American Drama in the Age of Film

Index

American Theatre, 146 America Play, The, 29 Angel City, 106, 109, 110, 112 Angels in America, 132, 145, 156–69; adherence of film to dramatic antecedent , xiv; cinematic credits of film, 156; contrapuntal dramatic structure resists stasis, 166–168; dialectical splits within characters, 163–64; doubling roles in theater and film, 163– 64; dramatic and visual challenge, xvii; film borrows techniques from theater, 162–63; HBO audience dwarfs theatrical counterpart, 156–57; imaginative use of stage celebrates life’s abundance, 168–69; impressive artistic pedigree of film, 157; plot resists simple narrative , 159–60; realistic mandate of film, 161–62; split scenes as dramaturgical technique, 164–66; stage as playground of desire, 168; theatricality, 157–58, 160–61; themes of reconciliation and forgiveness, 168; use of cinematic elements and techniques for theatrical effects, 158–59 Anna Christie, 36–37, 44 Another Part of the Forest, 53 Appia, Adolphe, 32 Arabesque patterns of plot, 7 Archer, William, 11 Aristotle, 12–17, 107, 130, 159; dramatic structure, 127; on character as habitual action, 125; on comedy, 17, 174n10; six elements of drama, 12. See also spectacle Arkin, Alan, 117 Arnheim, Rudolf, 2, 30, 33 Aronson, Arnold, 158 Art and Visual Perception, 33 Artaud, Antonin, 5, 11, 12, 14, 15, 23, 28, 174n9. See also spectacle, mise-en-scène Art of Dining, The, 26 As Is, 145 Association for Theatre in Higher Education (ATHE), 6 Astor Place Riot, 25–26 Aura, 7 Auslander, Philip, xix, 7, 9, 12 Autumn Garden, The, 53 Back Bog Beast Bait, 108 Baldwin, Alec, 117, 118, 122, 124 Baltimore Waltz, The, 32, 145, 175n7 Barnes, Clive, 10, 105, 159 Barr, Tony, 20 Barranger, Milly S., 11 Bazin, André, 28 Beatty, Ned, 174n2 Beatty, Warren, 49–50 Index 192 / Index Benjamin, Walter, xix, 7, 21, 27 Bentley, Eric, 52–53, 63, 73, 74 Beyond the Horizon, 44 Bible, The, 17 Bigsby, C. W. E., 127–28 Birth and After Birth, 31 Black, David, 11, 30 “Blue Skies,” 121, 123 Bogdanovich, Peter, 40 Bone, David, 44 Bottoms, Stephen J., 97, 101, 109 Bound East for Cardiff, xviii, 37, 38, 40, 41–42, 47, 49; first O’Neill play performed , 37, 46. See also Glencairn Cycle Boyle, Peter, 103 Brecht, Bertolt, xvi, xviii, 10, 12, 14, 23, 153–54; “Epic Theater,” 15–16 Brewster, Ben 5 Broadway Theatre Archive, 80 Brook, Peter, 14, 23, 27–28 Brooks, Peter, 174n7 Brooks, Richard, xiii, 65, 66, 177n2 Bruckheimer, Jerry, 162 Bryan, William Jennings, 17 Bryant, Louise, 49–50 Buried Child, 105, 112–13 Burton, Richard, xv, 94 Caine, Michael, 19, 20 Callow, Simon, 157, 162 Camille (La Dame aux camélias), 145, 160 Camus, Albert, 49 Catharsis, 7, 28 Cat on a Hot Tin Roof, 64–77, 90, 174– 75n2; bed and console cabinet visualize themes of life, death, and fear of intimacy, 67; bed as central, fixed image and meaning of play, 64–65, 67, 69, 70, 71; Brick as passive object of desire, 75–76, 177n3; Brick’s unbending puritanical code, 76–77; compromised union at conclusion affirms life and living, 77; drama capitalizes upon familiar unities, 67; dramatic and visual challenge, xvii; feminization of Brick similar to playwright’s Southern heroines, 72; film downplays sex, 64; happy ending of Hollywood film, 65; influence of Hays Code on film version, xiii; Kazan’s decision to “open play out,” 67; Maggie as titular character and protagonist, 71– 72; Maggie personifies redemptive life force, 72–75; Maggie steals sexual energy normally reserved for Williams ’s male heroes, 72, 77; mendacity as means of survival, 69–70; pervasive theme of death, 68–69; pivotal confrontation scene moves throughout house in film, 66–67; questions of homosexuality, 73–74, 177n4; scenic expansiveness of film dilutes purity of play, 64–67; sexual desire as antidote to fear of death, 70–71; stage setting as cage, 67–69; Williams didn’t like film version, 65 Cavell, Stanley, 53 Cenci, The, 15 Chaikin, Joseph, 15 Chaney Jr., Lon, xvi Chekhov, Anton, xviii, 4–5, 10, 45–46, 47, 56 Cherry Lane Theatre, 103, 115 Cherry Orchard, The, 5, 10 Chicago, 105–6 Childe Byron, 32 Children of the Sea, 47 Children’s Hour, The, 51–63; contrived ending, 56; drama promotes desire to see what can’t be seen, xvii, 51, 53, 57–64; elegant living room as seat of power, 53–55; explicitness of films, 53, 57; film versions compared to play, [18.191.147.190] Project MUSE (2024-04-25 10:43...