How did a sleepy New England fishing village become a gay mecca? In this dynamic history, the author explains why Provincetown, Massachusetts, --alternately known as "Land's End," "Cape-tip," "Cape-end," and, to some, "Queersville, U.S.A."--has meant many things to many people. 36 photos.
Tennesse Williams in Provincetown is the story of Tennesse Williams' four summer seasons in Provincetown, Massachusetts: 1940, '41, '44 and '47. During that time he wrote plays, short stories, and jewel-like poems. In Provincetown Williams fell in love unguardedly for perhaps the only time in his life. He had his heart broken there, perhaps irraparably. The man he thought might replace his first lover tried to kill him there, or at least Williams thought so. Williams drank in Provincetown, he swam there, and he took conga lessons there. He was poor and then rich there; he was photographed naked and clothed there. He was unknown and then famous--and throughout it all Williams wrote every morning. The list of plays Williams worked on in Provincetown include The Glass Menagerie, A Streetcar Named Desire, Summer and Smoke, the beginnings of The Night of the Iguana and Suddenly Last Summer, and an abandoned autobiographical play set in Provincetown, The Parade. Tennessee Williams in Provincetown collects original interviews, journals, letters, photographs, accounts from previous biographies, newspapers from the period, and Williams' own writing to establish how the time Williams spent in Provincetown shaped him for the rest of his life. The book identifies major themes in Williams' work that derive from his experience in Provincetown, in particular the necessity of recollection given the short season of love. The book also connects Williams mature theatrical experiments to his early friendships with Jackson Pollack, Lee Krasner and the German performance artist Valeska Gert. Tennessee Williams in Provincetown, based on several years of extensive research and interviews, includes previously unpublished photographs, previously unpublished poetry, and anecdotes by those who were there.
Co-founder of the Provincetown Players and one of its leading writers, Susan Glaspell won the Pulitzer Prize for Alison's House (1930) and was also successful as an actress, producer, and novelist. Her plays were compared, often favorably, with O'Neill's. After a period of eclipse, Glaspell's concern with woman's desire for selfhood brought her plays to the attention of feminist scholarship beginning in the 1970s. Mary Papke argues in this work for a reassessment of Glaspell as a major American playwright. This sourcebook begins with a bio-critical survey and includes plot summaries for each staged work, complete with production history and critical reception. An annotated bibliography of primary works includes plays, novels, short fiction, nonfiction, nonprint, and archival sources. The secondary bibliography documents reviews and provides extensive annotations for a broad range of materials. Chronologically organized, it constitutes a detailed examiniation of Glaspell criticism.
Susan Glaspell and Sophie Treadwell presents critical introductions to two of the most significant American dramatists of the early twentieth century. Glaspell and Treadwell led American Theatre from outdated melodrama to the experimentation of great European playwrights like Ibsen, Strindberg and Shaw. This is the first book to deal with Glaspell and Treadwell’s plays from a theatrical, rather than literary, perspective, and presents a comprehensive overview of their work from lesser known plays to seminal productions of Trifles and Machinal. Although each woman pursued her own themes, subjects and manner of stage production, this shared volume underscores the theatrical and cultural conditions influencing female playwrights in modern America.
This volume explores the history of American drama from the eighteenth to the twentieth century. It describes origins of early republican drama and its evolution during the pre-war and post-war periods. It traces the emergence of different types of American drama including protest plays, reform drama, political drama, experimental drama, urban plays, feminist drama and realist plays. This volume also analyzes the works of some of the most notable American playwrights including Eugene O'Neill, Tennessee Williams, and Arthur Miller and those written by women dramatists.
Eugene O'Neill, Nobel Laureate in Literature and Pulitzer Prize winner, is widely known for his full length plays. However, his one-act plays are the foundation of his work - both thematically and stylistically, they telescope his later plays. This collection aims to fill the gap by examining these texts, during what can be considered O'Neill's formative writing years, and the foundational period of American drama. A wide-ranging investigation into O'Neill's one-acts, the contributors shed light on a less-explored part of his career and assist scholars in understanding O'Neill's entire oeuvre.