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Tennessee Williams and the Theatre of Excess : The Strange, the Crazed, the Queer by Annette J. Saddik (2016, Trade Paperback)
Rarewaves (664558)
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About this product
Product Identifiers
PublisherCambridge University Press
ISBN-101107433908
ISBN-139781107433908
eBay Product ID (ePID)235006277
Product Key Features
Number of Pages194 Pages
Publication NameTennessee Williams and the Theatre of Excess : the Strange, the Crazed, the Queer
LanguageEnglish
Publication Year2016
SubjectDrama, American / General
TypeTextbook
Subject AreaLiterary Criticism, Drama
AuthorAnnette J. Saddik
FormatTrade Paperback
Dimensions
Item Height0.5 in
Item Weight10.6 Oz
Item Length9.1 in
Item Width6 in
Additional Product Features
Intended AudienceScholarly & Professional
Dewey Edition23
Reviews'Annette J. Saddik's lucid and vital assessment of the misunderstood, mysterious later plays of Tennessee Williams opens the door for a new generation of appreciation for the entire body of his work. A wonderful and eye-opening achievement for those of us passionate about the plays that poured out of him in the twenty years of life that remained after his last 'so-called' success, Night of the Iguana.' John Guare, author of The House of Blue Leaves and Six Degrees of Separation
IllustratedYes
Dewey Decimal812/.54
Table Of ContentIntroduction: 'sicker than necessary': Tennessee Williams' theatre of excess; 1. 'Drowned in Rabelaisian laughter': Germans as grotesque comic figures in Williams' plays of the 1960s and '70s; 2. 'Benevolent anarchy': Williams' late plays and the theater of cruelty; 3. 'Writing calls for discipline!': chaos, creativity, and madness in Clothes for a Summer Hotel; 4. 'Act naturally': embracing the monstrous woman in The Milk Train Doesn't Stop Here Anymore, The Mutilated, and The Pronoun 'I'; 5. 'There's something not natural here': grotesque ambiguities in Kingdom of Earth, A Cavalier for Milady and A House Not Meant to Stand; 6. 'All drama is about being extreme': 'in-yer-face' sex, war, and violence; Conclusion: 'the only thing to do is laugh'.
SynopsisSaddik explores Williams' later plays (1961-82) in the context of what she terms a 'theatre of excess', which seeks liberation through exaggeration, chaos, ambiguity, and laughter. Grounding the plays in the carnivalesque, the grotesque, and psychoanalytic, feminist, and queer theory, Saddik analyzes recent productions that successfully captured the playwright's late aesthetic., The plays of Tennessee Williams' post-1961 period have often been misunderstood and dismissed. In light of Williams' centennial in 2011, which was marked internationally by productions and world premieres of his late plays, Annette J. Saddik's new reading of these works illuminates them in the context of what she terms a 'theatre of excess', which seeks liberation through exaggeration, chaos, ambiguity, and laughter. Saddik explains why they are now gaining increasing acclaim, and analyzes recent productions that successfully captured elements central to Williams' late aesthetic, particularly a delicate balance of laughter and horror with a self-consciously ironic acting style. Grounding the plays through the work of Bakhtin, Artaud, and Kristeva, as well as through the carnivalesque, the grotesque, and psychoanalytic, feminist, and queer theory, Saddik demonstrates how Williams engaged the freedom of exaggeration and excess in celebration of what he called 'the strange, the crazed, the queer'.
LC Classification NumberPS3545.I5365
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