Read The Glass Menagerie by Tennessee Williams Online


The story of a mother, her son and daughter, and her daughter's suitor that brings to life human beings who cling to a dream world that can so easily be shattered into jagged pieces....

Title : The Glass Menagerie
Author :
Rating :
ISBN : 9780811214049
Format Type : Paperback
Number of Pages : 104 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

The Glass Menagerie Reviews

  • Brina
    2019-04-27 22:16

    Over the course of the last month I have read the classic plays of Tennessee Williams. Williams' first successful play, The Glass Menagerie initially opened in Chicago in the spring of 1944 and then moved to New York three months later. What he dubs a memory play, The Glass Menagerie focuses on a family much like Williams' own family, and hones in on the human emotions that allow a family to function. Containing seven scenes all in one location and four characters, The Glass Menagerie is powerful piece that is still widely read and studied today. It is St Louis in between the two world wars. Amanda Wingfield has been unable to cope with her husband's disappearance of the last sixteen years and has raised her two grown children Tom and Laura essentially on her own. The husband's portrait graces the mantel and despite his abandoning of the family he is held in high regard. All three Wingfields come with baggage stemming from the father's flight, and an outsider would view the family as dysfunctional. Williams presents the family in this light, even noting in the introduction that Laura resembles his sister Rose and Tom could possibly be himself. I believe this is what made the play as effective as it was because Williams wrote what he knew and was able to create deep characters. Amanda in her own way attempts to do what she thinks is best for Tom and Laura, but as they are now grown, she has little authority over them. Tom from a young age took over the role of man of the house and turns over all of his earnings to Amanda. Meanwhile, Amanda desired for Laura to learn to be a typist and for Tom to go into business, but neither lasted long at night school. She thinks highly of both of them while glossing over their faults, leading Tom to want to follow in his father's footsteps while Laura lives in her own world of glass figurines. Because this play takes place in one location and does not contain much action, it was easy to be read and create images of the characters in my mind. I enjoyed the imagery of Amanda as a middle aged southern woman who was once a belle as well as Tom who desired to see the world. Williams talks of the world at large by mentioning the Century of Progress in Chicago as well as the Guernica in Spain. A great world is taking place outside of the apartment and Tom wants to be a part of it in spite of his mother's intentions. Had the play contained more characters, interactions, and locations, it would not have lended itself to be read rather than viewed. It is in this regard that Williams timeless works remain accessible. I have enjoyed my close study of Tennessee Williams plays. I visited with the Kowalskis of New Orleans, the Moffits of Memphis, and now the Wingfields of St Louis. I have found it refreshing to read plays because one gets to know characters in a manner much more intimately than over the course of a long book full of action. Williams' plays run the gamut of human emotions and often contain both exhilaration and despondency from the same characters in the same play. Reading these short yet powerful plays, it is easy to root personae on as their emotions run the entire spectrum. After reading these three plays in close proximity of each other, I see how Williams' characters have remained timeless even fifty years later. I encourage others to pick a playwright and read many of their works to see how emotions and themes repeat themselves across time and place. For this memory play, I rate The Glass Menagerie 4.5 bright stars.

  • Hailey (HaileyinBookland)
    2019-05-17 03:08

    *Reread for class 2017Still a great play. I originally read this 5 or 6 years ago for my high school English class and it is so interesting now getting a new perspective in a university class.

  • Eric Jay Sonnenschein
    2019-05-18 22:52

    The Glass Menagerie is a great domestic tragedy with three very distinctive characters--the strong, proud Amanda, the weak and innocent Laura, and the realistic dreamer, Tom. One finds in this play an elegiac portrait of misery, rather than a scalding enactment of taboo. There is no one tragic event here, but a general condition of pathos. Instead of a classic conflict, The Glass Managerie depicts a lack of cooperation. We find in the Wingfield home no crime, but a chronic, aching social and economic woe. This archetypal modern family, the single-parent, broken home, implodes under its own grief and slow-moving, yet inexorable catastrophe. The reader/audience has an impending sense that the situation can never improve nor the relationships grow. There is no break in the clouds, no sun on the horizon. These characters are locked into their fates. Any recognition, peripatea, must inevitably lead not to hope and acceptance, but abandonment and dissolution. If tragedy always documents a change, the only changes that can occur in The Glass Menagerie are hard-wired and inevitable: the escape of the son (imitating the absent father), the insitutionalization of the mentally ill sister, and the death of the aging and increasingly delusional mother. This pervading and gnawing sense of the Wingfields' doom counters Mother Amanda's brave and delusional hopes and optimism. Perhaps this collision of Amanda's futile optimism and displaced gentility with the family's sordid present constitutes the primary conflict in the play. I always admired The Glass Menagerie because it reinvented the tragic form for the modern condition and sensibility. This is the no-fault tragedy for a random, no-fault universe. There is no nemesis here and no unadulterated protagonist, unless Amanda, the matriarch, qualifies as one. Amanda is the one character who, like her or not, propels the family forward toward its reckoning. When she schemes to snare a beau for her disabled daughter, Amanda can seem desperate and disingenous to the point of being annoying. But as she makes her unsolicited telephone solicitations, using her southern belle gift for conversation, one aches for her and recognizes how courageous and determined she truly is.The final message of the memory play, although never stated, is that there is a price for Amanda's brand of optimism. Living in one's dreams can be dangerous. Like all perishable things, optimism can rot. Hope degrades to delusion and bitterness. Denial of reality ultimately is a death factor like denial of air.Glass Menagerie reads very well. It also can play well. I have seen it with different actors, including Jessica Lange, who seemed a bit too young and sexual to play Amanda. It is a difficult play to stage, demanding great concentration and energy. Ultimately it demands from actors and director a fidelity to the spirit of the play: it cannot withstand gimmickry. In fact, a beautiful set and great production values defeat this play.

  • James
    2019-04-27 03:03

    Book Review4 of 5 stars to The Glass Menagerie, written in 1945 by Tennessee Williams. The play is told from the perspective of Tom, the son of Amanda and brother of Laura, three members of the Wingfield family living in Missouri in the 1930s. Amanda's husband, the and kids father, left years ago and has not been heard from. Both Laura and Tom are in their early twenties. Amanda wants to marry off her daughter, convincing Tom to bring home a friend from work to create a set-up. It fails, as he's already involved with another girl, and the story ends basically where it begins. It's a powerful tale about the relationships between parents and children and siblings. It's about women's rights and their place in a 1930s world. It's about fighting versus talking. It's about dating versus falling in love. It's about poverty and money. The story has a lot of mini-arcs, all about the different parts of their lives... who did what, where, when, how and why. It's a good read, especially as a play and has been produced in probably every high school across the country. What I liked about it was the harsh and raw reality of life for some people, especially young girls who needed to be married off... it's a "classic" and should be read by all... especially if you know a little bit about Tennessee Williams - and his own thoughts and actions in the world!About MeFor those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by. Note: All written content is my original creation and copyrighted to me, but the graphics and images were linked from other sites and belong to them. Many thanks to their original creators.[polldaddy poll=9729544]

  • Ahmad Sharabiani
    2019-05-01 20:56

    The Glass Menagerie, Tennessee Williams تاریخ نخستین خوانش: ژانویه سال 2000 میلادیعنوان: باغ وحش شیشه ای: نویسنده: تنسی ویلیامز؛ مترجم: حمید سمندریان؛ تهران، امیرخانی، 1378؛ در 145 ص؛ شابک: ایکس - 964921397؛ چاپ دیگر: تهران، نردبام، 1383؛ شابک: ایکس - 964960023؛ موضوع: نمایشنامه های نویسندگان امریکایی قرن 20 معنوان: باغ وحش شیشه ای (نمایشنامه در هفت پرده): نویسنده: تنسی ویلیامز؛ مترجم: مرجان بهت مینو؛ کرج، مینو، 1381؛ در 112 ص؛ شابک: 9647487010؛ چاپ دوم 1382؛ چاپ سوم 1383؛ پنجم 1387؛ ششم 1392؛عنوان: باغ وحش شیشه ای: نویسنده: تنسی ویلیامز؛ مترجم: خاکسار هرسینی؛ تهران، افراز، 1386؛ در 160 ص؛ شابک: 9647640307؛ چاپ سوم 1389؛ شابک: 9789647640305؛ چاپ چهارم 1390؛ چاپ هشتم 1395؛ در 158 ص؛عنوان: باغ وحش شیشه ای: نویسنده: تنسی ویلیامز؛ مترجم: مهدی فروغ؛ تهران، علمی فرهنگی، 1395؛ در یازده و 96 ص؛ شابک: 9786004360425؛تنسی ویلیامز در تحلیل شخصیت آماندا میگوید: دوزخ در واقع خودِ آدمی‌ست و تنها راه رهایی از آن از خود گذشتگی و مراقبت از دیگران استو مورد تام: زمانی هست که آدم باید برود، حتی اگر مقصدش نامعلوم باشدو در مورد لورا: شخصیت‌های ‌شکننده و منزوی که از زندگی هراس دارند، در باطن قوی‌ترین آدم‌ها ‌هستنددر باغ‌ وحش شیشه‌ ای هیچ‌ کس نمی‌بیند. همه گویی در رویا گام برمی‌‌دارند، و تماس خود را با واقعیت تلخ پیرامون از دست داده اند… حتی «جیم» هم در توهم زندگی می‌‌کند. جایی در داستان، جیم می‌‌گوید: «تک‌شاخ‌ها ‌خیلی وقت است که منقرض شده‌ اند» و این است حقیقت خانواده‌ ی «وینگفیلد»، حقیقت «تام»، «آماندا» و «لورا»… آنان منقرض شده‌ اند، در انزوای خود به اغما رفته‌ اند ‌و در خواب قدم برمی‌‌دارند… یکی از سمبل‌های ‌مهم نمایش نامه، «پلکان اضطراری» خانه است، که در دنیای واقعی برای خروج اضطراری از آن استفاده می‌‌شود. اما در دنیای شخصیت‌های ‌باغ وحش شیشه ای، این پلکان غالباً به عنوان راه ورودی، مورد استفاده قرار می‌‌گیرد! ورود اضطراری! پناه بردن به فضای بیمارگونه‌ ی حاکم بر خانواده، با دل‌خوشی‌های ‌کاذب و حتی مهیب…؛ گریز از هجوم رویاشکن واقعیت، و پناه بردن به دنیای خیال ا. شربیانی

  • Brian Yahn
    2019-05-24 01:21

    I am completely blown away. The Glass Menagerie is a perfect mirror of the dysfunctional American family: An overbearing, yet well-intentioned mother abandoned by her lover; A son filled with Hollywood-style dreams of adventure but living a life of monotonous toil; A defective daughter who has little interest in anything, besides the glass animals she collects--week and frail as herself.The way Tennessee Williams pits all of these characters against each other, and how all of their desires come together and blow up in flames is simply perfect. It starts slow, but for a play so short, it doesn't even matter. Once it gets going, holy cow.

  • Mariel
    2019-04-30 21:01

    The Glass Menagerie is a weird one for me. There's a better word for it than weird. I'm a crap writer though. I'll leave it at that. There's no thesaurus/mindreader thing for what I'm feeling.There are stories that we know every word of before we've ever read, seen or heard them. The Glass Menagerie is one of those for me. We'd act out scenes and make references like we actually knew what we were talking about. (My mom especially loved the "rise and shine" routine.) Remember that scene in Joe Versus the Volanoe when Tom Hanks didn't know it but he knew it that he couldn't possibly have a "brain cloud"? (He runs his hands back and forth over his head to gesticulate that he KNEW it.) [Once upon a time Tom Hanks was really cool. This was before anyone ever told him that he resembled Jimmy Stewart in bad lighting.] My mom bought us freaking glass figurines to encourage it. It was all part of her sick thing to encourage my social anxiety like how some moms encourage obesity by overfeeding and then afterwards picking on their fat kids. (The Brando Street Car was a frequent run in our house too. My brother was given ciggies and wife beater shirts. No lie!)The times when I'd beg not to go to school 'cause I was being bullied during volleyball practice? A reference to Laura's embarrassment to arrive to school late and limp in front of everyone. I could go on and on. (My mom's sympathies were with the mom, Amanda.)I felt like I already knew Laura's displacement.If my twin were here right now I'd ask her if the Paul Newman directed version was one of those filmed from the stage John Malkovich movies like True West and The Death of a Salesman (both are superb if you've never seen 'em). I'm thinking it was filmed for tv. I'm probably wrong and Lauren will later tell me that I am soooo wrong. Anyway, I love this version.Anyway, it was Tom who killed me when I watched the Newman version over and over again. It was his escape that I felt was being shown back to me. More than Laura's painstaking care of her self-built world I loved the one that Tom reached out to in outside sources like films. I love Killer Wingfield. Let's go to the movies, Shakespeare.The weird thing is that I'm having difficulty coming up with a whole for this. I know how I feel about their day to day. How the hell did it end? I'm coming up with nothing. Should it feel like that? I KNEW it.

  • Mahdi Lotfabadi
    2019-05-10 00:19

    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.

  • Huda Yahya
    2019-04-29 04:15

    كل مرة أقرأ فيها لتينسي ويليامزأقول لما لم أختر مسرحية ليوجين أونيلفيما عدا عربة اسمها الرغبة لا أجد لتينيسي ما يشبع نهمي للمسرحولا أجد معه المتعة التي عادة ما أنشدها في قراءة المسرحيةلقد اخترت هذه لشهرتهاولكنني مرة بعد مرة لا أفهم سبب شهرة تينيسي المدويةتجربة أقل من العادية بمراحل

  • Rowena
    2019-04-27 03:55

    “The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.”I really enjoyed this play, a lot more than I thought I would. It's a very short play but it managed to elicit all sorts of feelings from me,especially pity, mainly because the characters all carried some sort of burden or regret. There's the pushy, abandoned-by-husband single mother who has extremely high demands on her children, the crippled daughter who has extremely low self-esteem, and is still (shock, horror) single at age 24, and the son who is stuck in a job he despises and desires to be a poet.I liked the ending because, although we're not explicitly told what fate brings the main characters, there is a feeling of hope left lingering in the air. I think the ending is very realistic.

  • K.D. Absolutely
    2019-05-13 00:05

    Early this month, my 15-y/o daughter, Jillian. who is studying in an all-girls school, asked me to write a monologue for the 7-y/o Noli Me Tangere character, Crispin. Each of them in the class was given a character in the novel with the objective of introducing all the characters to the class. I used to write drama scripts in high school (Alamat ni Mariang Makiling) and college (The Silent Mourner) but those were a 2-3 decades ago. So, to help out, I read that chapter in Noli and wrote one. Jillian delivered it and got perfect score. She even had a small certificate signed by her teacher. Here is her picture delivering that dramatic moment in my monologue:[image error]So far, this picture got 90 likes in her Facebook account! The scene above is when Crispin, hungy, worried that her mother would believe that he is a thief, is about to be dragged by the sacristan to be killed.Yesterday, I saw this thin Tennessee Williams' The Glass Menagerie book being sold at P40 (less than US$1). I heard about Tennessee Williams because I saw and like the film adaptation of A Streetcar Named Desire. But I did not have any idea about The Glass Menagerie. So, since Jillian will have El Filibusterismo next year and she is becoming popular in school because of her monologue, I might as well brush up with my scriptwriting skills ha-ha!I liked The Glass Menagerie so much that I could picture myself sitting in the theatre and watching the play. I am not a theatre person. All my life, I only saw Claude-Michel Schönberg and Alain Boublil's Miss Saigon during its Hong Kong leg and Mel Brook's The Producers during my first visit in Columbus, Ohio in 2004. Other that these, I find watching plays expensive and too classy for my simple taste.The story is about 4 characters: Amanda (the mother), Laura (the crippled daughter who is too shy to attract suitors), Tom (the son working in a warehouse but dreaming to join the navy) and Jim (Tom's bestfriend who Amanda and Tom thought could be Laura's husband). Amanda's husband, the father of Laura and Tom, abandoned them when the two were still young. Tom is the only one working so he has to support the 3 of them. Laura left her typewriting class because she is bothered by her deformity (one of her legs is shorter than the other) so she wears a brace and it creates click-clang sound when she walks. Amanda wishes to find a husband for Laura because both ladies know that Tom is unhappy with his job and will leave them soon. Just like Amanda's husband who left them several years ago. Oh, how cool I thought it would be if I could see how the script is actually executed especially the "screen images" and "screen legends". The dialogues are also crisp and witty. One that I could relate and put a smile on my face while reading this morning is the part below when Amanda is interrogating Tom about his frequent movie-watching. Remember that Tom is bored with his work in the warehouse and wants to join the navy: AMANDA: but, why-why, Tom - are you always so restless? Where do you go to, nights?TOM: I - go to the movies.AMANDA: Why do you go to the movies so much, Tom?TOM: I go to the movies because - I like adventure. Adventure is something I don't have much of at work, so I go to the movies.AMANDA: But, Tom, you go to the movies entirely too much!TOM: I like a lot of adventure.Reason why I smiled while reading the above? Just replace "go to the movies" with "read a book" and that's me, the bookworm, instead of Tom. And my wife becomes Amanda!Readers use an awful lot of imagination when they read novels as well as drama scripts, don't they?

  • Nancy
    2019-05-21 21:56

    A modern play, to me, about disillusionment. Main characters include Amanda (delusional, childish, dependent, desparate mother), Laura (inhibited, painfully shy daughter), Tom (restless, dreamer, poet, narrator/son), Jim (optimistic, hopeful, gentleman caller). A play about misdirected dreams and ambitions. Amanda places her dreams in her children. Tom places his dreams in adventure and traveling the world like his absentee father. Laura places her dreams of happiness in her glass menagerie collection. But these dreams are misplaced, and instead only become desparate attempts to escape from realities. These people try their hardest to maintain their sense of happiness by losing themselves in their fantasies, but the peace of mind that comes from their escapism is fragile and fleeting. Disillusionment adds a heavy burden to their very ordinary existences, and only drives them to further retreat in their dreams of better, more fulfilling lives.

  • Hesam Ghaeminejad
    2019-05-15 02:17

    مادر گیر کرده در خیالات گذشتلورا وا مانده در نقص جسمانی حال و تام پسر در دام رویاپردازی آیندهو تنها جیم است که در حال زندگی می کند و برای آینده تصمیم میگیردشخصیت پردازی های نمایش به شدت قوی و واقعی هستند ؛ زمان نوشتن این نمایش (۱۹۴۴) برابر با سال پایانی جنگ جهانی دوم بود و سه شخصیت( مادر ، لورا و تام) دچار ناامیدی ای بودند که بطور کلی بر تمام جهان سایه انداخته بود و تا حدودی شخصیت جیم برای تلطیف آن لازم بود، البته کار کرد شخصیت جیم به این یک مورد منتهی نمیشود و علاوه برآن باعث روبرو شدن مادر با حقیقت شده و چون آب سردی بر پیکر مادر فرو ریخته می شود ؛ چشمان لورا را بر ضعف های روحیش باز میکند وباعث می شود که تام با گفتن نیتش به جیم احساس رهایی کند و از تصمیمش مطمئن شودشاید بتوان گفت قهرمان نمایش جیم است نه خانواده وینگفیلد

  • رؤیا (Roya)
    2019-04-30 00:11

    باغ وحش شیشه ای نمایشنامه ای است از خانواده ای آمریکایی با داستانی همیشگی....پدری الکلی که ترک خانواده کرده و مادری که افکار وهم گونه اش را با صدای بلند بیان کرده و در آرزوی خوشبختی فرزندانش دچار سرگشتگی شده است. دو فرزند خانواده, تام ولورا هردو از بی اعتماد به نفسی رنج برده و هیچ کدام در کار و زندگی موفق نبوده و هرکدام به نوعی در خیالات وهم آلودخودشان به سر میبرند. برایم جالب است که تنسی ویلیامز در سال 1944 یعنی حدودا 73 سال پیش این داستان را نوشته و وضعیت خانواده آمریکایی هنوز از آن زمان هیچ تغییری نکرده است....!!!در تمام مدت خواندن به دنبال نکته ای تامل برانگیز بودم که مرا از سطح زندگی عادی و روزمرگی آمریکایی به در آورد...نکته ای شاید معنوی, روحی و یا عمیق تر از ناسزاهای مادر به فرزندی که دوست دارد خوشبختی اش را ببیند....برای فهم این داستان باید که زندگی آمریکایی را انگار دیده یا تجربه کرده باشیم که مرزهایش بسیار محدود هستند و تعریفش وابسته به مکان و مردمی خاص....و این شاید دو دلیل عمده ای است که من از خواندن نویسندگان آمریکایی پرهیز میکنم..... نکته ترجمه ای در نام کتاب به انگلیسی:The glass Menagerie: دامگاه شیشه ایMenagerie:میشوند مجموعه ای از حیوانات وحشی که در اسارت برای نمایشگاه نگه داشته

  • Mahsa
    2019-05-23 02:19

    آدم ها با واقعیت هایِ تلخِ زندگیشون یکسان برخورد نمیکنن. در آخر هم نه کسی که واقعیت رو کورکورانه انکار میکنه بَرَنده س و نه کسی که اون رو اونقدر بزرگ میکنه که مجبور میشه به دنیایِ خیالیِ خودش پناه ببره...نمایشنامه قشنگی بود.

  • Thomas
    2019-05-02 00:03

    A lot of the literature I've read for school this year has disappointed me. It's great that we got to read and watch The Glass Menagerie as part of my AP Lit class, because I reclaimed my title as extremely obsessive fanboy extraordinaire.There's just so much to love in this play. Williams' writing is exquisite and his utilization of symbols leaves myriad room for analysis. His deep and damaged characters call for discussion: Amanda Wingfield, the ambitious and heady mother of Laura and Tom, Laura, the painfully shy girl with a penchant for glass, Tom, the trapped adventurer who yearns for excitement, and Jim, the gentleman caller who represents optimism and progress in society. The themes of disillusionment, quiet disaster, and the death of the American dream intertwine with the fragmented family and lead to a tragedy of epic proportions.But I must admit my bias regarding the The Glass Menagerie - 1) I love the word "menagerie" and 2) I've experienced family issues like the ones portrayed in this play. However, not all stories that strike home succeed; this one hit the mark in its bittersweet portrayal of a mother who pushes her children in the wrong direction and a son and a daughter who fight back.Highly recommended, especially for those who can watch the film version directed by Paul Newman.*review cross-posted on my blog, the quiet voice.

  • Mahdie Bjr
    2019-05-03 04:02

    هرروز صبح كه مي آي به اتاق منو بيدارم ميكني و ميگي: بلندشو جگرگوشه من مثل خورشيد بدرخش، من پيش خودم ميگم: چه خوشبختن كساني كه مرده ان!واسه خودش شاهكاري بود! رويا بايد انگار هميشه رويا بمونه والا عين تمام واقعيت ها تلخ ميشه...

  • Jaclyn
    2019-05-19 02:01

    Read this for class and I really liked it! So much symbolism!

  • Fiona
    2019-05-03 23:56

    What is it with the Scottish school syllabus, that it's so obsessed with early twentieth century American playwrights? This is the second Tennessee Williams I've had to teach this year - and not so much as a Shakespeare to be seen. The Scots playwrights don't fare any better - there's a ton of Scottish poetry on the syllabus, but even for Liz Lochhead the poetry's all we get.Anyway, my copy of The Glass Menagerie has a favourable quote from Arthur Miller on the back, which I think falls under the general heading of "circlejerk", and also means that I'm far too cynical to do this any justice.As usual with this flavour of theatre, it's all gone horribly wrong for everyone, there's no way out (view spoiler)[at least not that isn't going to haunt you forever - what does happen to Laura after her brother makes his escape, after all? (hide spoiler)], and the devil's in the stage directions. If I get the chance to see this performed, I'm sure I'd jump at it; but if you give it to kids who don't think they like theatre anyway, it's not exactly the easiest to ignite the enthusiasm in them. At any rate, I have issues with it the same way I have issues with having to teach Steinbeck (why Of Mice and Men, constantly?! mutter mutter joy of reading mutter), and it's not something I'd pick up by myself out of choice. So there we go.What I will say, though, is that the edition I have is edited by Professor Stephen Bottoms, and his commentary is really great - accessible, interesting, and the sort of thing that I privately think of as a bit like a wine-tasting, which is to say that it points out what I ought to be noticing and taking as important. I'm glad I've read it; I appreciate the play much better for it. Maybe I'll come back later and give this a proper, vaguely charitable review. But I have to give a lesson on the themes in an hour and a half, and while there's plenty to talk about, charitable today I am not.Some people must adore this. I can only think my heart goes out to Tennessee Williams: anyone whose creative expression has to come out like this and Streetcar is a person who needs more support and backup than the poor sod apparently got.

  • Talie
    2019-05-01 02:00

    در سینما نشسته ای . نام فیلم: اینجا، بدون منداستان فیلم را نمی دانی. فقط تعریف های کلی از آن شنیده ای.فیلم آغاز می شودحیوانات کوچک شیشه ای، باغ وحش شیشه ایلحظه ی کشفتنسی ویلیامز! باغ وحش شیشه ایبا دخترک همذات پنداری زیادی کردم. دخترکی که دفاعی جز پنهان شدن نداشت

  • NiloufarRahmanian
    2019-05-04 21:00

    I really enjoyed reading this one. Im a fan of details and this one had a ton of them, it mentioned the american hostorical background without really mentioning it. But one could see how it is years after civil war and southerns have lost their slaved and their aristocracy. Society is getting industrialized , the way of life has been changed and the binary btw city/urban life is shown by the Toms wish to become a sailor. Everyone should become something, do sth, leisure is no more praised, art is no longer praised and happiness and relief is as fradgile and as unreal as the glass unicorn Laura praises which looses its horn and is given away finally. The magical cinema is here, it fills the escape literatures place as the books werent praised in the house. And how the dream is shattered, how the american dream is shattered for almost all of them, leaving them to live in the nostalgia of good old days. Yet the only one who seems to be living in the present is blamed and cant walk. How sacrifice has become a virtue in order to control the crowds of workers wasting their life in dark places. Tom was fired because he wrote a poem on a shoe box, yeah what a play.

  • Amy
    2019-05-19 23:21

    4 stars - but somethings are unrateable. Tennessee Williams to me is special. I find his work deeply moving. And while reading a play is moving, seeing it is an entirely different experience. I remember seeing both this play and the movie, and it is unforgettable. I also have the experience, after taking a Tennessee Williams class in college, or maybe it wasn't a class, maybe just somehow it was incorporated in American Dramatic Theater - I remember feeling the compelling need to read or see every single one of his plays. I got a book that was a compilation. And the very last one, the name I cannot even recall, that one I thought to not read, to savor, so I would always have one left. I remember that thinking process so distinctly. But also thinking - if you don't read this now, are you ever truly going to? You might never. What I cannot remember, is the decision I made. If I ever did read it. Or which play it was if I did, or didn't. Funny the things that stick.But - the Glass Menagerie. There's something about it that's so painfully sad and unforgettable. I think it has something to do with how vibrant the characters are, even Laura, in the face of of her delicacy - shines when she interacts with her glass collection, and when faced with her old crush. I truly think Amanda, Tom, and Laura, somehow live with us for an extremely long time. So thankful that I get to revisit these three works of his. Quietly praying there are CEU's involved, although I might not have signed up, and I'm glad that I'm taking the class anyway, it was a sort of impetus and important thing to take care of. I think I'm afraid to truly seek out the answer. But here I am in the month of November, spending some of it with Tennessee.

  • Πάνος Τουρλής
    2019-05-25 05:08

    «Ο γυάλινος κόσμος» διαπραγματεύεται την καθημερινή ζωή της οικογένειας Γουίνγκφιλντ που ζει στο Σεν Λούις και απαρτίζεται από τον γιο, Τομ, την κόρη, Λάουρα ή Λώρα, και τη μητέρα, Αμάντα. Η Αμάντα αγωνίζεται να μεγαλώσει σωστά τα παιδιά της, τον υπάλληλο σε κατάστημα γιο, που όμως έχει τα δικά του σχέδια και ρέπει προς την ασωτία, και τη χωλή κόρη που παραμένει ντροπαλή, με χαμηλή αυτοπεποίθηση και ακόμη ανύπαντρη. Πρωτεύει η αποκατάσταση της κόρης κι έτσι η Αμάντα πιέζει τον γιο της να αρχίσει να φέρνει συναδέλφους του στο σπίτι να γνωρίσουν τη Λάουρα και να την παντρέψουν. Τι θα συμβεί λοιπόν όταν ο πρώτος επισκέπτης θα είναι ένας πλατωνικός έρωτας από τα παιδικά χρόνια της Λάουρα, που αργότερα φήμες τον ήθελαν αρραβωνιασμένο;Το κείμενο, όπως κάθε θεατρικό έργο, είναι για να παίζεται και ίσως όχι μόνο για να διαβάζεται. Αυτό κατά πάσαν πιθανότητα ισχύει εφόσον ένα θεατρικό κείμενο δεν έχει την αυτοτέλεια ενός μυθιστορήματος. Δεν υπάρχουν καλολογικές περιγραφές, λεπτομερείς σκέψεις ή εμβάθυνση στο περιβάλλον της δράσης, μιας και το κείμενο συνδυάζεται με παραστατικότητα, με αναπαράσταση, γι’ αυτό και οι περιγραφές των σκηνών και των σκηνικών είναι οδηγίες σκηνοθετικές, δεν εντάσσονται και δεν εξαρμονίζονται με το σύνολο του κειμένου. Αυτό όμως δεν εμποδίζει το κείμενο αυτό καθαυτό να μη σαγηνέψει έναν αναγνώστη και να μη χαρίσει στιγμές συγκίνησης, γέλιου ή προβληματισμού. Έτσι κι εγώ αγάπησα από την αρχή σχεδόν αυτό το εξαιρετικό ψυχογράφημα που αξίζει κάποιος να το διαβάσει, γιατί είναι λεπτοδουλεμένο, άρτιο, γεμάτο νοήματα και ιδέες. Ας ξεκινήσω από την Αμάντα, τη μητέρα, μια φλύαρη και αγχωμένη γυναίκα, που πιστεύει πως η μόνη λύση για να ξεφύγουν από την ένδεια και τη μιζέρια τους είναι να καλοπαντρέψει την κόρη. Νιώθει αδύναμη όμως να χειριστεί σωστά το θέμα και δε σταματά στιγμή να αναπολεί τα όσα έζησε «στον Νότο», πριν γνωρίσει και παντρευτεί έναν υπάλληλο τηλεφωνικής εταιρείας, αντίθετα με το σύνηθες του τόπου και της εποχής να παντρεύονται οι γυναίκες γιους καλλιεργητών. Δε σταματά στιγμή να περιγράφει το πλούσιο κοινωνικό παρελθόν της: δεξίωση με τον Κυβερνήτη, βεγγέρες με 17 καλεσμένους κλπ. Είναι μια γυναίκα προδομένη, αφού ο σύζυγος πολύ σύντομα αγάπησε «τις μακρινές αποστάσεις». Και τώρα, με έναν γιο που τον φοβάται μην καταντήσει μεθύστακας και ρέμπελος και μια κόρη που παίζει με τα γυάλινα παιχνιδάκια της κι ας κοντεύει να κλείσει τα 23 της χρόνια. Οι λέξεις που ξεστομίζει η Αμάντα είναι συγκλονιστικές και χαρακτηριστικές της εποχής και των κοινωνικών συνθηκών που επικρατούσαν τότε. Μέσα από τα λόγια της, ο συγγραφέας κεντά με ενάργεια και διεισδυτικότητα πάνω στη «δήθεν» συμπεριφορά της κοινωνίας, η οποία απορρίπτει ασυζητητί κάθε τι που ξεφεύγει από την πεπατημένη. Και δεν είναι μόνο η τότε κοινωνία αλλά αυτή η στάση και η συμπεριφορά μας χαρακτηρίζει ακόμη και σήμερα, στην εποχή της παγκοσμιοποίησης και της πολυπολιτισμικότητας. «-Ξέρω καλά τι γίνεται μ’ όλες εκείνες τις ανύπαντρες γυναίκες που δεν έχουν τα προσόντα να βρούνε μια θέση. Έχω δει τέτοια αξιοθρήνητα πλάσματα στον Νότο, αποριγμένες γεροντοκόρες που ζούνε από τα γκρινιάρικα αποφάγια του άντρα της αδελφής τους ή της γυναίκας του αδελφού τους, χωμένες σε μια τρύπα για κάμαρα κι ο ένας συγγενής να τις στέλνει στον άλλον. Γυναικούλες... Σαν πουλιά δίχως φωλιά, σ’ όλη τους τη ζωή να τρώνε τα ψίχουλα της ταπεινοσύνης». Γίνεται έξαλλη όταν διαπιστώνει πως η ντροπαλή Λάουρα παράτησε κρυφά τα μαθήματα δακτυλογράφησης λόγω του ποδιού της, για το οποίο ντρεπόταν να τη βλέπει ο κόσμος. Γι’ αυτό βάζει μπροστά το σχέδιο του συνοικεσίου, μπας και βρει επιτέλους κάποιον και να συνεχίσει τη ζωή της η Λάουρα τουλάχιστον έγγαμη. Είναι μια μάνα που απαγορεύει στην κόρη να θεωρεί τον εαυτό της κουτσό και να μη χρησιμοποιεί τέτοιες μειωτικές λέξεις. Γαντζώνεται με λαχτάρα και απελπισία στον γιο της να της φέρει προξενιά, αυτό το παιδί πρέπει να φύγει από το σπίτι και μάλιστα με έναν καλό γαμπρό. Να πάψει πια να παίζει με τα γυάλινα παιχνιδάκια της και να ωριμάσει. Αλλά προσοχή! Ο μεγαλύτερος φόβος της είναι ο υποψήφιος σύζυγος να μην πίνει! «Κάλλιο γεροντοκόρη παρά γυναίκα μεθύστακα»! Εξ ου και ανησυχεί για το μέλλον και του αγοριού της. Αναγνωρίζει κι εκείνη τα δικά της λάθη του παρελθόντος κι ίσως η φράση της «Το χειρότερο πράμα για ένα κορίτσι είναι να πέσει θύμα της ομορφιάς του άντρα» να υποννοεί και το δικό της ατόπημα να παντρευτεί έναν άντρα που τους εγκατέλειψε. Άλλωστε δεν έπαψε να δείχνει μικροαστική και προσκολλημένη στα στερεότυπα, σε βαθμό εξοργιστικό: «Όλα τα όμορφα κορίτσια μια παγίδα είναι κι έτσι τα θέλουν οι άντρες!».Ο Τομ Γουίνγκφιλντ δουλεύει σε αποθήκη παπουτσιών για 60 δολάρια τον μήνα, θέλει απελπισμένα να ξεφύγει απ’ όλους αυτούς του περιβάλλοντός τους και της τάξης τους, φτάνει στο σημείο να πει «τι τυχεροί που είναι οι πεθαμένοι» όποτε τον ξυπνά η μάνα του να πάει στη δουλειά. Έχει όνειρα και φιλοδοξίες κα νιώθει να πνίγεται σε αυτό το περιβάλλον που μεγαλώνει. Διέξοδός του ο κινηματογράφος και τα ξενύχτια αλλά και η λογοτεχνία! Δε σταματά να γράφει ποίηση, γι’ αυτό και ο συνάδελφός του, Τζιμ, τον αποκαλεί «Σαίξπηρ»! Χαρακτηριστικό είναι πως απολύθηκε τελικά γιατί έγραψε ένα ποίημα σε κουτί παπουτσιών! Σταδιακά όμως, από σκηνή σε σκηνή, βλέπει την απελπισία και την ανησυχία της μητέρας του γι’ αυτόν και περιορίζεται πριν καταντήσει μεθύστακας και χαρτοπαίχτης. Αυτό όμως δε σημαίνει πως υποτάσσεται πλήρως στα «πρέπει» της μητέρας του. Έχει το δικό του σχέδιο και προσλαμβάνεται ως ναυτικός! Φυσικά και δεν το λέει ακόμη, είναι νωρίς, απλώς πιστεύει πως δεν μπορεί να ξεφύγει από το πεπρωμένο του. «Αχαΐρευτος γιος αχαΐρευτου πατέρα», λέει χαρακτηριστικά. Η Λάουρα Γουίνγκφιλντ, με χαμηλή αυτοπεποίθηση, δειλή, άτολμη, θεωρεί τον εαυτό της σακάτη κι ας επιμένει η μάνα της πως αυτό δε φαίνεται. Ζει σ’ έναν κόσμο δικό της κι αυτό την κάνει ιδιόρρυθμη στα μάτια των άλλων. Καταφεύγει στα γυάλινα ζωάκια της και ακούει παλιές πλάκες στο γραμμόφωνο. Άτολμη, κλειστή, ευγενική, άγεται και φέρεται κατά τη βούληση των δικών της ανθρώπων. Μένει προσκολλημένη σε έναν πλατωνικό έρωτα, από τον οποίο δεν μπορεί να συνέλθει. Δέχεται σιωπηλή τις προσβολές της μητέρας της, αποδέχεται στωικά όλη τη δυστυχία και την κατάντια τους. Δεν είναι ούτε δυναμική ούτε εριστική. Οποιαδήποτε άλλη θα μπορούσε είτε να αναλάβει πρωτοβουλία και να βρει μόνη της γαμπρό, αναγνωρίζοντας τον ρόλο της στην οικογένεια είτε να έρθει σε κόντρα με τους δικούς της και να υψώσει το ανάστημά της. Δεν κάνει τίποτα απ’ όλ’ αυτά όμως. Κάθεται και ακούει. Αν τύχει κατά τη διάρκεια του έργου να υψώσει φωνή θα είναι αν κινδυνεύσει η εύθραστη συλλογή της. Μεγάλη σύμπτωση να της προξενεύουν τον παιδικό της έρωτα, τον Τζιμ! Η Λάουρα παθαίνει σοκ όταν τον αντικρίζει μετά από τόσα χρόνια και η συμπεριφορά της καταντά σχεδόν παιδιάστικη. Ένα απρόσμενο γεγονός τους φέρνει πιο κοντά, γνωρίζονται, εξομολογούνται, συζητούν. Της δίνει τη χαμένη της αυτοπεποίθηση, κάνει καίριες παρατηρήσεις πάνω στην ανθρώπινη φύση, τη βοηθάει να σταματήσει σταδιακά να νιώθει δειλή, της αποκαλύπτει πως δεν αρραβωνιάστηκε ποτέ του, ειδικά εκείνη την κοπέλα που λέγανε. Η Λάουρα, τρισευτυχισμένη, τον ερωτεύεται ξανά, ώσπου έρχεται η στιγμή της τραγικής αλήθειας. Και ο τυφώνας Τζιμ; Που έρχεται εκπροσωπώντας τη μοναδική ελπίδα, τη λύτρωση, τη σωτηρία; Μια θύελλα που χάιδεψε τους ανθρώπους που τον φιλοξένησαν μόνο και μόνο για να τους τσακίσει στα βράχια της αλήθειας; Δείχνει φιλοσοφημένος, μελετημένος, φιλικός, δείχνει γνήσιο ενδιαφέρον για τη Λάουρα, ειδικά από τη στιγμή που την αναγνωρίζει και θυμούνται μαζί τα παλιά. Γιατί όμως προχώρησε σε κάτι που θα δώσει ελπίδες στην κοπέλα, θα τη βυθίσει ακόμη περισσότερο στη μοναξιά και τη μελαγχολία; Μήπως πρόλαβε να αγαπήσει την ασήμαντη κατ’ άλλους κοπέλα; Κι αν ναι, γιατί παρέμεινε πιστός στην αρχική του σκέψη, προδίδοντάς τους όλους; Τι έκανε που ανάγκασε την Αμάντα στο τέλος του έργου να υψώσει σπαραχτικές κραυγές απελπισίας προς τον Τομ; Λέει: «Άφησέ μας εμάς εδώ, μόνες μας, μια μάνα έρημη, μια αδερφή ανάπηρη, ανύπαντρη, χωρίς δουλειά...Πήγαινε, μη μας σκέφτεσαι καθόλου!» (θυμηθείτε πως η ίδια γυναίκα στην αρχή του έργου δεν ήθελε η κόρη της να χαρακτηρίζει τον εαυτό της μειονεκτικά!). Το κείμενο είναι απλώς αριστούργημα. Οι χαρακτήρες είναι αληθινοί, ολοζώντανοι, εκπροσωπούν ακριβώς την κοινωνία και τις αντιλήψεις της την εποχή που ζούσε και έγραφε ο Τένεσυ Ουίλιαμς, σε μια εποχή που όπως λέει και η Αμάντα: «Ο περισσότερος κόσμος ... δουλεύει σε φάμπρικες, σε εργοστάσια, σε γραφεία, σ’ αποθήκες...». Το έργο παρουσιάστηκε το 1944, με πρωτότυπο τίτλο «The glass menagerie» (Το γυάλινο θηριοτροφείο, έτσι χαρακτήριζε ειρωνικά η Αμάντα τη συλλογή της κόρης της) πρώτα στο Σικάγο και μετά στη Νέα Υόρκη κι ήταν η πρώτη μεγάλη επιτυχία του θεατρικού συγγραφέα. Η γυάλινη συλλογή της Αμάντα από ζωάκια είναι ταυτόσημη με τη γυάλινη συλλογή του συγγραφέα από εύθραυστους ανθρώπους. Άλλωστε, οι πρωταγωνιστές του «Γυάλινου κόσμου» είναι η οικογένεια του ίδιου του συγγραφέα: ο πατέρας του απουσίαζε λόγω φόρτου εργασίας, ο Τομ είναι ο ίδιος, η μητέρα του ήταν μια αριστοκράτισσα υπερπροστατευτική γυναίκα και η αδερφή του, Ρόουζ, ήταν σχιζοφρενής που υποβλήθηκε σε λοβοτομή. Συγκλονιστικό έργο, που ελάχιστοι δε θ’ αγαπήσουν. Προτάσεις-μαχαιριές, χαρακτήρες αληθινοί και ολοκληρωμένοι, ανατροπές, προσεκτικά μελετημένο μοτίβο δράσης-αντίδρασης, είναι ελάχιστα από τα θετικά χαρακτηριστικά ενός διαχρονικού κειμένου. Κατ’ εμέ, η καλύτερη φράση του έργου προέρχεται από τον Τζιμ: «Ένας κόσμος γεμάτος από μέτριους ανθρώπους. Όλοι τους γεννήθηκαν και όλοι τους θα πεθάνουν».

  • Negin
    2019-05-13 02:20

    اون چیزی ک فک میکردم نبود :|

  • Γιώργος
    2019-05-20 23:17

    Είναι τελικά τόσο δύσκολο να αποδεχτεί κάποιος τη σκληρή πραγματικότητα και να σταματήσει να ζει στον γυάλινο κόσμο των φαντασιώσεών του για μια καλύτερη ζωή πέρα από αυτή; Να πάψει να περιμένει το Ἄλλον κατά τη Δημουλά, και να αφοσιωθεί στο τώρα; Να απαγκιστρωθεί από τη Μνήμη στην οποία είναι βουτηγμένη η Αμάντα και να ζήσει στο χαλεπό Παρόν; Μήπως όλα αυτά είναι τόσο δύσκολα που για να τα κάνει κανείς πρέπει να σπάσει σαν τον μονόκερο της Laura, να εγκαταλείψει την «ονειρική» του φύση και να προσαρμοστεί στον κόσμο ακρωτηριασμένος; Είναι εφικτή η εγκατάλειψη ή και πάλι η Μνήμη (το κύριο ὄνομα τῶν θλίψεων) δεν αφήνει κανέναν να αποδράσει; The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart...

  • Carol
    2019-05-19 03:02

    Tennessee Williams proclaims THE GLASS MENAGERIE "the saddest play I have ever written. It is full of pain. It's painful for me to see it."The dysfunctional family portrayed in this drama brought back memories of Williams' own unhappy life while living in St. Louis. It is a story about a mother deserted by her husband long ago, still living in the youth of her past, who is constantly worried about her grown son's nightlife and job stability as well as her terribly shy and slightly "crippled" daughter's marital prospects as she retreats into a world of her own with fragile glass figurines.When a kind and outgoing gentleman comes to dinner, daughter Laura does surprisingly open up to him, even dances, but disappointment soon takes hold with a pronouncement that brings the sky falling down.While sorrowful and filled with an air of despair, the scene with the "gay deceivers" did bring a smile to my face.

  • Sketchbook
    2019-05-17 22:04

    "Blow out your candles, Laura." An American theatre classic. Even on the printed page it's a killer.

  • Jenny (Reading Envy)
    2019-05-12 04:56

    One of my favorite plays. I remember talking about it with a friend in high school, where we realized that from his perspective the play was about Tom, and from my perspective the play was about Laura. I guess it just depends who you are and where you are at in life.(I'm surprised I've never marked this as read before, and now I'll go off on a play spree.)"Being different is nothing to be ashamed of. Because other people are not such wonderful people. They're one hundred times one thousand. You're one times one! They walk all over the earth. You just stay here. They're common as — weeds, but — you — well, you're — Blue Roses!"

  • Leonard
    2019-05-26 04:19

    A domineering mother directs the destinies of the son and daughter, thereby stifling their individualities and aspirations. The theme isn’t fresh but Tennessee Williams, with masterful strokes of his pen, draws forth the drama that tucks the hearts of audience. We feel the tension, the frustration, the struggle, and ultimately the resignation. We sympathize with the children for having to sacrifice their dreams but we also pity the mother for trying to fill the role of the father and to revive a past that no longer exists. The play is humorous, satirical, and ultimately sad.

  • Rana Heshmati
    2019-05-20 22:20

    قبلا بحثش را کرده بودیم. سر کارگاه علوم 91 توی غرفه مان؛ زنگ تماشا، و حتی خانم سپینود ناجیان هم حضور داشتند! و حتی فیلمش، اینجا بدون من، راهم دیده بودم.... با این همه، خواندنش کیفی داشت. و نفس داشتن و خواندنش، برایم مثل یک معجزه بود. چراکه دلم می خواست بخوانمش و به هیچکس هم چیزی نگفته بودم.... اما برایم رسید :] از آسمان :دیممنونم از خانم توکلی و بشری جانم :)