Tennessee Williams and Europe

Intercultural Encounters, Transatlantic Exchanges

Series:

Editor: John S. Bak
Tennessee Williams and Europe: Intercultural Encounters, Transatlantic Exchanges documents the bi-directional exchange of ideas and images between Williams and post-war Europe that have altered the artistic landscapes of both continents. Fifteen Williams scholars from around the world examine this artistic symbiosis and explore avenues of research mostly uncharted in Williams scholarship to date, including our understanding of the early Williams and the uses he made of various European sources in his theatre; the late Williams and the promise European theatre afforded him with his experimental plays; and the posthumous Williams and his influence on late twentieth- and early twenty-first-century European theatre and cinema. To some extent both a product of and a muse for Europe over the last half century, Williams is well positioned to become America’s most famous playwright on the international stage. This book hopes to mark the beginnings of Williams’ rich critical tradition within that global context.

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Biographical Note

John S. Bak is Professeur at the Université de Lorraine in France. He holds degrees from the University of Illinois, Ball State University and the Sorbonne in Paris. He was a Fulbright Scholar at Univerzity Palackého in the Czech Republic in 1995 and a Visiting Research Fellow at Oxford (2014), Columbia (2013), and Harvard (2011) universities. He is the editor of Tennessee Williams’ New Selected Essays: Where I Live (2009) and the author of the monographs Ernest Hemingway, Tennessee Williams, and Queer Masculinities (2009) and Tennessee Williams: A Literary Life (2013).

Table of contents

Illustrations Ackowledgments “Foreword”, Thomas Keith: “Introduction”, John S. Bak: Part One: Tennessee Williams and EuropeEn avant! Tennessee Williams between Hyperborea and the Mediterranean”, Felicia Hardison Londré: “‘Violets & Carnations Sold on every Corner’: Tennessee Williams, Europe and Flowers”, James M. DelPrince: “‘Lightning in a Cloud’: Tennessee Williams’ Theatrical Expressionism”, Henry I. Schvey: “Sergei Eisenstein, Hollywood and Tennessee Williams’ ‘Plastic Theatre’”, Richard Hayes: “The View from Here and Abroad: Tennessee Williams and 1950s Hollywood Cinema”, R. Barton Palmer: Part Two: Tennessee Williams and Europe’s Intercultural Encounters “Williams and Bergman, Lust and Death: Culturally Translating A Streetcar Named Desire in Post-war Sweden”, Dirk Gindt: “Tennessee Williams’ Ladies Speak Italian: Cinematic Voices on Stage and in Dubbing”, Alessandro Clericuzio: “Sea, Sun and ‘Quien Sabe!’: Tennessee Williams and Spain”, Laura Torres-Zúñiga: “Tennessee Williams in Spain: The Early Years (1945-1957)”, Ramón Espejo Romero: “Tennessee Williams on the Bulgarian Stage: Cold War Politics and Politics of Reception”, Kornelia Slavova: Part Three: Tennessee Williams and Europe’s Transatlantic Exchanges “The Kindness of Strangers?: Tennessee Williams in France and Germany”, David Savran: “Their Date with Each Other from the Beginning: Tennessee Williams and Harold Pinter”, Michael Paller: “Tennessee Williams and Ivo van Hove at Home Abroad”, Johan Callens: “Un Tramway: Warlikowski’s Desire to Reignite American Theatre in Europe”, Xavier Lemoine: “Pedro Almodóvar’s ‘Homage’ to Tennessee Williams”, Michael S. D. Hooper: Notes on Contributors Index

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