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In her Tennessee Williams on the Soviet Stage book, Irene Shaland explores the history and problems involved in staging Tennessee Williams’s works in the Soviet theater. This book has five chapters and discusses 1970s – early 1980s Russian productions of five plays, A Streetcar Named Desire, The Glass Menagerie, Orpheus Descending, Sweet Bird of Youth, and Kingdom of Earth, in several Moscow, St. Petersburg (Leningrad), and provincial theaters. This production-based study serves as a useful resource to theater historians interested in intercultural interpretations of the great American playwright.
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It has been over a quarter of a century since the first edition of this book was published by the University Press of America. Since then, I never stopped receiving inquiries from my theater-loving friends, acquaintances, and students of dramatic arts. Some questions focused on specifics of how Tennessee Williams was interpreted many years ago in the country where I grew up, so far removed, both in time and space, from the intellectual and cultural climate of Broadway. The majority of correspondents, however, wanted to understand why this American playwright was so important in the dreary world of Brezhnev's Soviet Union. Now as ever, Tennessee Williams remains America's most famous playwright on the international stage. His plays are appearing in theaters all over the world, from Moscow to Tokyo. At the same time, there is no shortage of scholarly articles analyzing intercultural interpretations of Tennessee Williams. Williams lived in fear of time as his most aggressive enemy that would turn him into a footnote in literary history. How ironic that after the playwright's death, time became his steadfast supporter continuously confirming and re-confirming Tennessee Williams' relevance to audiences around the world. None of the staged plays analyzed in my book were video-taped and YouTube of course did not exist. It is my hope that my production-based study will continue to contribute to the immortality of my favorite playwright as well as to the understanding of cultural diversity that bring us theater lovers, together across time and borders.About the Author:
Irene Shaland is an internationally published art and theater writer, educator, and lecturer. "Tennessee Williams on the Soviet Stage" was her first publication in the United States based on her extensive experience in the 1970s and 1980s as a theater history student and theater critic in St. Petersburg, Russia. Irene's second book, "American Theater and Drama Research," was a monograph on the methodology of research in American Theater and Drama. Irene is a prolific journalist, and her numerous essays are regularly published in the United States, Canada, United Kingdom, and Kenya. Her articles on theater appeared in the Theater Journal and American Theater magazine. Irene lectured on cinematography, theater, and intercultural interpretations of American drama in the Cleveland Playhouse, Cleveland Cinematheque, and the Great Lakes Theater Festival, among others. Irene also served as a consultant to Josephine R. Abady, artistic director of the Circle on the Square and the Cleveland Playhouse when she staged "A Streetcar Named Desire" in Volgograd, Russia and then brought this American classic to Cleveland.Irene holds a B.A. in Theater Journalism and Art History from St. Petersburg University, Russia; a Master's Degree in English from Case Western Reserve University, Cleveland, Ohio, USA; and a Master's Degree in Information Science from Kent State University, Cleveland, Ohio, USA. Irene and her family reside in Cleveland, Ohio.
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Book Description University Press of America, 1987. Condition: Very Good. Ships from the UK. Former Library book. Great condition for a used book! Minimal wear. Seller Inventory # GRP96585143
Book Description University Press of America, 1987. Condition: Fair. This book has hardback covers. Ex-library, With usual stamps and markings, In fair condition, suitable as a study copy. Seller Inventory # 3782347