Tennessee Williams in Sweden and France, 1945-1965: Cultural Translations, Sexual Anxieties and Racial Fantasies (Hardback)
  • Tennessee Williams in Sweden and France, 1945-1965: Cultural Translations, Sexual Anxieties and Racial Fantasies (Hardback)
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Tennessee Williams in Sweden and France, 1945-1965: Cultural Translations, Sexual Anxieties and Racial Fantasies (Hardback)

(author)
£75.00
Hardback 272 Pages / Published: 24/01/2019
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The immediate post-war period marks a pivotal moment in the internationalization of American theatre when Tennessee Williams' plays became some of Broadway's most critically acclaimed and financially lucrative exports. Dirk Gindt offers a detailed study of the production and reception of Williams' work on Swedish and French stages at the height of his popularity between 1945 and 1965. Analysing the national openings of seminal plays, including The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, Orpheus Descending and Suddenly Last Summer, Gindt provides rich and nuanced insights into Williams' transnational impact. In the process, he charts a network of fascinating and influential directors, actors, designers, producers and critics, all of whom left distinctive marks on mid-twentieth-century European theatre and culture. Gindt further demonstrates how Williams' work foregrounded cultural apprehensions, racial fantasies and sexual anxieties, which resulted in heated debates in the critical and popular media.

Publisher: Bloomsbury Publishing PLC
ISBN: 9781350022072
Number of pages: 272
Weight: 463 g
Dimensions: 216 x 138 mm


MEDIA REVIEWS
Dirk Gindt's meticulously researched book offers valuable new insights into the broader impact of Williams' oeuvre from an interdisciplinary perspective that engages the complexities involved in cultural migration -- Annette J. Saddik, City University of New York, USA
Dirk Gindt's meticulously researched study of the reception of Tennessee Williams's best-known plays in Sweden and France is a revelation. His is the first book to analyze the European premieres of Williams's plays by some of the most eminent directors and actors of the period. Gindt's elegantly written prose demonstrates that these plays, first seen during the height of the Cold War, served as lightning rods in Europe for heated debates about anti-Americanism, homophobia, female sexuality, and race relations. -- David Savran, The Graduate Center, City University of New York, USA

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