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A Streetcar Named Desire is a play written by Tennessee Williams and first performed on Broadway on December 3, 1947. [1] The play dramatizes the experiences of Blanche DuBois, a former Southern belle who, after encountering a series of personal losses, leaves her once-prosperous situation to move into a shabby apartment in New Orleans rented by her younger sister Stella and brother-in-law ...
A Streetcar Named Desire is a 1951 American Southern Gothic drama film adapted from Tennessee Williams's Pulitzer Prize-winning play of the same name. Directed by Elia Kazan , it stars Vivien Leigh , Marlon Brando , Kim Hunter , and Karl Malden .
Thomas Lanier Williams III (March 26, 1911 – February 25, 1983), known by his pen name Tennessee Williams, was an American playwright and screenwriter. Along with contemporaries Eugene O'Neill and Arthur Miller , he is considered among the three foremost playwrights of 20th-century American drama.
"The Streetcar Project" brought Tennessee Williams' "A Streetcar Named Desire" to Los Angeles for six performances, three in a Frogtown airplane hangar and three in a Venice Beach warehouse.
"On a Streetcar Named Success" is an essay by Tennessee Williams about the corrupting impact of fame on the artist. [1] The essay first appeared in The New York Times on November 30, 1947, four days before the premiere of A Streetcar Named Desire .
Blanche DuBois (married name Grey) is a fictional character in Tennessee Williams' 1947 Pulitzer Prize-winning play A Streetcar Named Desire.The character was written for Tallulah Bankhead and made popular to later audiences with Elia Kazan's 1951 film adaptation of Williams' play; A Streetcar Named Desire, starring Vivien Leigh and Marlon Brando.
Karl Malden (born Mladen George Sekulovich; March 22, 1912 – July 1, 2009) was an American stage, movie and television actor who first achieved acclaim in the original Broadway productions of Arthur Miller's All My Sons and Tennessee Williams' A Streetcar Named Desire in 1946 and 1947.
"The Catastrophe of Success" is an essay by Tennessee Williams about art and the artist's role in society. It is often included in paper editions of The Glass Menagerie. [1]A version of this essay first appeared in The New York Times, [1] November 30, 1947, four days before the opening of A Streetcar Named Desire (previously titled "The Poker Night").