The limits of realism in The Mutilated, by Tennessee Williams: expressionism and verfremdungseffekt

Gustavo Ponciano

Abstract


This paper starts the research reading the hesitations of literary and theatrical criticism in its proposition to classify Tennessee Williams’s (1911-1983) dramatic writing, specially the critics that try to restrict the foregoing playwright works under the term “Realism”. Adverse to this criticism, the production notes from The Glass Menagerie (1944) – Williams’s Plastic Theatre manifesto – reveals the author intentions to get rid of orthodox Realism theatre conventions in his plays. Finally, the study points in Williams’s The Mutilated (1967) some remarkable qualities – expressionist techniques and uses of brechtian Verfremdungseffekt – that allude to a distinct conception of Realism.


Keywords


Tennessee Williams; Realism; Plastic Theatre; Expressionism; Verfremdungseffekt

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DOI: https://doi.org/10.5007/2175-8026.2017v70n1p275

Copyright (c) 2017 Gustavo Ponciano

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