that the delayed stagings of American 'committed' plays, written in the thirties and produced in Slovene theatres immediately after World War Two in the late forties and fifties, were often miscontextualized and partly misinterpreted by the literary critics of the period. This was only in the early post-war years largely due to the need to serve the then ruling ideology and to comply with the criteria of Marxist aesthetisc, especially that of a radical social criticism. However, the later stagings particularly of Arthur Miller's and also Tennessee Williams's plays, did not see the same phenomenon, for it was they that assured the popularity of the American post-war drama on Slovene stages and, even more importantly, helped Slovene theatre to come off age in the sixties.
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Maver, Igor. "American 'committed' drama in Slovene theatres." Acta Neophilologica 27 (December 1, 1994): 57–65. http://dx.doi.org/10.4312/an.27.1.57-65.

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The purpose of this study is essentially to demonstrate that the delayed stagings of American 'committed' plays, written in the thirties and produced in Slovene theatres immediately after World War Two in the late forties and fifties, were often miscontextualized and partly misinterpreted by the literary critics of the period. This was only in the early post-war years largely due to the need to serve the then ruling ideology and to comply with the criteria of Marxist aesthetisc, especially that of a radical social criticism. However, the later stagings particularly of Arthur Miller's and also Tennessee Williams's plays, did not see the same phenomenon, for it was they that assured the popularity of the American post-war drama on Slovene stages and, even more importantly, helped Slovene theatre to come off age in the sixties.
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Gindt, Dirk. "WHEN BROADWAY CAME TO SWEDEN: THE EUROPEAN PREMIERE OF TENNESSEE WILLIAMS'SCAT ON A HOT TIN ROOF." Theatre Survey 53, no. 1 (April 2012): 59–83. http://dx.doi.org/10.1017/s0040557411000731.

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Returning fresh from her summer vacation, the suntanned managing director of Gothenburg City Theatre, Karin Kavli (1906–90), proudly announced at a press conference in early August 1955 that she had secured the rights to produce the European premiere of Tennessee Williams's acclaimed playCat on a Hot Tin Roof.1Well aware of the importance of creating a balanced repertoire that would satisfy the more artistically and literally minded audience and those who wanted some lighter forms of entertainment, Kavli understood that hosting the premiere of Williams's latest drama was quite a coup, especially in an age when television had begun to pose a great threat to theatre.
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Caputo-Mayr, Maria-Luise. "The Living Theatre: Selected Poems by Jeanne Foster & Alan Williamson." World Literature Today 92, no. 1 (2018): 87. http://dx.doi.org/10.1353/wlt.2018.0287.

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Gontarski, S. E. "Tennessee Williams’s Creative Frisson, Censorship, and the Queering of Theatre." New Theatre Quarterly 37, no. 1 (February 2021): 82–99. http://dx.doi.org/10.1017/s0266464x20000810.

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The world around Tennessee Williams in the 1960s, 1970s, and into the 1980s was changing at an astonishing pace, the cultural revolution of the period rendering most of his themes of sexual closeting and repression almost inconsequential. At least the entrenched cultural taboos against which he wrote seem to have disappeared by the mid-1960s and 1970s. In the 1980s, Broadway productions of his work grew infrequent, while those mounted tended to have short runs. He told interviewers from Theatre Arts magazine: ‘I think my kind of literary or pseudo-literary style of writing for the theatre is on its way out.’ European productions of his work, on the other hand, seemed regenerative: Howard Davies’s Cat on a Hot Tin Roof (1989), in which the director used Williams’s original third act and not the version rewritten by Elia Kazan for the New York premiere; Peter Hall’s revival of Orpheus Descending (1989–91); Benedict Andrews’s A Streetcar Named Desire (2014), followed by his 2017 Cat on a Hot Tin Roof – a revival deemed ‘so courageous’; and in Italy, Elio De Capitani’s productions of Un tram che si chiama desiderio (1995) and Improvvisamente, l’estate scorsa (2011), both in fresh, new, up-to-date translations by Masolino D’Amico – all these have maintained an edge to Williams’s theatre lost in so many American productions. All seem to suggest the continued vitality of Williams’s work in Europe by directors willing to probe and rediscover Williams’s depths, who consider him ‘a playwright worthy of further artistic investigation’, as European audiences, correspondingly, seem less inclined to dismiss him as an artist whom history has overtaken. S. E. Gontarski is Robert O. Lawton Distinguished Professor of English at Florida State University. His critical, bilingual edition of Tennessee Williams’s A Streetcar Named Desire was published as Un tram che si chiama desiderio / A Streetcar Named Desire (Pisa: Editioni ETS, 2012). His Włodzimierz Staniewski and the Phenomenon of ‘Gardzienice’, co-edited with Tomasz Wiśniewski and Katarzyna Kręglewska, is forthcoming (Routledge).
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Subashi, Esmeralda. "Tennessee Williams's Dramatic World." European Journal of Language and Literature 3, no. 1 (December 30, 2015): 77. http://dx.doi.org/10.26417/ejls.v3i1.p77-82.

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Tennessee Williams has been regarded as the greatest Southern dramatist and one of the most distinguished playwrights in the history of American drama. He is undoubtedly the most renowned American dramatist of the second half of the 20th Century. This paper addresses and explores some of the main features of his dramatic works. His drama was a lyric or poetic one, and that is why the critic and scholar Frank Durham referred to him as “Tennessee Williams, theater poet in prose”. When David Mamet describes William’s plays as “the greatest dramatic poetry in the American language”, he shares the widely accepted opinion that Williams brought to the language of the American theater a lyricism unequaled before or after. He infuses his dialogue with lyrical qualities so subtle that the reader or hearer, unaware, responds not to realistic speech but, instead, to speech heightened by such poetic effects as alliteration, rhythm, onomatopoeia, and assonance. As a Southern writer, Williams was attuned to the natural rhythm and melody of Southern speech, a melody, he says, heard especially in the voices of women. Characterization is one of Williams’s strongest achievements as a dramatist. His people are imaginatively conceived yet so convincing that it is tempting to take them out of context and theorize about their lives before and after the action of the play. In place of realism, which stressed photographic duplication of the actual, a style that had dominated American stage for four decades, Williams insisted on a theater that was “plastic” that combined all the elements of production- dialogue, action, setting, lighting, even properties- in a unified, symbolic expression of a truth.
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Hale. "Tennessee Williams's "Three Plays for the Lyric Theatre"." Tennessee Williams Annual Review, no. 7 (2005): 89. http://dx.doi.org/10.2307/45343603.

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Maruéjouls-Koch. "Absorbing Images: Tennessee Williams's "Plastic Theatre" and European Painting." Tennessee Williams Annual Review, no. 13 (2012): 33. http://dx.doi.org/10.2307/45344161.

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Gindt, Dirk. "The Diva and the Demon: Ingmar Bergman Directs The Rose Tattoo." New Theatre Quarterly 28, no. 1 (January 31, 2012): 56–66. http://dx.doi.org/10.1017/s0266464x1200005x.

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In this article Dirk Gindt discusses Ingmar Bergman's 1951 production of Tennessee Williams's The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences. Dirk Gindt now works as a Postdoctoral Research Fellow at Stockholm University. He is co-editor of Fashion: an Interdisciplinary Reflection (Stockholm: Raster, 2009), and has published numerous articles in journals such as Nordic Theatre Studies, The Tennessee Williams Annual Review, Theatre Survey, and Fashion Studies, as well as chapters in edited volumes. He is the editor-in-chief of Lambda Nordica: Journal for GLBT-Studies, for which he has edited a special issue on masculinities (2008) and a double issue on queer fashion (2009).
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Rosenberg, James L. "Situation Hopeless, Not Terminal: the Playwright in the Twenty-First Century." New Theatre Quarterly 4, no. 15 (August 1988): 226–31. http://dx.doi.org/10.1017/s0266464x00002773.

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Playwrights in the West remain under threat not only from the ever-increasing dominance of the director and the loss of autonomy carried over from film and television, but from sheer economic deprivation – which makes playwriting impossible as a full-time profession for most of its members. Is the best way to remedy this the assertion of collective responsibility and power advocated in this country by the Theatre Writers Union, or by a frank acceptance that artistic strength is seldom likely to be matched by economic or ‘political’ power – as James L. Rosenberg now argues? NTQ does not necessarily endorse the viewpoint here expressed, but feels that it is a forceful statement of a ‘new realism’ about the role of the playwright in the likely western future – in this respect also making an illuminating contrast to the foregoing article by Zygmunt Hübner. The author, James L. Rosenberg, is a widely-performed American dramatist, who has also translated numerous plays from the German, and is presently Visiting Professor of Theatre at Williams College. Williamstown, Massachusetts.
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Dissertations / Theses on the topic "Williamson Theatres"

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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914." University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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Tyrrell, Susan E. "Tennessee Williams' 'Plastic Theatre' : an examination of contradiction." Thesis, Keele University, 2013. http://eprints.keele.ac.uk/3826/.

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This thesis proposes a new reading of Tennessee Williams which enables his work to be seen as a cohesive dramaturgy which challenges realist and liberal notions of dramatic space, identity, and time. It examines the biographical and historical origins of ‘plastic theatre’, and the aesthetic and philosophical implications of this crucial term. This thesis analyses the development and hardening of Williams’ reputation during the 1940s and 1950s as a realist (or ‘failed’ realist) playwright through an examination of contemporary reviews and the work of literary critics such as Raymond Williams and Christopher Bigsby. The thesis argues that the critical reception of Williams during these decades was inflected by biographical readings which pathologised Williams and his work from the perspective of ‘straight’ realism. It considers more recent critical re-­‐evaluations of Williams’ work: including those of David Savran, Annette Saddik and Linda Dorff. These re-­‐evaluations, and Williams’ work as a whole, are seen in the cultural, political and historical contexts of the 1950s and 1960s, which saw the development of the notion that the ‘personal is political’ and a major shift in the ‘structure of feeling’. The thesis goes on to develop a new theoretical perspective on Williams’ work which draws on the philosophical work of G.W.R. Hegel’s views on contradiction and his analysis of the master/slave relationship, W.E.B. Du Bois’ notion of veiling and Malcolm Bull’s theories of hiddenness. This new perspective is employed in extended close readings of early successful plays (The Glass Menagerie and A Streetcar Named Desire) as well as the more problematic later plays (Camino Real, The-­‐Two Character Play, The Remarkable-­‐Rooming House of Mme Le Monde, I Can’t Imagine Tomorrow and In the Bar of a Tokyo Hotel). The final chapter makes use of Gérard Genette’s theories of narratology to explore the plasticity of time in Something Cloudy, Something Clear and Clothes for a Summer Hotel.
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Correro, Augustine III. "Performing Tennessee Williams." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2713.

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This thesis is dedicated to illustrating the unique challenges of staging works by the playwright Tennessee Williams, and to making suggestions on how to avoid common pitfalls in production, performance, and direction of his plays. It uses evidence from the playwright’s various biographical works as well as insight and conjecture from the author’s experience to illuminate these challenges and help the reader to avoid hackneyed or ineffective staging practices. It touches on the effect of film adaptations on stage performances; the typical portrayal of American Southern characters onstage; the aural ramifications of Williams’s poetry to a now-visually-centered audience; stylistic elements similar to Williams’s contemporaries, including Rice, Brecht, O’Neill, and others; the delicacy of Williams’s signature meter and rhythm in his plays; dramaturgical groundwork in the playwright’s intentions; and a systemization of archetypical Williams characters. This thesis does not prescribe a cut-and-dried set of rules and regulations for performing Williams’s works, for the simple reason that the Williams canon is so diverse that no singular set of “tricks” will be effective in every play. Furthermore, the author understands that a producer, director, or actor will not find use in all facets of a rigid “system”. The thesis does outline a number of practices whose aims are to make productions more effective from an integral perspective. There are exercises to attempt, questions to pose, and matters to consider in the staging of Williams’s plays during any part of production—from in-class reading to designing the scenery, and from deciding why to put a Williams play in a season to the living moments of an actor’s performance. The thesis aims to be helpful, informative, and accessible, rather than doctrinaire: much like the playwright’s works, its purpose is to illuminate dark corners of something that viewers think they already fully understand.
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Yarnelle, David. "Conceiving American Chekhov: Nikos Psacharopoulos and the Williamstown Theatre Festival." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291967.

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This thesis examines the work of director Nikos Psacharopoulos on the plays of Anton Chekhov while Executive Director at The Williamstown Theatre Festival in Massachusetts. Components of Psacharopoulos' productions are contextualized within an American tradition of producing Chekhov and elements identified in previous research by Laurence Senelick. Using the constituents of Senelick's analysis, Psacharopoulos' work is examined in two general areas: his teaching, directing, and rehearsal techniques with the Chekhov texts, and the qualities in production of the plays at The Williamstown Theatre Festival between 1962 and 1986. This study offers, for the first time, a scholarly examination of Psacharopoulos' work and considers the director's position as an American producer of Chekhov's plays. As one of the most prolific directors of Chekhov in North America, Nikos Psacharopoulos emerges from this study as an essential component in any future consideration of Chekhov production in the United States.
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Zhang, Nan. "Dramatizing light: the theatre of Tennessee Williams and Jo Mielziner." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300991793.

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Hoshikawa, Ana Maria Novi. "Anton Tchékhov e Tennessee Williams: dramaturgias em comparação." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-12012016-145507/.

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O presente trabalho apresenta três possibilidades de comparação entre os textos de Anton Tchékhov e Tennessee Williams: a primeira trata-se de uma comparação formal, que investiga as semelhantes soluções dramatúrgicas encontradas pelos autores em relação à crise do drama, conceito elaborado por Peter Szondi; a segunda possibilidade se concentra sobre as semelhantes posições de classe (conceito de P. Bourdieu) encontradas na história russa e na história americana, que servem como substrato temático às peças analisadas; a terceira e última possibilidade de comparação apresentada está baseada no fenômeno de recepção das peças tchekhovianas nos Estados Unidos, considerando também a vasta repercussão das encenações do Teatro de Arte de Moscou sobre a cena americana.
This work presents three distinct possibilities of comparison between the texts of Anton Chekhov and Tennessee Williams: the first one is a formal comparison, it investigates the similar dramatic solutions the authors found to dramas crisis, a concept created by Peter Szondi; the second possibility concentrates over the similarities of class position (P. Bourdieus concept) found in Russian and Amercian history, these serve as the thematic substract of the plays analysis; the third and last possibility explored is based upon the reception of Chekhovs plays in the United States, considering the reprecussions of their productions by the Moscow Art Theatre on the American stage.
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Zhang, Nan. "A Lighting Design Process for a Production of Tennessee Williams' Orpheus Descending." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392023032.

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Johnson, Sarah Elizabeth. "The influence of Japanese traditional performing arts on Tennessee Williams's late plays." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4656.

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Hopkins, Chandra Owenby. "ANTI-BELLUM: A RECLAMATION OF THE SOUTHERN BELLE." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/42.

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This thesis is a written documentation of the original, devised performance piece, ANTI-BELLUM: A RECLAMATION OF THE SOUTHERN BELLE, written in the fall of 2006 by Chandra O. Hopkins. The document tracks the creative process through the stages of: initial inspiration, written development and script formation, creative collaboration in the rehearsal hall, and finally the staging presentation of the piece through production. In addition to this written document, the original, devised script of the production is also included.
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Books on the topic "Williamson Theatres"

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Tennessee, Williams. The theatre of Tennessee Williams. New York: New Directions, 1990.

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Tennessee Williams and Elia Kazan: A collaboration in the theatre. Cambridge [England]: Cambridge University Press, 1992.

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1959-, Hart Deborah, Cree Laura Murray, and National Gallery of Australia, eds. Fred Williams: Infinite horizons. Canberra: National Gallery of Australia, 2011.

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Tennessee Williams on the Soviet stage. Lanham, MD: University Press of America, 1987.

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Collection, Historic New Orleans, ed. Drawn to life: Al Hirschfeld & the Theater of Tennessee Williams. New Orleans, LA: Historic New Orleans Collection, 2010.

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The audience as actor and character: The modern theater of Beckett, Brecht, Genet, Ionesco, Pinter, Stoppard, and Williams. Lewisburg [Pa.]: Bucknell University Press, 1989.

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Smith, Eric Ledell. Bert Williams: A biography of the pioneer Black comedian. Jefferson, N.C: McFarland, 1992.

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Fred, Williams. Fred Williams: From music hall to landscape : drawings and prints. Sydney: Art Gallery of New South Wales, 2001.

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Stephen, Coppel, and Williams Fred 1927-, eds. Fred Williams: An Australian vision. London: British Museum Press, 2003.

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Dennis, Brown. Shoptalk: Conversations about theater and film with twelve writers, one producer--and Tennessee Williams' mother. New York: Newmarket Press, 1992.

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Book chapters on the topic "Williamson Theatres"

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Van Straten, Frank. "Firm Foundations: James Cassius Williamson and ‘The Firm’." In The Palgrave Handbook of Musical Theatre Producers, 137–44. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-43308-4_14.

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"Siân Williams." In Movement Directors in Contemporary Theatre. Methuen Drama, 2020. http://dx.doi.org/10.5040/9781350054493.0013.

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Williams, Gavin. "Gunfire and London’s Media Reality." In Hearing the Crimean War, 59–87. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190916749.003.0003.

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Williams’s chapter discusses the pervasive representation of gunfire across different media forms (piano sheet music, newspapers, theater) in London in late 1854, in response to breaking news of the Battle of Alma. It argues that theaters, newspapers, and printed music were mutually inflecting domains in wartime London: areas of sonic knowledge and experience that gave particular significance to musical and sonic simulations of the battlefield both at home and in the larger urban public sphere. The chapter considers the implications of this historical mediation of wartime sound, and attempts to show that the macabre fascination produced by gunfire was linked to the invisibility of low-ranking soldiers.
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"SERGEI EISENSTEIN, HOLLYWOOD AND TENNESSEE WILLIAMS’ “PLASTIC THEATRE”." In Tennessee Williams and Europe, 89–109. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401211277_006.

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"The 1930s’ Plays (1936–1940)." In The Theatre of Tennessee Williams, 9–34. Bloomsbury Publishing Plc, 2014. http://dx.doi.org/10.5040/9781472515452.ch-001.

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"Battle of Angels and Orpheus Descending (1939–1941 and 1957)." In The Theatre of Tennessee Williams, 35–50. Bloomsbury Publishing Plc, 2014. http://dx.doi.org/10.5040/9781472515452.ch-002.

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"The Glass Menagerie (1942–1945)." In The Theatre of Tennessee Williams, 51–63. Bloomsbury Publishing Plc, 2014. http://dx.doi.org/10.5040/9781472515452.ch-003.

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"Summer and Smoke and Eccentricities of a Nightingale (1945–1948 and 1964)." In The Theatre of Tennessee Williams, 64–76. Bloomsbury Publishing Plc, 2014. http://dx.doi.org/10.5040/9781472515452.ch-004.

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"A Streetcar Named Desire (1945–1947)." In The Theatre of Tennessee Williams, 77–90. Bloomsbury Publishing Plc, 2014. http://dx.doi.org/10.5040/9781472515452.ch-005.

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"The Rose Tattoo and Camino Real (1951 and 1946–1953)." In The Theatre of Tennessee Williams, 91–106. Bloomsbury Publishing Plc, 2014. http://dx.doi.org/10.5040/9781472515452.ch-006.

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