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Chargement... The Glass Menagerie (original 1945; édition 1999)par Tennessee Williams (Auteur)
Information sur l'oeuvreLa Ménagerie de verre par Tennessee Williams (Author) (1945)
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Inscrivez-vous à LibraryThing pour découvrir si vous aimerez ce livre Actuellement, il n'y a pas de discussions au sujet de ce livre. Cuatro personajes encerrados en el ambiente asfixiante de un piso miserable van desnudando su fragilidad, temores y frustraciones, en unos diálogos cargados de ironía que ponen al descubierto la desesperada lucha por sobrevivir. La madre, Amanda, que añora un pasado más esplendoroso, lucha por arrancar a sus hijos del letargo y el refugio en sueños vanos intentado empujarles hacia un futuro que ella cree más seguro y que pasa, según sus valores tradicionales, por una carrera más ambiciosa para Tom, y el matrimonio para Laura. Mientras tanto, Tom, el hijo, trabaja en una zapatería y mantiene a toda la familia, pasa las noches en el cine y escribiendo poesía, y Laura, la hija, se refugia en el mundo protector de sus animalillos de cristal. جیم: چی بود بهش خوردم؟ لورا: میز بود. جیم: مثل اینکه چیزی از روش افتاد؟ لورا: بله. جیم: خدا کنه اون اسب موچیک یه شاخ نباشه. لورا: چرا خودشه. جیم: ای داد شکست؟ لورا: حالا مثل اسبای دیگهس، دیگه شاخ نداره. جیم: مگه شاخش... لورا: شکست، عیبی نداره، شاید این یه خوشبختی در حین بدبختیه. میشه گفت کل نمایشنامهی باغ وحش شیشهای توی همین چندتا دیالوگ بیان میشه! نمایشنامهی خوبی بود. aucune critique | ajouter une critique
Est contenu dans50 Best Plays of the American Theatre [4-volume set] par Clive Barnes (indirect) Est en version abrégée dansContient une étude deContient un commentaire de texte deContient un guide de lecture pour étudiantPrix et récompensesListes notables
À Saint Louis, dans les années 1930, Amanda Wingfield vit dans un petit appartement avec ses enfants Tom et Laura, âgés d'une vingtaine d'années. Hantée par sa jeunesse perdue et aspirant à réparer ses échecs passés, elle échafaude pour sa fille des plans de mariage. Elle organise un dîner où elle convie Jim, un collègue de travail de Tom qu'elle compte lui présenter. Frappée d'un handicap indéfinissable qui la rend inapte à toute vie normale, Laura se croit, un court moment, libérée de son destin par un amour inespéré. Mais l'illusion se dissipe et le poids de cette joie inaccomplie fait basculer leurs existences… Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)812.54Literature English (North America) American drama 20th CenturyClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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First of all, if you ever become suicidally depressed, question the value of your life and think about ending it all, then remember that you're probably better off than Laura Wingfield, who unfortunately I cannot refer to as a tragic heroine, since being a heroine, even an anti-heroine, implies having an existential, conquering nature (think Brunnhilde or Medea). Unfortunately Laura is crippled emotionally as well as physically, and seemingly afraid of everything; in today's culture, she would probably be committing cybersuicide. I found myself getting angry at Laura and her obsession with her glass menagerie (a 1940's metaphor for obsessive-compulsive disorder); probably because I'm angry at that fear-ridden part of myself. On the other hand, her brother Tom is either purposely unaware, or being insensitive, in suggesting to Amanda that Jim O'Connor come over to the Wingfield's for dinner so that Laura can meet a man. Because unfortunately Jim ends up being engaged to Betty, and therefore will not be able to whisk Laura away to wedded bliss like a knight in shining armour. Thus, according to Tennessee William's perspective in 1945, men are bastards (this is still true today); Tom, Mrs. Wingfield's absentee husband, and even two-timing (at least as Laura sees it) Jim O'Connor also fit that description.
In the end, Laura is the ultimate victim, Tom is the ultimate bastard, and Amanda ss the ultimate overbearing, nagging yet neglectful mother. And yet, I feel sorry for Amanda for having been abandoned by her "no-good man", as Laura was by Jim O'Connor. Laura is William's first "delicate soul" (the next being Blanche DuBois); given that most homosexuals were closeted in 1940's America, Williams, as a gay man, lived vicariously through these women. His male characters, on the other hand, can be brutes (IE Stanley Kowalski, or the kind of guy Sal Mineo or Pier Paolo Pasolini were interesting in meeting). Even though I may sound flippant in this review, I still find "Das Glasmenagerie" to be authentically, heartbreakingly and bleakly tragic. When Laura blows out the candles at the close of the play, it's as if hope is non-existent and she will remain in that house for the rest of her life. The three characters in this play share a hell similar to those of Sartre's "No Exit". I hope anyone who reads this play will be inspired to transcend their fears and live life to the fullest (I know, easier said than done), lest they end up like Tom, Amanda and Laura. ( )