NYC-ARTS

S2018 E390 | FULL EPISODE

NYC-ARTS Full Episode: May 3, 2018

A profile of artist Zaria Forman, who has journeyed to the ends of the Earth for her inspiration. And a visit to The Morgan Library & Museum for a look at the exhibition "Tennessee Williams: No Refuge but Writing."

AIRED: May 03, 2018 | 0:27:46
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON NYC ARTS, A

PROFILE OF ZARIA FOREMAN, WHO

HAS JOURNEYED LITERALLY TO THE

ENDS OF THE EARTH FOR HER

INSPIRATION.

>> I GOT AN EMAIL ONE DAY.

IT WAS LIKE THE MOST EXCITING

EMAIL I EVER RECEIVED.

IT WAS, YOU KNOW, SOMEONE SAYING

HEY, WOULD YOU LIKE TO COME FLY

WITH US OVER ANTARCTICA, LOVE,

NASA.

I'VE BEEN TRAVELING TO ICY

LANDSCAPES A LONG TIME NOW.

SO I FELT I HAD A FAIRLY DEEP

UNDERSTANDING VISUALLY OF ICE.

BUT THIS IS A WHOLE NEW BALL

GAME AND WHOLE NEW PERSPECTIVE.

>> AND A VISIT TO THE MORGAN

LIBRARY AND MUSEUM FOR A LOOK AT

THE EXHIBITION TENNESSEE

WILLIAMS NO REFUGE BUT WRITING.

>> AND THIS IS THE MOMENT HE IS

ABLE TO TAKE ALL OF THESE EARLY,

EARLY DRAFTS, THE EARLY ONE-ACTS

WITHIN KIND OF PULL OUT THE

ELEMENTS OF WHAT WILL BECOME THE

GLASS MENAGERIE.

>> FUNDING FOR NYC ARTS IS MADE

POSSIBLE BYES ROSALIND P.

WALTER, KATE W. CASSIDY

FOUNDATION.

.

JEAN DUBINSKI APPLETON ESTATE.

JOHN AND JODI ARNHOLD, THE LOUIS

SUNNY TURNER FUND FOR DANCE.

THE MILTON AND SALLY AVERY ARTS

FOUNDATION.

AND ELROY AND TERRIE KRUMHOLTZ.

FUNDED IN PART BY THE NEW YORK

DEPARTMENT OF CULTURAL AFFAIRS.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

GLRK ARTS IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> ANNOUNCER: FLEXIBILITY,

COORDINATION, EXCELLENCE.

FIRST REPUBLIC PRIVATE WELT

MANAGEMENT, IT'S A PRIVILEGE TO

SERVE YOU.

>> AND BY SWANN AUCTION

GALLERIES.

>> SWANN AUCTION GALLERIES.

WE HAVE A DIFFERENT WAY OF

LOOKING AT AUCTIONS OFRPG

VINTAGE BOOKS AND FINE ART SINCE

1941 WORKING TO COMBINE

KNOWLEDGE WITH ACCESSIBILITY,

WHETHER A LIFELONG COLLECTOR OR

SELL OTHER LOOKING TO SELL

INFORMATION AT SWANN

GALLERIES.COM.

♪♪

>>> GOOD EVENING AND WELCOME TO

NYC ARTS.

I'M PAULA SWAN AT THE TISCHWNEST

STUDIOS.

TONIGHT WE MEET AN ARTIST WHO

HAS LITERALLY JOURNEYED TO THE

ENDS OF THE EARTH, INSPIRED BY

VISITS TO THE COAST OF

GREENLAND, THE MALDIVES AND

ANTARCTICA, ZARIA FOREMAN

CREATES LARGE SCALE CHALK PASTEL

DRAWINGS THAT CAPTURE MELTING

ICE AND RISING SEAS.

IN 2016 NASA INVITED FOREMAN TO

PARTICIPATE IN THE ICE BRIDGE

EXPEDITION WHICH DOCUMENTED THE

CHANGING ICE SKAP OF THE ARCTIC

AND ANTARCTIC.

THE PHOTO SHE SHOT ABOVE THE

GLACIERS ARE INSPIRATION FOR THE

LATEST SERIES OF DRAWINGS.

NYC ARTS SPOKE WITH THE ARTIST

AT HER BROOKLYN STUDIO.

>> I GREW UP WITH AN ARTIST MOM

AND SHE WAS IN LOVE WITH THE

MOST FAR OFF REMOTE LANDSCAPES

SHE COULD FIND AND VENTURE TO.

EVERY YEAR AS A CHILD WE WOULD

TRAVEL TO REMOTE PLACES FOR A

MONTH AT A TIME.

THAT INSTILLED IN KNEE A LOVE OF

LANDSCAPE.

WE PLANNED A TRIP TO GREENLAND

IN SOW TOGETHER.

BUT MY MOM WAS DIAGNOSED WITH

BRAIN CANCER AND PASSED AWAY

BEFORE WE COULD TAKE THE TRIP.

I THOUGHT THAT WAS THE END OF MY

TRAVELING DAYS.

I DIDN'T THINK I HAD IT IN ME TO

PLAN THE EXPEDITIONS SHE DID.

I DECIDED TO DO IT IN HER HONOR

AS I WAS SPREADING HER ASHES ON

THE TRIP IN SEVERAL PLACES.

THAT WAS THE FIRST TIME I DREW

ICE.

I HADN'T DRAWN IT BEFORE THAT

TRIP.

GREENLAND IS EPIC.

THE SUN IS AT A LOWER ANGLE, AND

SO THE ICEBERGS ARE LIT UP IN

THE MOST DRAMATIC WAY.

AND THE FOG HOVERS OVER THE

HORIZONS.

ESPECIALLY MY ICEBERG DRAWINGS,

I SEE THEM AS PORTRAITS.

BY THE TIME I'M FINISHWOOD THE

DRAWING OF AN ICEBERG IT'S

COMPLETELY MELTED OR LOOKS

COMPLETELY DIFFERENT.

UNDERTAKING THAT TRIP I THINK IS

WHAT GAVE ME CONFIDENCE TO

CONTINUE.

STANDING NEXT TO A GLACIER, YOU

FEEL SO TINY AND COMING BACK

FROM THESE PLACES AND WANTING TO

REPRESENT THEM AS BEST AS I CAN

AND TRYING TO GIVE THE VIEWER

THAT EXPERIENCE OF WHAT IT'S

LIKE TO STAND NEXT TO A GLACIER

OR AN ICE WE AGREE, THE ONLY WAY

I FEEL LIKE I COULD COME AS

CLOSE AS POSSIBLE TO THAT IS BY

DRAWING AS BIG AS I POSSIBLY

CAN.

SO WHEN I TRAVEL, I TAKE

THOUSANDS OF PHOTOGRAPHS ON-SITE

AND TRY TO SOAK UP THE LANDSCAPE

VISUALLY NOT ALWAYS HAVING THE

CAMERA IN FIBRIN OF MY FACE.

AND I GET BACK TO THE STUDIO AND

WORK FROM MY MEMORY OF THE

EXPERIENCE AND THE PHOTOGRAPHS

TO MAKE THE LARGE SCALE

COMPOSITIONS.

AS I'M DRAWING I'M RECALLING THE

EXPERIENCE I HAD IN THAT MOMENT,

YOU KNOW, ON THE CUSTODY YACK

LOOKING AT THE ICEBERG AND

REMEMBERING WHAT THE LIGHT

LOOKED LIKE AND HOW THAT

EXPERIENCE FELT.

I TRUE TO PUT THAT IN THE

POSITION WITH AS MUCH OF MY

MEMORY AS I CAN.

I WANT IT TO LOOK AS REALISTIC

AS POSSIBLE.

UP CLOSE IT BECOMES VERY

ABSTRACT.

AND LOOKING AT LINE AND FORM AND

SHAPE AND COLOR.

I HAVE JUST ALWAYS HAD AN

OBSESSION WITH CHARCOAL AND SOFT

PASTEL, SOMETHING ABOUT THE

MATERIAL I LOVE, THE SIMPLICITY

OF MAKING A MARK ON THE PAPER

AND THAT'S WHAT IT IS.

I CAN MOVE THE PIGMENT AROUND

AND CHANGE THE WAY IT LOOKS.

THERE IS NO OTHER FACTOR OTHER

THAN JUST ME AND THE MATERIAL.

I JUST GOT AN EMAIL ONE DAY.

IT WAS LIKE THE MOST EXCITING

EMAIL I EVER RECEIVED.

IT WAS, YOU KNOW, SOMEONE

SAYING, HEY, WOULD YOU LIKE TO

COME FLY WITH US?

LOVE, NASA.

NOT EXACTLY LIKE THAT.

BUT IN SO MANY WORDS THAT'S

LIKE -- IT WAS A VERY BRIEF

EMAIL.

AND IT WAS LIKE HERE MY NUMBER

DO YOU WANT TO COME FLY WITH US

OVER ANTARCTICA IN THE SPRING.

I THOUGHT IT WAS A HOAX,

LITERALLY UP UNTIL THE DAY I

LANDED AND MET THE SCIENCE TEAM

AND WE HAD OUR FIRST MEETING AND

I WAS LIKE, OKAY, THIS IS NASA.

IT'S EXTREMELY GRUELING WORK.

ESPECIALLY THE ANTARCTICA

FLIGHTS.

THEY ARE ON AVERAGE 10 TO 12

HOURS LONG, EVERY SINGLE DAY.

IT'S LIKE FLYING ACROSS THE

PLANET DAY AFTER DAY AFTER DAY.

AND IT'S SOME OF THE MOST

IMPORTANT WORK HAPPENING IN THE

WORLD NOW BECAUSE THERE IS SO

MUCH WE DON'T KNOW ABOUT HOW ICE

MOVES AND MELTS.

AND I'VE BEEN TRAVELING TO ICY

LANDSCAPES FOR A LONG TIME NOW.

AND SO I FELT LIKE I HAD A -- A

FAIRLY DEEP UNDERSTANDING JUST

VISUALLY OF ICE.

BUT THIS IS LIKE A WHOLE NEW

BALL GAME.

AND WHOLE NEW PERSPECTIVE.

AND SEEING IT FROM THAT

PERSPECTIVE REALLY MADE ME

REALIZE NOT ONLY THE SCALE OF

ICE BUT THE SCALE OF THE GLOBAL

CLIMATE CRISIS THAT WE'RE IN THE

MIDDLE OF IT.

IT'S SO MUCH ICE.

YOU CAN REALLY SEE HOW, LIKE, IF

THAT'S MELTING AT THE RAPID PACE

IT'S MELTING OUR GLOBAL SEA

LEVELS WILL RISE, AND THERE IS A

LOT OF HORRIBLE CONSEQUENCES.

THIS IS THE 7 GLACIER IN

GREENLAND AND DISPENSES THE MOST

AMOUNT OF ICEBERGS INTO THE

OCEAN OF ANY OTHER GLACIER IN

THE ARCTIC.

WE FLEW OVER IT FOR HOURS AND

HOURS.

I TOOK THE PHOTOS FROM THE

PLANE.

IT'S AN AERIAL VIEW.

IN BETWEEN THE RIDGES IS

PROBABLY ABOUT 150 FEET.

THERE IS A WHOLE BATCH OF NEW

COLORS IN THIS PIECE.

SOME THAT ARE REALLY LIKE BRIT

AND LUMINOUS.

AND IT'S ALSO JUST PERSONAL FOR

ME BUS THE FJORD WHERE THIS

DEPENDENCES ICE INTO IS WHERE I

SPREAD MY MOM'S ASHES.

I FEEL SHE IS PART OF THAT

LANDSCAPE.

I'M TRYING TO PORTRAY THE BEAUTY

IN THE PLACES IN THE FOREFRONT

OF CLIMATE CHANGE.

AND JUST GIVE A MOMENT IN TIME

IN PEOPLE'S LIFE TO KPLIET IT.

BECAUSE IT'S NOT PART OF OUR

EVERY DAY LIFE.

I WANT PEOPLE TO UNDERSTAND AND

I WANT PEOPLE TO BE MOVED BY IT.

AND HAVE AN EMOTIONAL REACTION

TO IT AND FALL IN LOVE WITH THE

ICE AS I HAVE.

WHEN YOU LOVE SOMETHING YOU WANT

TO PROTECT IT.

IT MAKES THEM THINK WHAT CAN I

DO TO HELP PROTECT AND PRESERVE

THE LANDSCAPES THAT ARE CHANGING

SO QUICKLY?

♪♪

>>> GOENG.

I'M CHRISTINA HA WITH TONIGHT'S

NYC ARTS NEWS.

WE'RE AT THE BROOKLYN MUSEUM ONE

OF THE LARGEST AND OLDEST MUSEUM

IN THE COUNTRY.

I'M STANDING IN DAVID BOWIE IS,

A MONUMENTAL MULTIMEDIA EXHIBIT

DEDICATED TO THE LIFE AND MUSIC

OF ONE OF THE MOST INFLUENTIAL

PERFORMERS OF THE MODERN TIMES.

THE BROOKLYN MUSEUM IS THE FINAL

STOP FOR A WORLD TOUR OF THIS

EXHIBIT.

ORGANIZED BY THE VICTORIA AND

ALBERT MUSEUM WHICH TRAVELED

FROM HIS BIRTH PLACE IN LONDON

TO NEW YORK.

THE CITY HE CALLED HOME FOR OVER

20 YEARS.

>> THE EXHIBITION IS THE UNIQUE

IMMERSIVE EXPERIENCE WITH

WIRELESS HEAD PHONES PROVIDED TO

TAKE YOU ON A JOURNEY THROUGH

BOWIE ARTISTIC INFLUENCES.

IT COVERS THE MANY ERAS OF HIS

CAREER OVER FIVE DECADES.

FROM SPACE ODDITY TO BLACK STAR.

HIS LAST ALBUM RELEASED JUST

DAYS BEFORE HIS DEATH IN

JANUARY, 2016.

>> BOWIE CONTINUALLY REINVENTED

HIMSELF, PURSUED INVENTIVE

COLLABORATIONS WITH OTHER

ARTISTS.

AND REVOLUTIONIZED HOW WE SEE

MUSIC.

IT FLUS FOOTAGE OF LIVE

PERFORMANCES, MUSIC VIDEOS AND

FILMS AS WELL AS PERSONAL ITEMS

FROM THE ARCHIVES.

SET LISTS LYRICS, MUSICAL SCORE

AND SKETCHES.

ORIGINAL COSTUMES RANGE FROM

ZIGY START-UP TO BODY SWOT TO A

ALEXANDER McQUEEN UNION JACK

COAT.

DAVID BOWIE IS REMAINS ON VIEW

AT THE BROOKLYN MUSEUM THROUGH

JULY 15th.

♪♪

>> ALSO ON VIEW AT THE WHO IS

ACHMEDMATER A LOOK AT CHANGES

UCHLD NYSTAGMUS THE CITY BY A

SAUDI ARTIST.

GUN IN 2008.

HIS MONUMENTAL PROJECT FEATURES

LARGE SCALE PHOTOGRAPHS AND

VIDEO AS WELL AS INTIMATE IMAGES

OF MECCA'S DIVERSE INHABITANTS.

IT'S THE HOLYIEST CITY IN SLAM.

AND THE ANNUAL PILGRIMAGE FOR

MILLIONS.

HIS PHOTOS PROVIDE A WINDOW IN

THE EVERY DAY LIFE OF THE CITY,

OPEN ONLY TO THOSE OF THE

ISLAMIC FAITH AND A CHRONICLE OF

THE RAPID AND ONGOING DEMOLITION

AND RECONSTRUCTION OF THE HOLY

CITY.

AHMEDMATER JOURNEY HAS BEEN

EXTENDED THREW JUNE 17th.

>>> THE BROCK LYNN ACADEMY OF

MUSIC PREVENTS THE PRODUCTION OF

EUGENE O'NEILL PULITZER PRIZE

WINNING MASTER WORK LONG DAY'S

JOURNEY INTO NIGHT.

SET IN 1912 THE PLAY GIVES

AUDIENCE AS PORTRAIT OF A FAMILY

TOURN APART BY DRUG ADDICTION

AND LOST LOST IN DEFILE.

A STORY THAT'S POWERFUL AND

RELEVANT TODAY.

SIR RICHARD ERR DIRECTS THE

DRAMA OF RESENTMENT AND DRAMA.

BETWEEN AN ALCOHOLIC RETIRED

ACTOR HIS MORPHINE ADDICTED WIFE

AND THEIR TROUBLED ADULT SONS.

TONY AND OSCAR WINNER JEREMY

IRONS IS THE PATRIARCH.

HIS WIFE IS UNABLE TO ADMIT HER

OWN ADDICTION.

>> THIS IS ON GONE IN THE PAST

NOW.

BUT IT'S ONLY THE BEGINNING OF

THE AFTERNOON.

HOT WILL YOU BE TONIGHT.

>> EUGENE O'NEILL'S LONG DAY'S

JOURNEY INTO NIGHT IS AT B.A.M.

MAY 8th THROUGH THE 27th.

>>> HEAD TO THE METROPOLITAN

MUSEUM OF ART FOR A LANDMARK

EXHIBITION FEATURES THE ARTS OF

THE ANCIENT AMERICAS.

THE EXHIBITION FEATURES THE RARE

WORK OF INDIGENOUS ARTISTS,

INCLUDING THOSE FROM THE MAYA

AND AZTEC AND INKA CIVILIZATIONS

AMONG OTHERS.

GOLDEN KINGDOMS ABLUXURY AND

LEGACY IN THE ANCIENT AMERICAS

SHOWCASES MORE THAN 300 OBJECTS

FROM 12 COUNTRIES FROM PERU IN

THE SOUTH TO MEXICO IN THE

NORTH.

IT INCLUDES SOME 2000 YEARS OF

GOLD WORKING.

OBJECTS RANGE FROM PENDANTS AND

PLATES.

TO HEAD ORNAMENTS FOR THE FACE

AND NOSE, FOREHEAD AND EARS, AND

EVEN LIP PIERCINGS.

THE EXHIBITION ALSO REVEALS THE

DISTINCTIVE WAYS ANCIENT

AMERICANS USED NOT ONLY METALS

BUT ALSO JADE, SHELL AND

TURQUOISE AND MOTHER-OF-PEARL.

ALSO ON VIEW IS A IF YOU KNOW

EARLY MASK FOUND IN THE MAY YAN

TOMB OF RED QUEEN.

THE EXHIBIT IS ON VIEW AT THE

MET FIFTH AVENUE THROUGH MAY

28th.

>>> THE LAMON DANCE COMPANY

RETURNS WITH FRESH TURKS ON

DANCES CREATED BY JOSE LIMON IN

THE '40s AND '50s.

THE SEASON FEATURES A MAJOR

REVIVAL.

A PIECE SET TO MUSIC BY

HUNGARIAN COMPOSER.

OTHER WORKS INCLUDE THE UNSUNK

FOR AN ALL MALE CAST AS WELL AS

THE BODY OF THE HOUSE WITHOUT

WALLS.

A BRAND-NEW WORK WHICH ARTISTIC

DIRECTOR COLIN CONNOR FOR AN ALL

FEMALE CAST, SET TO MUSIC BY BET

HOEVEN.

.

IT FEATURES SHORT, BY

CHOREOGRAPHERS.

INCLUDING A NEW WORK

COMMISSIONED BY THE COMPANY.

THAT'S THE NYC ARTS NEWS.

>>> NEXT, WE VISIT THE MORGAN

LIBRARY AND MUSEUM FOR A LOOK AT

THE LIFE AND WORK OF ONE OF

AMERICA'S MOST CELEBRATED PLAY

WRITES.

TENNESSEE WILLIAMS, NO REFUGE

BUT WRITING, EXAMINES THE

CREATIVE PROCESS OF A WRITER WHO

OFTEN WROTE ABOUT AND REWORKED

THE RAW MATERIALS OF HIS

PERSONAL LIFE.

WILLIAMS HAD AN UNHAPPY FAMILY

LIFE AND LATER STRUGGLED WITH

ALCOHOL AND DRUG ADDICTION.

HIS PRIVATE LIFE INCLUDED A

SEARS OF STORMY RELATIONSHIPS

AND OFTEN AT ODDS WITH CRITICS

AND CENSORS OVER THE TREATMENT

OF SEXUALITY IN HIS PLAYS.

THE MORGAN EXHIBITION FOCUSES ON

THE PERIOD BETWEEN 1939 APPEAR

1957, A TIME WHEN WILLIAMS' MIND

AND SHAPED HIS DIFFICULT

PERSONAL EXPENSES INTO SOME OF

THE GREATEST WORK THE THEATER

CAROLYN VEGA ASSOCIATE KURTER AT

THE MORGAN WILL BE OUR GUIDE.

>> THIS EXHIBITION, TENNESSEE

WILLIAMS, NO REFUGE BY WRITING,

FOLLOWS THE LIFE AND CAREER OF

THE PLAY WRITE TENNESSEE

WILLIAMS FROM HIS YOUNGEST YEARS

THROUGH THE YEARS WHEN HE WAS A

STRUGGLING WRITER, UP UP THROUGH

THE YEARS THAT BROUGHT HIM THE

GREAT SUCCESSES OF GLASS

MENAGERIE.

STRET CAR NAMED DESIRE AND THE

ROSE TATTOO AND CAT ON A HOT TIN

ROOF.

THE EXHIBITION INCLUDING

WILLIAMS'S TYPEWRITTEN PLAY

SCRIPTS THAT HE HEAVILY REVISED.

SOME OF HIS OWN PAINTINGS,

PHOTOGRAPHS.

AND THE PHRASE NO REFUGE BUT

WRITING COMES FROM AN INTERVIEW

THAT HE GAVE MERE THE END OF HIS

LIFE TO THE PARIS REVIEW IN

1981.

HE TALKS ABOUT HOW WHEN YOU HAVE

A BROKEN LOVE AFFAIR, THE DEATH

OF SOMEONE YOU LOVE, SOME OTHER

DISORDER IN YOUR LIFE YOU HAVE

NO FLUJ BUT WRITING.

IT WAS WHAT HE ALWAYS CAME BACK

TO AND WAS DRIVEN TO HIS WHOLE

LIFE.

ONE OF THE THEMES WE ARE

EXPLORING IN THE EXHIBITION IS

WILLIAMS'S COMPULSIVE PRACTICE

OF REWRITING HIS WORK.

FOR EXAMPLE, THE PLAY THAT WE

START WITH IS WILLIAMS'S FIRST

COMMERCIALLY PRODUCED PLAY,

BATTLE OF ANGELS.

IT WAS SORT OF A EPIC FAILURE.

AND HE WENT BACK TO THIS PLAY

EVERY FEW YEARS, COMPLETELY

REWRITING IT.

AND IT FINALLY REEMERGED ABOUT

17 YEARS LATER AS ORPHEUS

ASCENDING.

HE DREW INCESTANTLY FROM HIS OWN

LIFE WHEN WORKING ON HIS PLAYS.

SOME OF THE CLEAREST EXAMPLES

ARE THE WAY HE DREW FROM HIS

FAMILY LIFE FOR THE GLASS

MENAGERIE.

HIS FATHER WAS A HEAVY DRINKER.

HE WAS A GAMBLER.

A WOMANIZER.

HIS RELATIONSHIP WITH WILLIAMS'S

MOTHER WAS VERY STRAINED.

SHE IN TURN WAS SORT OF

PHYSICALLY RESERVED WITH HER

CHILDREN.

SO NOT A LOT OF PHYSICAL SHOWS

OF AFFECTION IN THE FAMILY.

SO NOT A HAPPY HOUSEHOLD.

WILLIAMS WAS EXCEPTIONALLY

DEVOTED TO HIS OLDER SISTER

ROSE.

ROSE SUFFERED FROM MENTAL

ILLNESS FOR HER WHOLE LIFE.

SHE WAS IN AND OUT OF

PSYCHIATRIC HOSPITALS.

AND THEN IN 1943 SHE WAS

SUBJECTED TO A FRONTAL LABOTAMY

PMT HE DIDN'T LEARN ABOUT THE

OPERATION UNTIL TEN DAYS AFTER.

THIS WAS THE MOMENT HE TOOK ALL

THE EARLY DRAFTS, THE EARLY

ONE-ACTS AND KIND OF PULL OUT

THE ELEMENTS OF WHAT WILL BECOME

THE GLASS MENAGERIE.

SO ROSE TRANSFORMED INTO THE

SISTER IN THE PLAY, LAURA.

WILLIAMS'S MOTHER EDWINA IS

TRANSFORMED INTO THE MOTHER IN

THE PLAY, AMANDA.

HIS ABSENT FATHER SORT OF

REFERENCED THERE.

AND THEN TOM, THE CENTRAL

CURBING IS TENNESSEE WILLIAMS

HIMSELF OF COURSE.

THE GLASS MENAGERIE ACTUALLY

STARTED OUT WITH THE TITLES, THE

GENTLEMAN CALLER.

WILLIAMS FIRST TRIED TO TURN IT

INTO A FILM STORY EXTREMIST

WHICH WAS REJECTED.

HE COMES BACK TO IT AND DEVELOPS

A FULL-LENGTH PLAY.

WHEN HE FINISHED THE GLES

MENAGERIE AND SENT IT TO HIS

AGENT.

HE THOUGHT IT WAS RELEGATED TO

THE RESERVOIR OF NOBLE EFFORTS

HE CALLED IT.

BUT IT WAS THIS MASSIVE, MASSIVE

SUCCESS.

IT MADE HIS CAREER.

THERE IS NO OTHER WAY TO SAY IT.

ON THE OPENING NIGHT THERE WERE

34 CURTAIN CALLS BEFORE WILLIAMS

WENT UP TO THE STAGE.

IN THE SECTION DEVOTED TO A

STREETCAR NAMES DESIRE, WE HAVE

A LOT OF EARLY DRAFTS.

WE HAVE A ONE-ACT PLAY CALLED

THE DRUM.

AND IT IS A CHARACTER STUDY FOR

THE WOMAN WHO WILL BECOME CARTE

BLANCHE.

WE ALSO TAKE A CLOSE LOOK AT TWO

EARLY ONE-ACT PLAYS, BOTH

ENTITLED INTERIOR PANIC.

THEY EXPLORE IN GREAT DETAIL

CARTE BLANCHE'S PSYCHE.

WE SEE ONE OF THE CHARACTERS

NAMED GLADYS WHICH WILLIAMS GOES

BACK TO AND WRITES IN BLANCH.

SO THIS IS WHERE WE CAN SEE HIM

MAKING THAT DECISION.

.

A STREETCAR NAMED DESIRE FOLLOWS

CARTE BLANCHE AS SHE ARRIVES IN

THE FRENCH QUARTER AT THE HOME

OF HER SISTER TELLA AND HER

HUSBAND STANLEY.

AND HER SLOW DESCENT IN MADNESS.

WE HAVE VARIOUS ENING.

AND THE VERSION OF STRET CAR

THAT WE ALL KNOW, IT ENDS WITH

CARTE BLANCHE BEING RAPED BY HER

BROTHER-IN-LAW, STANLEY.

AND SOME OF THE OTHER ENINGS,

STANLEY AND BLANCH HAVE A

CONSENSUAL RELATIONSHIP.

AND SHE DECIDES TO VOLUNTARY

LEAVE AFTERWARDS.

AND OTHER VERSIONS IT'S MORE

VIOLENT THAN THE ONE THAT WE

KNOW.

THE YEARS THAT WILLIAMS WAS

WORKING MOST CLOSELY ON THE PLAY

THAT WOULD BECOME "A STREETCAR

NAMED DESIRE."

HE WAS LIVING WITH HIS LOVER

PONCHO RODRIGUEZ.

AND HE DREW ON THIS RELATIONSHIP

HEAVILY IN THE DEVELOPMENT OF

THE PLAY.

THEIR RELATIONSHIP COULD BE

TUMULTUOUS AND ARGUMENTS

SOMETIMES TURNED VIOLENT.

IT WAS THE ELEMENTS HE DROU ON

IN DEVELOPING THE CHARACTER OF

STANLEY.

WILLIAMS'S PLAYS TRY TO EXPLORE

SOME OF THE MOST BASIC

RELATIONSHIPS PROBLEMS AMONG THE

PEOPLE ON THE STAGE IN AN EFFORT

TO GET CLOSER TO THE TRUTH, NOT

NECESSARILY A LITERAL TRUTH BUT

AN EMOTIONAL TRUTH.

>>> HELLO I'M RAFAEL PI RAMAN

AND WELL TO LINCOLN CENTER.

YOU KNOW ALL YEAR-ROUND NEW

YORKERS AND GUESTS FROM AROUND

THE WORLD VISIT THE CULTURAL

MECCA FOR THE THEEFT ARE

OVERFLOWING WITH THE BEST IN

MUSIC, DANCE, OPERA, DRAMA AND

FILM.

NEW YORK CITY BALLET 2018 SPRING

SEASON RUNS THROUGH JUNE 3rd.

THE CENTER PIECE OF THE SEASON

IS ROBYNN AS 100.

A CELEBRATION OF JEROME ROBYNNS

NEW YORK CITY BALLET'S

COFOUNDING COREOGRAPHER.

THE SPECIAL PROGRAM FOR THREE

WEEKS FEATURE 20 WORKS CREATED

BY ROBYNNS.

AMONG THE HIGHLIGHTS ARE

PERFORMANCELESS OF FANCY FREE,

THE CAGE, AND GLASS PIECES.

FOR COMPLETE DETAILS PLEASE

VISIT NYC BALLET.COM.

AND FOR MORE INFORMATION ABOUT

MUSIC, DANCE, THEATER, OPERA AND

FILM HERE AT LINCOLN CENTER YOU

CAN VISIT THE WEBSITE AT LINCOLN

CENTER.ORG.

>>> I HOPE YOU'VE ENJOYED OUR

PROGRAM THIS EVENING.

I'M PAULA ZAHN AT AT WNET STUDIO

AT LINCOLN CENTER THANK YOU FOR

JOINING US.

>> NEXT WEEK ON NYC ARTS.

PAULA ZAHN WITH DEBRA BOARDA

PRESIDENT APPEAR CEO OF THE NEW

YORK PHIL HARM ONIC.

>> PHIL OUR LITTLE JOKE IS A

SERIES OF CONCERTS WHERE TICKETS

ARE AVAILABLE FOR $5.

EACH ONE WILL BE ONLY AN HOUR.

WE ENCOURAGE PEOPLE WHO MIGHT

NOT FEEL AS COMFORTABLE IN THE

ART FORM COME DRESSED ANY WAY

YOU WANT.

THERE IS SOMETHING ELSE THAT

TOUCHES ME THAT IS THE NEW MUSIC

DIRECTOR WILL CONDUCT EVERY ONE

OF THE CONCERTS.

>> REALLY?

♪♪

♪♪

>> ANNOUNCER: FUNDING FOR NYC

ARTS IS MADE POSSIBLE BY

ROSALIND P. WALTER, KATE W.

CASSIDY FOUNDATION, GENE

DUBINSKY APPLETON ESTATES.

ELLEN AND JAMES S MARKEN.

THE LOUIS SUNNY TURNER FUND FOR

DANCE.

.

ELISE JAFFEY AND JEFFREY

BROWNED.

AND ELROY AND TERRY KRUMHOLZ

FOUNDATION.

THIS IS SUPPORTED IN PART BY THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS IN PARTNERSHIP

WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

NYC ARTS IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

♪♪

>> ANNOUNCER: FLEXIBILITY.

COORDINATION, EXCELLENCE.

FIRST REPUBLIC PRIVATE WELT

MANAGEMENT, IT'S A PRIVILEGE TO

SERVE YOU.

>>> AND BY SWANN AUCTION

GALLERIES.

>> ANNOUNCER: SWANN AUCTION

GALLERIES WE HAVE A DIFFERENT

WAY OF LOOKING AT AUCTIONS

OFFERING VINTAGE BOOKS AND FINE

ARTS SINCE 1941 WORKING TO

COMBINE KNOWLEDGE WITH

ACCESSIBILITY, INFORMATION AT

SWANN GALLERIES.COM.

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