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Streetcar Named Desire

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  • 1pagina
  • 1 ora di lettura

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The Pulitzer Prize and Drama Critics Circle Award winning play—reissued with an introduction by Arthur Miller (<i>Death of a Salesman</i> and <i>The Crucible</i>), and Williams’ essay “The World I Live In.” It is a very short list of 20th-century American plays that continue to have the same power and impact as when they first appeared—57 years after its Broadway premiere, Tennessee Williams’ <i>A Streetcar Named Desire</i>is one of those plays. The story famously recounts how the faded and promiscuous Blanche DuBois is pushed over the edge by her sexy and brutal brother-in-law, Stanley Kowalski. <i>Streetcar</i> launched the careers of Marlon Brando, Jessica Tandy, Kim Hunter, and Karl Malden, and solidified the position of Tennessee Williams as one of the most important young playwrights of his generation, as well as that of Elia Kazan as the greatest American stage director of the ’40s and ’50s.

Acquisto del libro

Streetcar Named Desire, Tennessee Williams

Lingua
Pubblicato
1986
Rilegatura
(In brossura),
Condizioni del libro
Danneggiato
Prezzo
6,09 €

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Titolo
Streetcar Named Desire
Lingua
Inglese
Editore
Signet
Pubblicato
1986
Formato
In brossura
Pagine
1
ISBN10
0451148312
ISBN13
9780451148315
Serie
Descrizione
The Pulitzer Prize and Drama Critics Circle Award winning play—reissued with an introduction by Arthur Miller (<i>Death of a Salesman</i> and <i>The Crucible</i>), and Williams’ essay “The World I Live In.” It is a very short list of 20th-century American plays that continue to have the same power and impact as when they first appeared—57 years after its Broadway premiere, Tennessee Williams’ <i>A Streetcar Named Desire</i>is one of those plays. The story famously recounts how the faded and promiscuous Blanche DuBois is pushed over the edge by her sexy and brutal brother-in-law, Stanley Kowalski. <i>Streetcar</i> launched the careers of Marlon Brando, Jessica Tandy, Kim Hunter, and Karl Malden, and solidified the position of Tennessee Williams as one of the most important young playwrights of his generation, as well as that of Elia Kazan as the greatest American stage director of the ’40s and ’50s.