The Rose Tattoo | The Grotesque Children of The Rose Tattoo
In the following essay, Starnes explores the regional and ethnic melange Williams mixes to give his characters their odd dialogue and bearing in The Rose Tattoo.
That realism should be the convention fundamental to the work of Tennessee Williams is altogether logical. Until his late adolescence, Williams had little opportunity to see any form of theater other than the American cinema, and this form, of course, is firmly grounded in the realistic approach. Even the external shape of Williams’s theater shows especially clear evidence of this cinematic influence: a succession of episodes, ‘‘fade-outs’’ and ‘‘fade-ins,’’ background music, gauze scrims, and expressive lights focussed to simulate ‘‘close-ups’’— all devices...
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