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This book reveals for the first time the import of a huge network of connections between Tennessee Williams and the country closest to his heart, Italy.
America's most thought-provoking playwright loved Italy more than any other country outside the US and was deeply influenced by its culture for most of his life. Anna Magnani's film roles in the 1940s, Italian Neo-realist cinema, the theatre of Eduardo De Filippo, as well as the actual experience of Italian life and culture during his long stays in the country were some of the elements shaping his literary output. Through his lover Frank Merlo, he also had first-hand knowledge of Italian-American life in Brooklyn.
Tracing the establishment of his reputation with the Italian intelligentsia, as well as with theatre practitioners and with generations of audiences, the book also tells the story of a momentous collaboration in the theatre, between Williams and Luchino Visconti, who had to defy the unceasing control Italian censorship exerted on Williams for decades.
List of contents
Foreword;John S. Bak.- Acknowledgments.- A Note on Sources.- Introduction.- Chapter One. Tennessee Williams' Italian Reputation.- Chapter Two. Luchino Visconti and Tennessee Williams.- Chapter Three. More Streetcars.- Chapter Four. The Rose and the Stone.- Chapter Five. The Golden Years.- Chapter Six. Decline and Comeback.- Appendix. List of Main Italian Productions.- Works Cited.- Index.
About the author
Alessandro Clericuzio teaches American Literature at the University of Perugia, Italy, where he has also taught courses on Italian Theatre and Comparative Drama. He has published books and essays in the fields of Film Studies, American Literature and Queer Studies.
Summary
This book reveals for the first time the import of a huge network of connections between Tennessee Williams and the country closest to his heart, Italy.
America's most thought-provoking playwright loved Italy more than any other country outside the US and was deeply influenced by its culture for most of his life. Anna Magnani's film roles in the 1940s, Italian Neo-realist cinema, the theatre of Eduardo De Filippo, as well as the actual experience of Italian life and culture during his long stays in the country were some of the elements shaping his literary output. Through his lover Frank Merlo, he also had first-hand knowledge of Italian-American life in Brooklyn.
Tracing the establishment of his reputation with the Italian intelligentsia, as well as with theatre practitioners and with generations of audiences, the book also tells the story of a momentous collaboration in the theatre, between Williams and Luchino Visconti, who had to defy the unceasing control Italian censorship exerted on Williams for decades.
Additional text
“The volume is mandatory reading for anyone interested in the international reception of post–World War II American writers and the beginnings of what has become the hegemony of international American culture.” (S. E. Gontarski, Modern Drama, Vol. 61 (1), 2018)
“Alessandro Clericuzio's transcultural study not only fills gaps in our knowledge about the particulars of Williams's affinity for Italy, but also explores the chequered history of reception of Williams's work by Italian directors, audiences, critics, and censors.” (Felicia Hardison Londre, Theatre Journal, Vol. 69 (1), March, 2017)
Report
"The volume is mandatory reading for anyone interested in the international reception of post-World War II American writers and the beginnings of what has become the hegemony of international American culture." (S. E. Gontarski, Modern Drama, Vol. 61 (1), 2018)
"Alessandro Clericuzio's transcultural study not only fills gaps in our knowledge about the particulars of Williams's affinity for Italy, but also explores the chequered history of reception of Williams's work by Italian directors, audiences, critics, and censors." (Felicia Hardison Londre, Theatre Journal, Vol. 69 (1), March, 2017)
