In December 2007 I began an internship with the Tennessee Williams Scholars' Conference/Tennessee Williams Annual Review. The Conference and Review are co-produced by Williams expert and professor of English at Middle Tennessee State University Dr. Robert Bray and the publications department of The Historic New Orleans Collection. The majority of my internship took place from my home and at The Collection, where I also currently serve full-time as an editor on book projects and the institution's quarterly magazine. The following report provides an overview of my internship, my analysis of the operation of the Conference/Review, and my recommendations for the organization developed over the course of my tenure, which will conclude in December 2008.

Thesis (M.F.A.)--University of Central Florida, 2010. / Adviser: John Shafer. Includes bibliographical references (p. 131-132).

Sweet Bird of Youth is Tennessee William's atmospheric play of 1959 about Chance Wayne, the one-time heart-throb of his hometown who returns hoping to break into the movies and find the girl he loved in his youth. Accompanied by faded movie star, Alexandra Del Lago, grieving in a haze of drugs and alcohol for her lost youth, he discovers that time is shortly to catch-up with him and wreak a terrible retribution for his past actions. In its exploration of corruption, ageing and the effects of time, the play offers a magnificent study of the dark side of the American dreams of youth and fame.This Student Edition provides an extensive introduction and notes by Katherine Weiss. The introduction includes a chronology of Williams' life and times, a summary of the plot, commentary on the characters, themes, language and context, and a production history of the play. Together with questions for further study and notes on words and phrases from the text, this is the essential edition of the play for students of literature and drama. / https://dc.etsu.edu/etsu_books/1184/thumbnail.jpg

Diss. : Philosophische Fakultät : Saarbrücken : 1980. - Bibliogr. p. 140-151. Bibliogr. des œuvres de Tennessee Williams p. 148. -

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A proposta desta tese é comprovar o número expressivo da obra ficcional de Tennessee Williams, relativamente extensa por abranger cerca de cinquenta contos, que representou de formas variadas a gênese ficcional de peças posteriores, além de apontar casos de peças vistas como matrizes que prefiguram a matéria ficcional de contos ou até mesmo de roteiros cinematográficos criados pelo autor. A predominância dos episódios em que os contos se colocam como matrizes ficcionais de importantes trabalhos dramatúrgicos do escritor foi constatada através do levantamento e da análise da produção dramatúrgica e ficcional de Tennessee Williams. Ao empreendermos o estudo analítico de três peças em um ato e uma peça em três atos [peça longa], foi possível estabelecermos a relação entre as peças e a estrutura ficcional dos contos, assim como apresentar um entendimento mais profundo dos processos formais e dos elos compositivos ligando sua ficção curta e a dramaturgia: The Dark Room [O Quarto Escuro, peça e conto, de aproximadamente 1939/1940], Something Unspoken [Algo não Dito, peça de 1953] e Happy August the Tenth [Feliz Dez de Agosto, conto de 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, conto de 1935] e a peça em um ato de mesmo título [escrita antes de 1946] e The Night of the Iguana [A Noite do Iguana: conto escrito entre 1946-48 e peça de mesmo título, em um ato, de 1959 e em três atos, de 1961]. Dessa forma, o diálogo entre diversos tipos de arte foi mapeado e as representações da história na dramaturgia e em sua ficção curta investigadas. / The purpose of this thesis is to prove the expressive number of short stories by Tennessee Williams, relatively high to be composed of around fifty short stories which represented in various manners the genesis of later theater plays, besides highlighting cases of plays seen/ considered sources of short-story telling or even screenplays written by the author. The supremacy of episodes in which the short stories are seen as fictional sources of dramaturgic works by the writer was confirmed by verifying and analyzing the theater and the production/creation of short stories by Tennessee Williams. By doing the analytical study of three theater plays in one-act and a three-act play [fulllength play] it was possible to establish the relationship between the theater plays and the structure of the short stories as well as present a more profound understanding of the formal processes and the links between the plays and his short stories: The Dark Room [O Quarto Escuro, theater play and short story, approximately 1939/1940], Something Unspoken [Algo não Dito, play, 1953] and Happy August the Tenth [Feliz Dez de Agosto, short story, 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, short story, 1935] and the one-act play with the same title [written before 1946] e The Night of the Iguana [A Noite do Iguana: short story written between 1946-48 and the play with the same title, in one act, in 1959 and in three acts, in 1961]. Therefore, the dialogue among various types of art was studied, besides the sources of inspiration of the playwright and the representations of history on drama and in his short stories investigated.

Submitted by Fernando Souza (fernandoafsou@gmail.com) on 2017-08-24T11:29:59Z No. of bitstreams: 1 arquivototal.pdf: 1236787 bytes, checksum: c4ae07f4375037e57a426f7e9e0cab82 (MD5) / Made available in DSpace on 2017-08-24T11:29:59Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1236787 bytes, checksum: c4ae07f4375037e57a426f7e9e0cab82 (MD5) Previous issue date: 2016-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research developed in this study intends to analyze, in the light of the theory of social drama, the dramatic actions of the characters Blanche Dubois and Stanley Kowalski in Tennessee Williams’ play A Streetcar Named Desire (translated into Portuguese as Um Bonde Chamado Desejo). In the analysis of that dramatic text, we use, as a theoretical basis for this study, basic concepts related to the dramatic genre, taking as a starting point the fundamentals of Aristotelian tragedy, as well as the contributions of the analytical theory of modern drama formulated by authors such as Hegel, John Howard Lawson, Raymond Williams and Sandra Luna. The contributions of these theorists led us to discern conflictive events in the development of the plot, conflicts mainly engendered by the actions of the main characters: Blanche DuBois and Stanley Kowalski. The antagonism represented by these opponents reveals a dialectical interplay between each character’s ethos and their deeds and words. From the conflicts they experience in the plot, the dramatic actions become tragic, in the sense formulated by Raymond Williams who defines social drama as “modern tragedy”. This study does not intend to make an exhaustive investigation about the play, but to contribute to the debate on the proposal made in this research, opening further discussions regarding the dramatic action in the play. / A pesquisa bibliográfica desenvolvida neste estudo pretende analisar, à luz da teoria do drama social, as evoluções dos conflitos entre as ações das personagens Blanche DuBois e Stanley Kowalski na peça A Streetcar Named Desire (traduzida para o Português como Um bonde chamado Desejo) do escritor Tennessee Williams. Na análise do texto dramático, utilizaremos como fundamentação teórica, conceitos relacionados ao gênero dramático, tomando como ponto de partida os fundamentos aristotélicos da tragédia, bem como as contribuições analíticas da teoria do drama moderno formulados por autores como Hegel, John Howard Lawson, Raymond Williams e Sandra Luna. As contribuições desses teóricos nos conduziram a análises sobre os eventos conflituosos na evolução da trama. Conflitos esses engendrados pelas personagens principais: Blanche DuBois e Stanley Kowalski. O antagonismo representado desses oponentes revela uma dialética ação recíproca entre o ethos das personagens, de suas intenções e palavras. A partir dos conflitos e das experiências representadas na trama, as ações dramáticas das personagens tornam-se trágicas, de acordo com Raymond Williams, que define o drama social como “tragédia moderna”. Este estudo não pretende esgotar o tema investigado, mas, contribuir para a reflexão sobre a proposta realizada e abrir possibilidades de discussões posteriores com relação à ação dramática da peça.

A proposta desta tese é comprovar o número expressivo da obra ficcional de Tennessee Williams, relativamente extensa por abranger cerca de cinquenta contos, que representou de formas variadas a gênese ficcional de peças posteriores, além de apontar casos de peças vistas como matrizes que prefiguram a matéria ficcional de contos ou até mesmo de roteiros cinematográficos criados pelo autor. A predominância dos episódios em que os contos se colocam como matrizes ficcionais de importantes trabalhos dramatúrgicos do escritor foi constatada através do levantamento e da análise da produção dramatúrgica e ficcional de Tennessee Williams. Ao empreendermos o estudo analítico de três peças em um ato e uma peça em três atos [peça longa], foi possível estabelecermos a relação entre as peças e a estrutura ficcional dos contos, assim como apresentar um entendimento mais profundo dos processos formais e dos elos compositivos ligando sua ficção curta e a dramaturgia: The Dark Room [O Quarto Escuro, peça e conto, de aproximadamente 1939/1940], Something Unspoken [Algo não Dito, peça de 1953] e Happy August the Tenth [Feliz Dez de Agosto, conto de 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, conto de 1935] e a peça em um ato de mesmo título [escrita antes de 1946] e The Night of the Iguana [A Noite do Iguana: conto escrito entre 1946-48 e peça de mesmo título, em um ato, de 1959 e em três atos, de 1961]. Dessa forma, o diálogo entre diversos tipos de arte foi mapeado e as representações da história na dramaturgia e em sua ficção curta investigadas. / The purpose of this thesis is to prove the expressive number of short stories by Tennessee Williams, relatively high to be composed of around fifty short stories which represented in various manners the genesis of later theater plays, besides highlighting cases of plays seen/ considered sources of short-story telling or even screenplays written by the author. The supremacy of episodes in which the short stories are seen as fictional sources of dramaturgic works by the writer was confirmed by verifying and analyzing the theater and the production/creation of short stories by Tennessee Williams. By doing the analytical study of three theater plays in one-act and a three-act play [fulllength play] it was possible to establish the relationship between the theater plays and the structure of the short stories as well as present a more profound understanding of the formal processes and the links between the plays and his short stories: The Dark Room [O Quarto Escuro, theater play and short story, approximately 1939/1940], Something Unspoken [Algo não Dito, play, 1953] and Happy August the Tenth [Feliz Dez de Agosto, short story, 1970]; Twenty-seven Wagons Full of Cotton [Vinte e sete Carros de Algodão, short story, 1935] and the one-act play with the same title [written before 1946] e The Night of the Iguana [A Noite do Iguana: short story written between 1946-48 and the play with the same title, in one act, in 1959 and in three acts, in 1961]. Therefore, the dialogue among various types of art was studied, besides the sources of inspiration of the playwright and the representations of history on drama and in his short stories investigated.

A Student Handbook to the Plays of Tennessee Williams provides the essential guide to Williams' most studied and revived dramas. Authored by a team of leading scholars, it offers students a clear analysis and detailed commentary on four of Williams' plays: The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof and Sweet Bird of Youth. A consistent framework of analysis ensures that whether readers are wanting a summary of the play, a commentary on the themes or characters, or a discussion of the work in performance, they can readily find what they need to develop their understanding and aid their appreciation of Williams' artistry. A chronology of the writer's life and work helps to situate all his works in context and the introduction reinforces this by providing a clear overview of Williams' writing, its recurrent themes and concerns and how these are intertwined with his life and times. For each play the author provides a summary of the plot, followed by commentary on: * The context * Themes * Characters * Structure and language * The play in production (both on stage and screen adaptations) Questions for study, and notes on words and phrases in the text are also supplied to aid the reader. The wealth of authoritative and clear commentary on each play, together with further questions that encourage comparison across Williams' work and related plays by other leading writers, ensures that this is the clearest and fullest guide to Williams' greatest plays. / https://dc.etsu.edu/etsu_books/1183/thumbnail.jpg

Thesis (M.A. (Drama))--Rhodes University, 2003. / "A thesis sumbitted in partial fulfiment of the requirements for the degree of Master of Arts."