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• W905485715 abstract "Among many Williams plays which have been produced in Low Countries, A Streetcar Named Desire has been a staple, as could have been expected from its status within Williams canon and that of twentieth-century American drama. Its earliest production dates from 17 November 1948. This was a few months after by-now venerable Holland Festival had wrapped up its inaugural season, and Pjortr Sjarov had directed a melancholic version of Turgenev's A Month in Country for Toneelgroep Comedia. Sjarov was a former student of Stanislavsky and for a brief time worked with his artistic rival Meyerhold in St Petersburg before becoming Stanislavsky's assistant at Moscow Art Theatre.1 For next twenty years, until his death in 1969, Sjarov's guest productions in Netherlands would establish standard performance style of Chekhov's plays, with lyrical and dreamlike atmosphere arguably befitting a disappearing landed aristocracy incapable of coping with demands of a new era.The Chekhovian performance style was frequently adopted for productions of Williams, too, as if retroactively to substantiate J. Brooks Atkinson's somewhat puzzling assessment of A Streetcar Named Desire as a quietly woven study of intangibles, an assessment hard to account for on evidence of Kazan's Broadway production.2 In a 1960 interview with Edward Murrow, Williams toned down resemblance to Chekhov when recalling movie adaptation of A Streetcar Named Desire:... we had a screenwriter ... working on it, and he started off like it was The Cherry Orchard. You know, he said that outside mansion, outside Belle Reve, you could hear them chopping down trees. And I said, Oh no, this isn't The Cherry Orchard quite. And so this poor gentleman from Hollywood [Oscar Saul] was taken off script and I had to write it myself, which I probably subconsciously wanted to do all along, so I gave him axe. [laughter]3In a subsequent interview with John Gruen, Williams appeared more lenient or honest when identifying Chekhov as a major, if not the chief!,] influence on [him], as a playwright.4 Since his undergraduate days Williams has indeed been partial to Chekhov, to point of creating in The Lady of Larkspur Lotion an alter ego of himself who identifies with Russian master and of adapting The Seagull in The Notebook of Trigorin. Blanche DuBois' name is also meant to recall The Cherry Orchard. As she explains to Mitch, it means white woods. Like an orchard in spring! You can remember it by that.5For those with a short memory, certain translations, like Eric de Kuyper's, which was used by Flemish director Ivo van Hove in 1995, rendered explicit reference to Chekhov. They insisted it be a orchard and thereby anticipated Young Man's cherry soda in a passage van Hove especially appreciated.6 This slight poetic license with Blanche DuBois' name presumably also alerts spectators to Natasha's dismissal of musicians in Chekhov's Three Sisters, when Stella sends poker players packing.7 Such deliberate metatheatrical recapitulations of theatre history supplement A Streetcar Named Desire's forceful re-enactments of idyllic and traumatic pasts, already doubled by secular routines of poker games, movies and bridge.8 These re-enactments contribute to what van Hove considers an angstwekkend pessimistisch stuk, dat niemand toestaat zieh te ontwikkelen en iedereen vast zet in de modder.9Hence, director, whose theatrical roots go back to performance tradition, troubled these re-enactments' repetitive temporality by what seemed an undodgeably present, catastrophic time. In same performance tradition, van Hove also used explicit nudity, no longer hampered by constraints that governed Kazan's 1947 Broadway stage or his 1951 screen adaptation. As such, van Hove provided perhaps less A Streetcar Named Desire for 1990s than a restoration of what Williams may have intended, regardless of those reviewers faulting Flemish director for having drowned playwright's lyricism. …" @default.
• W905485715 created "2016-06-24" @default.
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• W905485715 date "2014-01-01" @default.
• W905485715 modified "2023-10-14" @default.
• W905485715 title "TENNESSEE WILLIAMS AND IVO VAN HOVE AT HOME ABROAD" @default.
• W905485715 doi "https://doi.org/10.1163/9789401211277_015" @default.
• W905485715 hasPublicationYear "2014" @default.
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