Brenda Murphy – författare

This collection of social, cultural, and historical documents and popular materials, with linking explanations and commentary, will help the reader to study the play in the context of its time and cultural background. The collected materials are designed to work with the play to highlight inherent conflicts within American society which lie at the heart of Death of a Salesman, and to explore how the play affects and is affected by social mores and beliefs. Salesmanship and the changing face of business, along with perceptions of sports, gender, and families, are explored through selections drawn from a rich variety of sources that help provide forceful evidence of the play's influence. Documents include essays, articles, and fiction, which have created or explored the social expectations of a typical American family in the late 1940s; unusual selections such as a self-analysis chart, an obituary, and a diary, which help to trace the history of salesmanship from the nineteenth century to the present day; and advertisements, song lyrics, speeches, how-to books, and other readings that promote an interdisciplinary study of the play.More than 70 short primary documents illustrate the cultural, social and historical milieu of the time in which the play takes place. Topics explored under Cultural Myths and Values include the Protestant work ethic vs. myths of success, the myth of the golden West vs. urban myth, and the culture of youth vs. the culture of age. A chapter on economic forces provides materials on business vs. morality, humanity vs. technology, the haves and the have-nots, American business culture, the Depression, and how to be an effective salesman. A chapter on family and gender expectations includes documents on the roles of fathers and mothers, providers vs. cowboys or playboys, and homemakers vs. call girls. A chapter on sports and leisure features documents on amateur football and sports and American values. A final chapter examines the impact of Death of a Salesman on American culture. Each chapter is followed by study questions, topics for writing and discussion, and a list of suggested reading. This work is an ideal companion for interdisciplinary study of the play.

This volume addresses the work of women playwrights throughout the history of the American theatre, from the early pioneers to contemporary feminists. Each chapter introduces the reader to the work of one or more playwrights and to a way of thinking about plays. Together they cover significant writers such as Rachel Crothers, Susan Glaspell, Lillian Hellman, Sophie Treadwell, Lorraine Hansberry, Alice Childress, Megan Terry, Ntozake Shange, Adrienne Kennedy, Wendy Wasserstein, Marsha Norman, Beth Henley and Maria Irene Fornes. Playwrights are discussed in the context of topics such as early comedy and melodrama, feminism and realism, the Harlem Renaissance, the feminist resurgence of the 1970s and feminist dramatic theory. A detailed chronology and illustrations enhance the volume, which also includes bibliographical essays on recent criticism and on African-American women playwrights before 1930.

This is a book-length study of the collaboration between Tennessee Williams and Elia Kazan. Their intense creative relationship, fuelled by a deep personal affinity that endured until Williams's death, lasted from 1947 until 1960. The production of A Streetcar Named Desire established Williams as America's greatest playwright and Kazan as its most important director; together they created some of the most influential theatrical events of the post-war era. In this book Brenda Murphy analyses this artistic partnership and the plays and theatrical techniques the artists developed collaboratively in their productions of A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, and Sweet Bird of Youth. In addition, Murphy suggests alternative ways to examine the working relationship between playwright and director which can be applied to other practitioners in twentieth-century drama. The book contains numerous illustrations from important productions.

The importance of Native American realism is traced through a study of the evolution of dramatic theory from the early 1890s through World War I and the uniquely American innovations in realistic drama between world wars.

The Provincetown Players was a major cultural institution in Greenwich Village from 1916 to 1922, when American Modernism was conceived and developed. This study considers the group's vital role, and its wider significance in twentieth-century American culture. Describing the varied and often contentious response to modernity among the Players, Murphy reveals the central contribution of the group of poets around Alfred Kreymborg's Others magazine, including William Carlos Williams, Wallace Stevens, Mina Loy and Djuna Barnes, and such modernist artists as Marguerite and William Zorach, Charles Demuth and Bror Nordfeldt, to the Players' developing modernist aesthetics. The impact of their modernist art and ideas on such central Provincetown figures as Eugene O'Neill, Susan Glaspell, and Edna St Vincent Millay and a second generation of artists, such as e. e. cummings and Edmund Wilson, who wrote plays for the Provincetown Playhouse, is evident in Murphy's close analysis of over thirty plays.

The importance of Native American realism is traced through a study of the evolution of dramatic theory from the early 1890s through World War I and the uniquely American innovations in realistic drama between world wars.

This is a book-length study of the collaboration between Tennessee Williams and Elia Kazan. Their intense creative relationship, fuelled by a deep personal affinity that endured until Williams's death, lasted from 1947 until 1960. The production of A Streetcar Named Desire established Williams as America's greatest playwright and Kazan as its most important director; together they created some of the most influential theatrical events of the post-war era. In this book Brenda Murphy analyses this artistic partnership and the plays and theatrical techniques the artists developed collaboratively in their productions of A Streetcar Named Desire, Camino Real, Cat on a Hot Tin Roof, and Sweet Bird of Youth. In addition, Murphy suggests alternative ways to examine the working relationship between playwright and director which can be applied to other practitioners in twentieth-century drama. The book contains numerous illustrations from important productions.

This is the first book to provide a critical history of one of American theatre's most famous plays, Death of a Salesman. Brenda Murphy offers a detailed account of the most significant Salesman productions throughout the world, on the stage as well as in film, radio, and television. The Death of a Salesman that was first realised on stage was the culmination of the creative collaboration among playwright Arthur Miller, director Elia Kazan, and actor Lee J. Cobb, and was the starting point for hundreds of productions in many languages and styles. The play has also provided a number of memorable interpretations by actors such as Dustin Hoffman, George C. Scott, Frederic March, and Mel Gibson. The volume includes a production chronology, bibliography, discography, videography, and photographs from key productions.

This volume addresses the work of women playwrights throughout the history of the American theatre, from the early pioneers to contemporary feminists. Each chapter introduces the reader to the work of one or more playwrights and to a way of thinking about plays. Together they cover significant writers such as Rachel Crothers, Susan Glaspell, Lillian Hellman, Sophie Treadwell, Lorraine Hansberry, Alice Childress, Megan Terry, Ntozake Shange, Adrienne Kennedy, Wendy Wasserstein, Marsha Norman, Beth Henley and Maria Irene Fornes. Playwrights are discussed in the context of topics such as early comedy and melodrama, feminism and realism, the Harlem Renaissance, the feminist resurgence of the 1970s and feminist dramatic theory. A detailed chronology and illustrations enhance the volume, which also includes bibliographical essays on recent criticism and on African-American women playwrights before 1930.

Congressional Theatre is the first book to identify and examine the significant body of plays, films, and teleplays that responded to the actions of the House Committee on Un-American Activities during the 'show business hearings' it held between 1947 and 1960. Brenda Murphy discusses the dramatization in the works of HUAC's effects on American life and the political, social, and moral issues that its actions raised for American citizens. Among the writers discussed are Arthur Miller, Bertolt Brecht, Lillian Hellman, Maxwell Anderson, Elia Kazan, Barrie Stavis, Herman Wouk, Eric Bentley, Saul Levitt, Budd Schulberg, Carl Foreman, Abraham Polonsky, and Walter Bernstein.

This is the first full production history of Long Day's Journey Into Night, by Eugene O'Neill, one of the most influential plays of the twentieth century. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. Brenda Murphy examines the unique circumstances that led to the posthumous world premiere in Stockholm, in a Swedish translation. Murphy also explores the subsequent first production in English, on Broadway, which established a standard for future directors and actors. The book conveys the unique interpretations of the Tyrone family by such actors as Fredric March, Jason Robards, Laurence Olivier, Ralph Richardson, Katharine Hepburn, Colleen Dewhurst, Ruby Dee, Kevin Spacey, Jack Lemmon, and Alan Bates, among other distinguished theatre artists. An extensive production chronology provides details about nearly 100 productions throughout the world. This illustrated history also includes an extensive bibliography, discography and videography.

This is the first full production history of Long Day's Journey Into Night, by Eugene O'Neill, one of the most influential plays of the twentieth century. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. Brenda Murphy examines the unique circumstances that led to the posthumous world premiere in Stockholm, in a Swedish translation. Murphy also explores the subsequent first production in English, on Broadway, which established a standard for future directors and actors. The book conveys the unique interpretations of the Tyrone family by such actors as Fredric March, Jason Robards, Laurence Olivier, Ralph Richardson, Katharine Hepburn, Colleen Dewhurst, Ruby Dee, Kevin Spacey, Jack Lemmon, and Alan Bates, among other distinguished theatre artists. An extensive production chronology provides details about nearly 100 productions throughout the world. This illustrated history also includes an extensive bibliography, discography and videography.

The Provincetown Players was a major cultural institution in Greenwich Village from 1916 to 1922, when American Modernism was conceived and developed. This study considers the group's vital role, and its wider significance in twentieth-century American culture. Describing the varied and often contentious response to modernity among the Players, Murphy reveals the central contribution of the group of poets around Alfred Kreymborg's Others magazine, including William Carlos Williams, Wallace Stevens, Mina Loy and Djuna Barnes, and such modernist artists as Marguerite and William Zorach, Charles Demuth and Bror Nordfeldt, to the Players' developing modernist aesthetics. The impact of their modernist art and ideas on such central Provincetown figures as Eugene O'Neill, Susan Glaspell, and Edna St Vincent Millay and a second generation of artists, such as e. e. cummings and Edmund Wilson, who wrote plays for the Provincetown Playhouse, is evident in Murphy's close analysis of over thirty plays.

Congressional Theatre is the first book to identify and examine the significant body of plays, films, and teleplays that responded to the actions of the House Committee on Un-American Activities during the 'show business hearings' it held between 1947 and 1960. Brenda Murphy discusses the dramatization in the works of HUAC's effects on American life and the political, social, and moral issues that its actions raised for American citizens. Among the writers discussed are Arthur Miller, Bertolt Brecht, Lillian Hellman, Maxwell Anderson, Elia Kazan, Barrie Stavis, Herman Wouk, Eric Bentley, Saul Levitt, Budd Schulberg, Carl Foreman, Abraham Polonsky, and Walter Bernstein.

The new essays in this collection, on such diverse writers as Eugene O'Neill, Susan Glaspell, Thornton Wilder, Arthur Miller, Maurine Dallas Watkins, Sophie Treadwell, and Washington Irving, fill an important conceptual gap. The essayists offer numerous approaches to intertextuality: the influence of the poetry of romanticism and Shakespeare and of histories and novels, ideological and political discourses on American playwrights, unlikely connections between such writers as Miller and Wilder, the problems of intertexts in translation, the evolution in historical and performance contexts of the same tale, and the relationships among feminism, the drama of the courtroom, and the drama of the stage.Intertextuality has been an under-explored area in studies of dramatic and performance texts. The innovative findings of these scholars testify to the continuing vitality of research in American drama and performance.

Eugene O’Neill Remembered offers new views into the playwright’s life by capturing the direct memories of those who were close to him through interviews, memoirs, and other recollections. These sixty-two remembrances create an unprecedented image of O’Neill.Known principally as the author of some of the most significant plays in the American dramatic canon and as one of America’s Nobel Laureates in literature, O'Neill rarely gave interviews and offered few details about himself. As a consequence, his life has long been shrouded in myth. He also abetted some of the misconceptions about his youth by, for example, advocating the story that he was expelled from Princeton for throwing a rock through Woodrow Wilson's window or by exaggerating the amount of time he had spent at sea. The legend of the hard-drinking, tormented playwright with a grim view of life was further reinforced when Long Day's Journey into Night was produced in 1956, three years after his death instead of the twenty-five years he had insisted on.  The portrayal of O’Neill as a tragic figure has been solidified in a number of biographies. The purpose of this collection, however, is to present O'Neill as others saw him and described him in their first-person accounts. In the course of these reminiscences, many of the vast and various narrators conflict with and contradict each other. Unlike other accounts of O’Neill’s life, much of the focus is on impressions instead of facts. The result is a revealing composite portrait of a key figure in twentieth-century American literary history.  This extensive collection offers insights unavailable in any other book and will hold massive appeal for scholars and students interested in American literature, Eugene O’Neill, and theater history, as well as anyone keen to uncover intimate details of the life of one of America’s greatest writers.

Eugene O’Neill Remembered offers new views into the playwright’s life by capturing the direct memories of those who were close to him through interviews, memoirs, and other recollections. These sixty-two remembrances create an unprecedented image of O’Neill. Known principally as the author of some of the most significant plays in the American dramatic canon and as one of America’s Nobel Laureates in literature, O''Neill rarely gave interviews and offered few details about himself. As a consequence, his life has long been shrouded in myth. He also abetted some of the misconceptions about his youth by, for example, advocating the story that he was expelled from Princeton for throwing a rock through Woodrow Wilson''s window or by exaggerating the amount of time he had spent at sea. The legend of the hard-drinking, tormented playwright with a grim view of life was further reinforced when Long Day''s Journey into Night was produced in 1956, three years after his death instead of the twenty-five years he had insisted on.   The portrayal of O’Neill as a tragic figure has been solidified in a number of biographies. The purpose of this collection, however, is to present O''Neill as others saw him and described him in their first-person accounts. In the course of these reminiscences, many of the vast and various narrators conflict with and contradict each other. Unlike other accounts of O’Neill’s life, much of the focus is on impressions instead of facts. The result is a revealing composite portrait of a key figure in twentieth-century American literary history.   This extensive collection offers insights unavailable in any other book and will hold massive appeal for scholars and students interested in American literature, Eugene O’Neill, and theater history, as well as anyone keen to uncover intimate details of the life of one of America’s greatest writers.

William Dean Howells has long been recognized as the chief spokesman for post-1880s American Realism. Most of his writing appeared in popular magazines, however, and has been lost to us. This collection brings together for the first time his most significant essays about American drama written between 1875 and 1919 and a full bibliography of his writings on drama and theatre. The essays have been generously annotated and provide production and publication information on the plays Howells reviewed and biographical notes on the playwrights and actors whose work he described.Howells's commentary, the most literate treatment of American theatre of the time, defines and defends his theory of the evolutionary development of realism in modern drama. Because he reviewed more than on hundred fifty productions, which represent the full range of theatre that was available to him, his insights are based on invaluable first-hand knowledge of both self-consciously literary drama and the popular forms of performance that were central to America's entertainment before World War I. Howells's essays had a powerful influence on the serious playwrights and theatre practitioners who came of age at the turn of the century, and whose work in turn enabled playwrights like Eugene O'Neill and Susan Glaspell to develop a new realism during the teens.The essays in this volume are the core of Howells's theory of dramatic realism and will be interesting to scholars, students, and teachers of theatre history and literary criticism.

This volume addresses the work of women playwrights throughout the history of the American theatre, from the early pioneers to contemporary feminists. Each chapter introduces the reader to the work of one or more playwrights and to a way of thinking about plays. Together they cover significant writers such as Rachel Crothers, Susan Glaspell, Lillian Hellman, Sophie Treadwell, Lorraine Hansberry, Alice Childress, Megan Terry, Ntozake Shange, Adrienne Kennedy, Wendy Wasserstein, Marsha Norman, Beth Henley and Maria Irene Fornes. Playwrights are discussed in the context of topics such as early comedy and melodrama, feminism and realism, the Harlem Renaissance, the feminist resurgence of the 1970s and feminist dramatic theory. A detailed chronology and illustrations enhance the volume, which also includes bibliographical essays on recent criticism and on African-American women playwrights before 1930.

The Decades of Modern American Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material.The major playwrights and their plays to receive in-depth coverage in this volume include:David Mamet: Edmond (1982), Glengarry Glen Ross (1984), Speed-the-Plow (1988) and Oleanna (1992);David Henry Hwang: Family Devotions (1981), The Sound of a Voice (1983) and M. Butterfly (1988);Maria Irene Fornès: The Danube (1982), Mud (1983) and The Conduct of Life (1985);August Wilson: Ma Rainey’s Black Bottom (1984), Joe Turner’s Come and Gone (1984) and Fences (1987).

The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material.The major playwrights and their plays to receive in-depth coverage in this volume include:* Edward Albee: The American Dream (1960), Who’s Afraid of Virginia Woolf? (1962), A Delicate Balance (1966) and Tiny Alice (1964 );* Amiri Baraka: Dutchman (1964), The Slave (1964) and Slaveship (1967);* Adrienne Kennedy: Funnyhouse of a Negro (1964), Cities in Bezique (The Owl Answers and A Beast’s Story, 1969), and A Rat’s Mass (1967);* Jean-Claude van Itallie: American Hurrah (1966), The Serpent (1968) and War (1963).

The Decades of Modern American Drama series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material.The major playwrights and their works to receive in-depth coverage in this volume include:* Eugene O’Neill: The Iceman Cometh (1946), A Moon for the Misbegotten (1947), Long Day’s Journey Into Night (written 1941, produced 1956), and A Touch of the Poet (written 1942, produced 1958);* Tennessee Williams: The Glass Menagerie (1944), A Streetcar Named Desire (1947), Summer and Smoke (1948);* Arthur Miller: All My Sons (1947), Death of a Salesman (1949), and The Crucible (1953); * Thornton Wilder: Our Town (1938), The Skin of Our Teeth (1942), Shadow of a Doubt (1943), and The Alcestiad (written 1940s).

The Decades of Modern American Playwriting series provides a comprehensive survey and study of the theatre produced in each decade from the 1930s to 2009 in eight volumes. Each volume equips readers with a detailed understanding of the context from which work emerged: an introduction considers life in the decade with a focus on domestic life and conditions, social changes, culture, media, technology, industry and political events; while a chapter on the theatre of the decade offers a wide-ranging and thorough survey of theatres, companies, dramatists, new movements and developments in response to the economic and political conditions of the day. The work of the four most prominent playwrights from the decade receives in-depth analysis and re-evaluation by a team of experts, together with commentary on their subsequent work and legacy. A final section brings together original documents such as interviews with the playwrights and with directors, drafts of play scenes, and other previously unpublished material.The major playwrights and their plays to receive in-depth coverage in this volume include:* Tony Kushner: Angels in America: A Gay Fantasia on National Themes, Part One and Part Two (1991), Slavs! Thinking About the Longstanding Problems of Virtue and Happiness (1995) and A Dybbuk, or Between Two Worlds (1997);* Paula Vogel: Baltimore Waltz (1992), The Mineola Twins (1996) and How I Learned to Drive (1997); * Suzan-Lori Parks: The Death of the Last Black Man in the Whole Entire World (1990), The America Play (1994) and Venus (1996);* Terrence McNally: Lips Together, Teeth Apart (1991), Love! Valour! Compassion! (1997) and Corpus Christi (1998).