The History of Southern DramaUniversity Press of Kentucky, 14. dec. 2021 - 304 strani Mention southern drama at a cocktail party or in an American literature survey, and you may hear cries for "Stella!" or laments for "gentleman callers." Yet southern drama depends on much more than a menagerie of highly strung spinsters and steel magnolias. Charles Watson explores this field from its eighteenth- and nineteenth-century roots through the southern Literary Renaissance and Tennessee Williams's triumphs to the plays of Horton Foote, winner of the 1994 Pulitzer Prize. Such well known modern figures as Lillian Hellman and DuBose Heyward earn fresh looks, as does Tennessee Williams's changing depiction of the South—from sensitive analysis to outraged indictment—in response to the Civil Rights Movement. Watson links the work of the early Charleston dramatists and of Espy Williams, first modern dramatist of the South, to later twentieth-century drama. Strong heroines in plays of the Confederacy foreshadow the spunk of Tennessee Williams's Amanda Wingfield. Claiming that Beth Henley matches the satirical brilliance of Eudora Welty and Flannery O'Connor, Watson connects her zany humor to 1840s New Orleans farces. |
Vsebina
The Dramatist as Humorist in New Orleans | |
Drama Goes to | |
The Modern Drama of Espy Williams | |
The Leadership of Paul Green | |
The Southern Marxism of Lillian Hellman | |
Politics or Culture | |
Randolph Edmonds and Civil Rights | |
The Cultural Imagination of Tennessee Williams | |
Past and Present Cultures in Recent Drama | |
Politics Culture and the Rise of Southern Drama | |
Notes | |