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By Tracy Letts

El retrato de una familia disfuncional de los angeles América profunda en su peor momentoIngenio, acidez, ironía, tragedia y mucho humor negroTras l. a. desaparición del patriarca de los Weston una calurosa noche de de verano, el extended family se ve obligado a reunirse en los angeles casa regularly occurring de Pawhuska, Ocklahoma, donde sentimientos reprimidos du rante años estallan en un torrente de emociones. Todos estarán bajo l. a. influencia de Violet, una mujer que cuando no está absolutamente drogada por las píldoras, suelta veneno por l. a. boca; se enfrentarán con su pasado y su presente, entre secretos y verdades a medias.Premio Pulitzer de Teatro 2008, l. a. adaptación cinematográfica de los angeles novela está protagonizada por Julia Roberts, Meryl Streep y Ewan McGregor.

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4 Tennessee Williams, The Night of the Iguana (New York: New Directions, 2009), 54. , 73. ”6 Williams’ interest in “the fantastic” would naturally lead him to experiment with anti-realistic styles throughout his career. He was particularly drawn to German Expressionism, believing that its dreamlike distortions were an effective means of accessing the truths that exist behind the surfaces of constructed social realities. He would directly embrace an expressionistic style in several of his later plays, such as A House Not Meant to Stand – his “Spook Sonata” in the tradition of Strindberg that he subtitles “A Gothic Comedy”7 – as well as in his other “Ghost Plays,” most notably Will Mr.

74. , 100–101. , 65. , 62. , 124. , 101. , 74. Germans as grotesque comic figures 27 stereotypes of German humor. They laugh hysterically upon finding out that Shannon “make pee-pee all over the suitcases of the ladies from Texas,” and call this gesture “vunderbar, vunderbar! Hah? ”27 Hannah therefore signifies purity, pointing to heaven and a transcendence of the body, while the Germans are lascivious, ravenous devils reveling in lowly pleasures. ”28 Moreover, since the Germans are identified as Nazis, this contradiction has particular significance.

18 Tennessee Williams and the Theatre of Excess replaced the central narrative with excerpts from other Williams plays, focusing on moments in the early work that echo The Two-Character Play, particularly the brother–sister relationship. In the first act, Glass Guignol uses The Glass Menagerie as its play-within-a-play, and brings in the screen titles that were omitted from the original production, which emphasized the irony that is present across Williams’ oeuvre. The carnival and calliope music in the piece was particularly effective in getting across the tone, and the acting – done in an exaggerated, self-conscious style – highlighted a particular interpretation that the late work invites, an almost Hammer Horror excess.

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