By Tennessee Williams
In 1956, Time magazine known as Tennessee Williams’ Baby Doll "just potentially the dirtiest American-made movie that has ever been legally exhibited." The taut, brilliant drama of a voluptuous child-bridge, who refuses to consummate her marriage to an older, down-on-his-luck cotton-gin proprietor in Tiger Tail County, Mississippi until eventually she is "ready," has received in humor and pathos through the years as society has stuck up with the author’s savagely sincere view of bigotry and lust within the rural South. yet Tennessee Williams used to be at the beginning a author for the level, and this reissue of his unique screenplay for the Elia Kazan motion picture of Baby Doll is now followed through the script of the full-length degree play, Tiger Tail, constructed from that screenplay in the course of the ’70s. The textual content, which contains the author’s ultimate revisions, files the play because it was once produced on the Hippodrome Theatre Workshop in Gainesville, Florida, in 1979.
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Extra info for Baby Doll & Tiger Tail: A Screenplay and Play
9). 62 There are far too many recent works to list here, but Laura Otis’s introduction to Literature and Science in the Nineteenth Century: An Anthology, ed. Laura Otis (Oxford: Oxford University Press, 2002) p. 17–28, provides a useful overview, as does Salisbury and Shail’s introduction to Neurology and Modernity: A Cultural History of Nervous Systems 1800–1950, ed. Salisbury and Shail, pp. 1–41. 63 Given how important this burst of interdisciplinary activity has been for our understanding of nineteenth-century culture, it is a surprise that the interactions between science and that cornerstone of Victorian entertainment, the theatre, has not been more closely studied.
91. 1. 2. Terror, figs. 21 and 22, Johann Jacob Engel and Henry Siddons, Practical Illustrations of Rhetorical Gesture and Action, Adapted to the English Drama, trans. Henry Siddons, 2nd edn. 102. 40 If such quasi-electrical surges of attention might feel unfamiliar, the strength of a person’s response to fear or shock could also rattle a person’s sense of themselves as an intentional, purposeful being. In 1890, the psychologist William James recalled seeing a young boy startled by a passing train: The other day I was standing at a railroad station with a little child, when an express-train went thundering by.
75 By focusing more neutrally on things done, rather than more guiltily on things being pretended to be done, talk of performativity can skirt over the more problematic dimensions of theatricality, providing a sometimes anaemic version of embodied scientific encounters. 76 However, it only goes so far. Aside from acknowledging that Victorian science was always already implicated in its wider theatrical culture, it remains unclear how exactly this would have shaped the ‘relatively private’ acts of scientific practice and discoveries.