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 till 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 was once in 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 observed through the script of the full-length degree play, Tiger Tail, built from that screenplay through the ’70s. The textual content, which contains the author’s ultimate revisions, files the play because it used to be produced on the Hippodrome Theatre Workshop in Gainesville, Florida, in 1979.
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Extra resources for Baby Doll & Tiger Tail: A Screenplay and Play
How are actors to gain access to that inner dynamic of a play by Jonson and perceive or sense the stimulus it offers to their creativity at a reading of the text? This raises an issue about the texts available for reading. Comparing the 1616 Folio of Jonson’s Works with the 1623 Folio of Shakespeare’s, Andrew Gurr detects a marked and pointed difference between them. Shakespeare’s plays are printed from copy that in various ways was designed primarily for actors’ use; Jonson’s he sees as the product of careful editing, even rewriting and expansion, and designed for a readership.
In 1608, after ten years of use by a boy’s company, the Blackfriars had reverted to the possession of its owners, Richard and Cuthbert Burbage, who inherited it from their father in April 1597. They, having run the Globe through those ten years, from 1599 to 1608, as members of a consortium of five of the sharers from the playing company who were performing at the Globe, designed a new contract in 1608. In effect, they extended the ownership of the Blackfriars to the same consortium. Consequently, when the Blackfriars playhouse reopened in early 1610, after the long closure for the plague, while Jonson was still writing his play, the owners of the Blackfriars had become those five Lovewits: Richard and Cuthbert Burbage, John Heminges, Henry Condell and, last but far from least, that most famous lover of wit, William Shakespeare.
The layout of the modern edition slows down the pace of it all, as it becomes visually a series of questions and answers and in consequence there is little sense that the trio are (in modern parlance) winging it or that they have recovered a unity of intent after their divisive quarrel. The Folio text shows us why Doll was so anxious about the future of their ‘venture tripartite’ throughout the men’s aggression: everything depends on their ability to respond to any given situation as a team. The Folio text here implies much about pace, characterisation and a necessary ensemble work for the actors involved.