This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Perfect for students of English Literature, Theatre Studies and American Studies at college and university, The Theatre of Tennessee Williams provides a lucid and stimulating analysis of Willams' dramatic work by one of America's leading scholars. With the centennial of his birth celebrated amid a flurry of conferences devoted to his work in 2011, and his plays a central part of any literature and drama curriculum and uibiquitous in theatre repertoires, he remains a giant of twentieth century literature and drama. In Brenda Murphy's major study of his work she examines his life and career and provides an analysis of more than a score of his key plays, including in-depth studies of major works such as A Streetcar Named Desire, The Glass Menagerie, Cat on a Hot Tin Roof and others. She traces the artist figure who features in many of Williams' plays to broaden the discussion beyond the normal reference points. As with other volumes in Methuen Drama's Critical Companions series, this book features too essays by Bruce McConachie, John S. Bak, Felicia Hardison Londre and Annette Saddik, offering perspectives on different aspects of Williams' work that will assist students in their own critical thinking.

This is the first 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 new 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.

While Guinness is a global product, it still contains references to Ireland and it occupies a particular place in imaginings of Irishness. Brewing Identities is unique in that, while it focuses on the (re)production of a specific kind of ethno-national identity- Irishness - it is simultaneously transnational in scope, as the author maps the trails of products, people and symbolic constructs through a globalised world. In pubs from Dublin to London to New York, the reader is taken on a multi-sited ethnography, where stories unfold through observation, interview, and conversation with fellow patrons and pub personnel, while drawing from an ample sampling of discursive and interactional sources from which the author derives her own interpretations and conclusions. Additionally, the book follows the trail of the political economy of Guinness. Brewing Identities produces an engaging and well-grounded mode of inquiry informed not only by multiple sources but by the interdisciplinary field of cultural studies, one that is particularly sensitive and responsive to both the convergences and discontinuities of diverse conditioning factors at work in the generally nebulous and complex sphere of identity production.

While Guinness is a global product, it still contains references to Ireland and it occupies a particular place in imaginings of Irishness. Brewing Identities is unique in that, while it focuses on the (re)production of a specific kind of ethno-national identity- Irishness - it is simultaneously transnational in scope, as the author maps the trails of products, people and symbolic constructs through a globalised world. In pubs from Dublin to London to New York, the reader is taken on a multi-sited ethnography, where stories unfold through observation, interview, and conversation with fellow patrons and pub personnel, while drawing from an ample sampling of discursive and interactional sources from which the author derives her own interpretations and conclusions. Additionally, the book follows the trail of the political economy of Guinness. Brewing Identities produces an engaging and well-grounded mode of inquiry informed not only by multiple sources but by the interdisciplinary field of cultural studies, one that is particularly sensitive and responsive to both the convergences and discontinuities of diverse conditioning factors at work in the generally nebulous and complex sphere of identity production.

The essays in this collection fill an important conceptual gap in present-day criticism. New essays are presented on such diverse writers as Eugene O'Neill, Susan Glaspell, Thornton Wilder, Arthur Miller, Maurine Dallas Watkins, Sophie Treadwell, and Washington Irving. The essayists offer equally diverse approaches to intertextuality, such as the influence of the poetry of romanticism and Shakespeare, histories and novels, ideological and political discourses on American playwrights, unlikely connections between such persons as Miller and Wilder, the problems of intertexts in translation, the evolution in different historical 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 testifies to the vitality of research in American drama and performance.

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.

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. 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. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. 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. This history includes a production chronology, bibliography, discography and videography.

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. 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 volume addresses the work of women playwrights throughout the history of the American theater, from the early pioneers to contemporary feminists. Each chapter introduces the reader to the work of one or more playwrights, covering 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, in the context of topics such as early comedy and melodrama, feminism and realism, the Harlem Renaissance and feminism.

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 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 andgender 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 is the first full production history of Long Day's Journey Into Night, by Eugene O'Neill. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. 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. This history includes a production chronology, bibliography, discography and videography.

This is the first book to provide a critical history of one of the American theater'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 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.

The most destructive storm of the 2012 Atlantic hurricane season, Superstorm Sandy smashed ashore on the U.S. East Coast in October 2012 after cutting a path of destruction north from the Caribbean. Altogether, it has been estimated to have caused more than $68 billion in damage, and killed over 200 people in several countries. The second-costliest such storm in U.S. history behind only Hurricane Katrina in 2005 Sandy is reported to have killed at least 117 people in the United States alone, and it caused tremendous damage along the most populated coastline in the country. As a result, Sandy generated 144,484 claims under federal flood insurance coverage under the National Flood Insurance Program (NFIP). This book begins by laying out how the NFIP claims management process works, how its various pieces interact, and how the Federal Emergency Management Agency (FEMA) attempts to ensure quality control. It then explores the incentive structures that face insurance companies, claims processing vendors, adjusters, and engineers, and the management challenges that confront the NFIP as it attempts to handle catastrophic flood events.