000			03262cam a2200373Ki 4500
001			ocn903391257
003			OCoLC
005			20240726104934.0
008			150213s2015 nyu ob 001 0 eng d
040			_aCAMBR _beng _erda _epn _cCAMBR _dCDX _dOCLCF _dYDXCP _dNT
020			_a9781139924603 _q((electronic)l(electronic)ctronic)
020			_a9781316248256 _q((electronic)l(electronic)ctronic)
029	1		_aNLGGC _b393296490
050	0	4	_aPS3545 _b.T466 2015
049			_aNTA
100	1		_aSaddik, Annette J., _d1966- _e1
245	1	0	_aTennessee Williams and the theatre of excess : _bthe strange, the crazed, the queer / _cAnnette J. Saddik.
260			_aNew York : _bCambridge University Press, _c(c)2015.
300			_a1 online resource.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
520	0		_a"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 these plays 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.""-- _cProvided by publisher.
504			_a2
505	0	0	_aMachine generated contents note: Introduction: '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'.
530			_a2 _ub
600	1	0	_aWilliams, Tennessee, _d1911-1983 _xCriticism and interpretation.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=946337&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPS. _m2015 _QOL _R _x _8NFIC _2LOC
994			_a02 _bNT
999			_c83592 _d83592
902			_a1 _bCynthia Snell _c1 _dCynthia Snell