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Cormac McCarthy and Performance : Page, Stage, Screen / Stacey Peebles.

By: Contributor(s): Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2017Description: 1 online resource (256 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781477312056
Subject(s): DDC classification:
  • 813/.54 23
LOC classification:
  • PS3563.C337 Z797 2017
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction -- Chapter One. First Forays: -- Chapter Two. The Unproduced Screenplays: -- Chapter Three. Works for Theater: -- Chapter Four. Keeping the Faith: -- Chapter Five. Tragic Success Stories: -- Chapter Six. Great Expectations: -- Conclusion. Bears That Dance, Bears That Don’t: -- Notes -- Bibliography -- Index
Summary: Cormac McCarthy is renowned as the author of popular and acclaimed novels such as Blood Meridian, All the Pretty Horses, and The Road. Throughout his career, however, McCarthy has also invested deeply in writing for film and theater, an engagement with other forms of storytelling that is often overlooked. He is the author of five screenplays and two plays, and he has been significantly involved with three of the seven film adaptations of his work. In this book, Stacey Peebles offers the first extensive overview of this relatively unknown aspect of McCarthy’s writing life, including the ways in which other artists have interpreted his work for the stage and screen. Drawing on many primary sources in McCarthy’s recently opened archive, as well as interviews, Peebles covers the 1977 televised film The Gardener’s Son; McCarthy’s unpublished screenplays from the 1980s that became the foundation for his Border Trilogy novels and No Country for Old Men; various successful and unsuccessful productions of his two plays; and all seven film adaptations of his work, including John Hillcoat’s The Road (2009) and the Coen brothers’ Oscar-winning No Country for Old Men (2007). Emerging from this narrative is the central importance of tragedy—the rich and varied portrayals of violence and suffering and the human responses to them—in all of McCarthy’s work, but especially his writing for theater and film.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781477312056

Frontmatter -- Contents -- Acknowledgments -- Introduction -- Chapter One. First Forays: -- Chapter Two. The Unproduced Screenplays: -- Chapter Three. Works for Theater: -- Chapter Four. Keeping the Faith: -- Chapter Five. Tragic Success Stories: -- Chapter Six. Great Expectations: -- Conclusion. Bears That Dance, Bears That Don’t: -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Cormac McCarthy is renowned as the author of popular and acclaimed novels such as Blood Meridian, All the Pretty Horses, and The Road. Throughout his career, however, McCarthy has also invested deeply in writing for film and theater, an engagement with other forms of storytelling that is often overlooked. He is the author of five screenplays and two plays, and he has been significantly involved with three of the seven film adaptations of his work. In this book, Stacey Peebles offers the first extensive overview of this relatively unknown aspect of McCarthy’s writing life, including the ways in which other artists have interpreted his work for the stage and screen. Drawing on many primary sources in McCarthy’s recently opened archive, as well as interviews, Peebles covers the 1977 televised film The Gardener’s Son; McCarthy’s unpublished screenplays from the 1980s that became the foundation for his Border Trilogy novels and No Country for Old Men; various successful and unsuccessful productions of his two plays; and all seven film adaptations of his work, including John Hillcoat’s The Road (2009) and the Coen brothers’ Oscar-winning No Country for Old Men (2007). Emerging from this narrative is the central importance of tragedy—the rich and varied portrayals of violence and suffering and the human responses to them—in all of McCarthy’s work, but especially his writing for theater and film.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)