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He had what was described as a rough childhood as he was often described as being effeminate which his father, an alcoholic did not approve of, and his mother was described as being bipolar. Tennessee had a close relationship with his sister ‘Rose’ who later in life was discovered to be schizophrenic and spent much of her life in mental institutions. It was the case that Tennessee’s fear of falling into madness would plague him in later life and ultimately lead him into alcoholism and drug abuse. Rose ultimately had a lobotomy performed on her which left her more or less docile for the rest of her life.
When Tennessee was young, his family moved to St. Louis where he attended Soldan High School . It became clear at an early age that Tennessee was a gifted writer and won a number of small awards for his short stories and plays. Tennessee attended the University of Misouri, Washington University, and the University of Iowa where he completed his undergraduate studies but by the late 1930’s he was studying and living in New York City.
Probably what proved to be most influential on the writings of Tennessee Williams was living in New Orleans where in the late 1940’s he began writing a Streetcar named Desire arguably one of his most famous works. It was during this time that Tennessee began a homosexual relationship wit a man named Frank Merlo. As one recognizes from the works of Tennessee Williams it is the case that he often used alcoholism, mental health issues, and homosexuality as cornerstones of his works. However it was during the time that Tennessee was living with Merlo that he arguably completed his most notable works, arguably this is owing to the relative stability that this relationship brought to his life.
According to the library at thinkquest (2010) it is the case that Williams had published thirty eight plays, nine works of fiction, and
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The play made me laugh, but not as often as I would have liked. The production did have its flaws. The evening started off with a good natured casual party thrown by Julia, the play’s producer, played by Ilaesia Gray, who was very believable as an uptown wealthy producer.
Eliza Vestris' innovative period as lessee f the Olympic theatre during the early 1830s (during which she introduced magnificent stage properties including candlelabra and Axminster carpets, as well as abolishing playbill puffing and excluding the demimonde from her green room), like Marie Bancroft's introduction f rose-bud chintz and lace antimacassars at the Prince f Wales' theatre three decades later, thus become the first, longed-for glimpses f a middle-class theatrical dawn.
Musical theatre has a long history comprising traditional forms and traditional structures. The art of writing musical is always stretching and involving new art forms. It is possible to say that musical theatre is researching the unexplored spaces.
Her curly red hair nearly covers the rip in the seat. They are now arguing voices no longer low and hushed. The disagreement is something about her mother; the girl with the curly red hair is defensive. I hear a voice beside me, a man clearing his throat.
It was with the effort of Queen Elizabeth that the wandering actors were given license under the control of the Nobles of England. This paved the way for a greater reputation for the actors.
In the beginning
Taymor’s prowess in being able to use her illusory skills has helped her tremendously in her productions. Birds soaring into the air and dancing bears that seem very gentle in their intentions have provided an insight into her perspectives as an individual
the following three productions – 1) ‘Fat Pig’ by Neil LaBute, 2) ‘The Shape of Things’ which is also by the same Neil LaBute and 3) ‘Angels in America.’ Based on these three topics, I would be investigating, comparing and contrasting and analyzing them from an