text:
Inca Civil War
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Inca Civil War

Emperor Atahualpa, the victorious brother, has a short reign as emperor.
Date
1529 – April 1532
Location
Peru and Ecuador
Result
Atahualpa victory; reunion of the Inca Empire under his rule
Weakening of the empire which leads to the Spanish conquest
Belligerents
Huáscar and his allies such as Tumebamba Atahualpa and his allies
Commanders and leaders
Huáscar (POW)
Atoc †
Hango †
Topa Atao (POW)
Ullco Colla †
Tito Atauchi
Uampa Yupanqui
Guanca Auqui
Agua Panti
Paca Yupanqui Atahualpa
Chalcuchimac
Quizquiz
Rumiñawi
Ukumari
Tomay Rima †
Strength
~400,000;
100,000 Cañaris Initially 50,000–100,000
At peak some 250,000
Casualties and losses
At least 100,000 killed
Tumebamba destroyed Unknown
[show]
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Inca Civil War
Atahualpa–Huáscar conflict
1529–1532
Chillopampa
Mullihambato
1st Chimborazo
Capture of Tumebamba
Huanucopampa
Quipaipan
Inca Empire
Inca society
Education · Religion · Mythology
Architecture · Engineering · Roads
Army · Agriculture · Cuisine
Inca history
Kingdom of Cusco · Inca Empire
(Civil War · Spanish conquest)
Neo-Inca State
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The Inca Civil War, also known as the Inca Dynastic War, the Inca War of Succession, or, sometimes, the War of the Two Brothers was fought between two brothers, Huáscar and Atahualpa, sons of Huayna Capac, over the succession to the throne of the Inca Empire.[1]:146–149[2] The war followed Huayna Capac's death in 1527, although it did not begin until 1529, and lasted until 1532. Huáscar initiated the war because he saw himself as the rightful heir to the kingdom of all the Incas. Regardless of legitimacy, Atahualpa proved himself to be tactically superior to his brother in warcraft and to the mighty armies of Cuzco, which their father had stationed in the north part of the empire during the military campaign.[3] Accounts from sources all vary in the exact details.
Contents
[hide]
1 Causes of the division of the empire
2 Movements during the war
3 Pizarro and the end of the Spanish conquest of Tahuantinsuyo
4 Casualties
5 Notes
6 Bibliography
Causes of the division of the empire[edit]
Inca Empire under the control of Atahualpa. It was almost coterminous with the former Chinchay Suyu province
Huáscar, who was defeated in the war between him and his brother
In 1524-1526, the Spaniards under the command of Francisco Pizarro, explored South America.[4] There were 62 horsemen and 106 foot soldiers.[5] Smallpox was taken to the continent, causing disaster for the Incas. Sapa Inca Huayna Capac travelled north to investigate the strangers. Although he never met any Spaniards, he contracted smallpox and died in 1524. His eldest son and heir, Ninan Cuyochi, died soon after him.[6] Thus, it became uncertain as to who should be the next Inca king. There were no clear rules of succession.[7] The choice stood between two sons of Huayna Capac, Huáscar, and Atahualpa, born of different mothers.
Wayna Qhapaq was king before the dynastic war began; his, along with his sons death (most likely due to smallpox), created the circumstances for a non-appointed king [8]
Huáscar was appointed king by Huayna Capac,[9] and was supported by the nobility in Cuzco, by religious and political authorities and other main figures. He was the eldest "pure" Inca, because his parents, Huayna Capac and Chincha Ocllo, were siblings.[10] Huascar was ill-tempered, suspicious and disrespectful of the laws and customs.
Atahualpa's mother, Paccha, was born outside the royal family (although born into the Shyri royal family) and was merely the daughter of Cacha Shyri Duchicela, the former leader against the Incan conquest in the north.[11] He was much liked in the North, as he was good tempered and carried himself with royal dignity. He allegedly had cunning and early wisdom.
Nobles considered Atahualpa illegitimate and Huáscar felt it an insult that a "bastard" was even considered for Sapa Inca.[12]
Huáscar eventually became king,[13] but he felt that Atahualpa should not have any more land and that he should pay homage to him.[14]
Movements during the war[edit]
Soon after Huascar claimed the throne, he expected all subjects to swear him allegiance. To announce his loyalty, Atahualpa sent his most trusted captains to Cuzco, along with generous gifts of gold and silver (as was customary). Suspicious, Huascar refused Atahualpa's offering.[15] Accusing him of rebellion, he ordered some of his messengers killed, and sent back his captains dressed as women. Atahualpa declared war against his brother. Just before the Spaniards arrived in Cajamarca, Atahualpa had sent troops to Cusco to capture Huáscar, and later on his way to the North to kill him. (Later Francisco Pizarro used this as one of excuses to execute Atahualpa after Pizarro collected the ransom of gold and silver promised to him for his freedom.)
Huáscar gathered his soldiers in preparation for attack. After getting stunned by his brother, Huascar proclaimed him a traitor.[16] The generals Chalcuchimac, Quizquiz, and Rumiñawi, were thought to have been born in the northern part of the empire, and thus transferred their loyalty to Atahualpa[17] who assembled the former imperial army in Quito, the Northern region left for his control. People loyal to Atahualpa created a new capital in Quito, so they could follow their preferred ruler and gain favor within the government. Atahualpa agreed to take the leadership role of Sapa Inca in this new capital.
At this news, Huáscar and his army moved north[18] in a surprise attack at Tumebamba. The local Cañari supported the attack, in order to expel the nearest source of power, with the aim oust the Inca. Atahualpa was captured and imprisoned. While the army celebrated, they got drunk and allowed a woman in to meet Atahualpa. She snuck in a tool that he used that evening to drill a hole and escape.[19] He immediately prepared a counterattack with his large, experienced army from Quito.[20]
From 1531 through 1532, the armies fought many battles.[21] Soon after his escape, Atahualpa moved his army south to the city of Ambato.[22] There, on the plains of Mochacaxa, they found Huáscar's men, defeated them,[23] and captured and killed many soldiers and even the head general, Atoc whom they tortured with darts and arrows.[24] Atahualpa had his skull made into a "gilded drinking cup, which the Spaniards would note that Atahualpa was still using four years later.”[25]
Following this victory, Atahualpa strengthened his army and continued south into his brother's land, winning every encounter. Entering Cajamarca, he added to his numbers. He first tried peaceful means to gain loyalty from Huáscar’s men; where that did not work, he became extremely violent, murdering large numbers. This scared the survivors into surrender. One report described how Atahualpa massacred the Cañari tribesmen because they pledged allegiance to Huáscar.[26] When he finally arrived in Cajamarca, Atahualpa sent the majority of his army ahead, led by his head generals, while he stayed in the safety of the city and explored rumors that the Spaniards were entering the land.[27]
Atahualpa's army pushed south through Huáscar’s territory, winning at Bonbon and Jauja. The battle starting on the hillside of Vilcas seemed to favor Huáscar stationed in a stone fortress at the top of the hill, but eventually he retreated. Atahualpa's men won at Pincos, Andaguayias, at the battle between Curaguaci and Auancay northwest of Cuzco, at Limatambo, about 20 miles from Cuzco, and Ichubamba, where Huáscar’s men fled.[28] In 1532, with Cuzco endangered, “Huáscar sent another army to meet Atahualpa’s, but after precarious battles, his forces were routed" and Huáscar was captured.[29] Atahualpa’s army had won the war. The news traveled back to Atahualpa in Cajamarca, where the army then learned about the Spanish incursion.
Pizarro and the end of the Spanish conquest of Tahuantinsuyo[edit]
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Conquest of Peru
Punta Quemada
Puná
Cajamarca
Vilcaconga
1st Cuzco
Maraycalla
2nd Chimborazo
2nd Cuzco
Ollantaytambo
Abancay
Las Salinas
Chupas
Añaquito
Huarina
Jaquijahuana
Chuquinga
Vilcabamba
Atahualpa was saluted as a hero; when recapturing Cajamarca, making camp outside the city with some 40,000 troops[30] while Chalcuchimac and Quizquiz chased Huáscar’s army south. With a disastrous northern campaign, Huáscar had not only lost his best generals and many soldiers, but his army was shocked and demoralized. Huascar and Atahualpa’s armies met. Huáscar, after finding himself in a dominant position, refused to make use of it, opting for a safe retreat, crossing the Cotabambas River on the way to Cuzco.
Chalkuchimac had a plan of his own and predicted the action of Topa Atao, and divided his army in two, sending one contingent around Topa Atao's back, enveloping and destroying the defenders. In January 1532, only miles from Cuzco, Huáscar’s retreat was cut off at Quipaipan, and his army was annihilated and disbanded.[31] Huáscar was captured and the capital Cuzco was seized by Quizquiz, who had it purged from Huáscar’s supporters in a bloody massacre. Huáscar himself was executed the following year.[32][33]
During the course of the war, Atahualpa's army had grown to 250,000 men, all the strength of the Empire. However, before he could leave Cajamarca, the new king encountered conquistador Francisco Pizarro, who had reached the city on 16 November, and Atahualpa was captured in the ensuing Battle of Cajamarca.[34]
In the custody of Pizarro, Atahualpa was told by Pizarro that he would bring Huáscar to Cajamarca and Pizarro would judge which brother was the better Sapa Inca. In response, Atahualpa ordered Huáscar killed allegedly by drowning.[35] Only months later on August 29, 1533, Atahualpa was himself garroted at the plaza of Cajamarca by Pizarro’s men.[36]
Casualties[edit]
It is unknown how many Inca were killed or died during the Civil War. The estimated population of the Inca empire before an epidemic (probably of a European disease) and the Spanish conquest is estimated at between 6 and 14 million people.[37] The civil war, an epidemic, probably of a European disease, and the Spanish conquest resulted in a population decline over several decades estimated as 20:1 or 25:1, meaning that the population declined by 95 percent.[38]
Of the major battles fought, at Cajamarca the Spanish ambushed the Andean warriors and killed 1,500 without suffering any losses.[39] There are no other hard numbers of Inca or Spanish death tolls at any of the other battles. Spanish and European disease caused widespread indigenous deaths across Latin America. Smallpox was the first recorded epidemic in December 1518; on Columbus’ second voyage, an influenza outbreak is believed to have killed large numbers, including Spanish. "Of the 1500 men who sailed from Cádiz on September 25, 1493, scarcely 200 were alive a decade later."[40]
Notes[edit]
Jump up ^ Prescott, W.H., 2011, The History of the Conquest of Peru, Digireads.com Publishing, ISBN 9781420941142
Jump up ^ Hemming, The Conquest, p. 29.
Jump up ^ MacQuarrie, The Last Days, p. 50.
Jump up ^ Davies, The Incas, p.186
Jump up ^ Davies, The Incas, p.186
Jump up ^ Davies, The Incas, p.181
Jump up ^ Davies, The Incas, p.181
Jump up ^ D'Altroy, 2015, p.107
Jump up ^ Hemming, The Conquest, p. 28.
Jump up ^ Von Hagen The Inca of Pedro, p. 52.
Jump up ^ D'Altroy, The Incas, p.77
Jump up ^ Hemming, The Conquest, p. 29.
Jump up ^ Davies, The Incas, p.182
Jump up ^ De la Vega, Royal Commentaries of the Incas
Jump up ^ Von Hagen The Incas of Pedro, p. 80.
Jump up ^ Von Hagen The Incas of Pedro, p. 81.
Jump up ^ Hemming, The Conquest, p. 29.
Jump up ^ Cobo, History, p. 164.
Jump up ^ Cobo, History, p. 165.
Jump up ^ Prescott, History of the Conquest, p. 336.
Jump up ^ The Hispanic American, p. 414.
Jump up ^ Cobo, History, p. 165.
Jump up ^ MacQuarrie, The Last Days, p. 50.
Jump up ^ Cobo, History, p. 165.
Jump up ^ MacQuarrie, The Last Days, p. 165.
Jump up ^ The Hispanic American, p. 415.
Jump up ^ Cobo, History, p. 165.
Jump up ^ Cobo, History, p. 166.
Jump up ^ The Hispanic American, p. 415.
Jump up ^ Cieza de Leon, The Discovery, p. 192.
Jump up ^ Kubler,"The Behavior of Atahualpa", p. 417.
Jump up ^ Kubler,"The Behavior of Atahualpa", p. 417.
Jump up ^ http://latinamericanhistory.about.com/od/theconquestofperu/a/08incacivilwar.htm
Jump up ^ Kubler,"The Behavior of Atahualpa", p. 418.</
Jump up ^ Hymas, The Last of the Incas, p. 232.
Jump up ^ Means, Fall of the Inca Empire, p. 44.
Jump up ^ McEwan, Gordon F. (2006), The Incas: New Perspective, New York: W. W. Norton & Co., pp. 93-96
Jump up ^ Smith, Depopulation, 453
Jump up ^ Bauer, An Inca Account, p. 6
Jump up ^ Lovell, Heavy Shadows, p. 428
Bibliography[edit]
Bauer, Ralph. An Inca Account of the Conquest of Peru. Boulder: University Press of Colorado, 2005.
Cieza de Leon, Pedro. The Discovery and Conquest of Peru (London: Duke University Press); 1998.
Cobo, Bernabe. History of the Inca Empire. Trans. Roland Hamilton. Austin, TX: University of Texas Press, 1979, 164-166.
D'Altroy, Terence. The Incas Malden, MA: Blackwell, 2002.
Davies, Nigel. The Incas Niwot, CO: University Press of Colorado, 1995.
de la Vega, Garcilaso. Royal Commentaries of the Incas. Austin: University of Texas Press, 1966.
Hemming, John. The Conquest of the Inca. New York, NY: Harcourt, Inc., 1970, 28-29.
Hyams, Edward, George Ordish.The Last of the Incas: The Rise and Fall of an American Empire. New York: Simon and Schuster, 1963.
Lovell, W. George. "Heavy Shadows and Black Night: Disease and Depopulation in Colonial Spanish America." Annals of the Association of America Geographers 82, no. 3 (September, 1992): 426-443.
MacQuarrie, Kim. The Last Days of the Inca. New York, NY: Simon & Schuster, 2007, 50.
Means, Philip A. Fall of the Inca Empire. New York: Charles Scribner's Sons. 1932.
Powers, Karen V. "Andeans and Spaniards in the Contact Zone: A Gendered Collision". American Indian Quarterly 24, no. 4 (Autumn, 2000): 511-536.
Prescott, William H. History of the Conquest of Peru. Ed. John F. Kirk. Vol. 1. Philadelphia, PN: J. B. Lippincott & Co., 1874, 336.
Smith, C. T., G. H. S. Bushnell, Henry F. Dobyns, Thomas McCorkle, John V. Murra. "Depopulation of the Central Andes in the 16th Century". Current Anthropology 11, no. 4/5 (October–December, 1970): 453-464.
The Hispanic American Historical Review, Vol. 25, No. 4 (Nov., 1945). pp. 414–415.
Von Hagen, Wolfgang, The Incas of Pedro de Cieza de León. Trans. Harriey de Onis. Norman, Oklahoma: University of Oklahoma Press, 1959, 52, 80, 81, 251.
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A Streetcar Named Desire
From Wikipedia, the free encyclopedia
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For other uses, see A Streetcar Named Desire (disambiguation).
A Streetcar Named Desire
First edition (New Directions)
Written by
Tennessee Williams
Characters
Blanche DuBois
Stella Kowalski
Stanley Kowalski
Harold "Mitch" Mitchell
Date premiered
December 3, 1947
Place premiered
Ethel Barrymore Theatre
New York City, New York
Original language
English
Genre
Southern Gothic
Setting
The French Quarter and Downtown New Orleans
A Streetcar Named Desire is a 1947 play written by American playwright Tennessee Williams[1] that received the Pulitzer Prize for Drama in 1948. The play opened on Broadway on December 3, 1947, and closed on December 17, 1949, in the Ethel Barrymore Theatre. The Broadway production was directed by Elia Kazan and starred Jessica Tandy, Marlon Brando, Karl Malden, and Kim Hunter.[2] The London production opened in 1949 with Bonar Colleano, Vivien Leigh, Renee Asherson and Bernard Braden and was directed by Laurence Olivier.[1] The drama A Streetcar Named Desire is often regarded as among the finest plays of the 20th century, and is considered by many to be Williams' greatest work.
Contents
1 Plot
2 Stage productions
2.1 Original Broadway production
2.1.1 Original cast
2.2 Original London production
2.3 Belle Reprieve
2.4 Revivals
3 Adaptations
3.1 Film
3.2 Opera
3.3 Ballet
3.4 Television
4 Inspirations
5 "A Streetcar Named Success"
6 Awards and nominations
7 Auction record
8 References
9 External links
Plot[edit]
Jessica Tandy, Kim Hunter and Marlon Brando in the original Broadway production of A Streetcar Named Desire (1947)
After the loss of her family home, Belle Reve, to creditors, Blanche DuBois travels from the small town of Laurel, Mississippi, to the New Orleans French Quarter to live with her younger, married sister, Stella, and brother-in-law, Stanley Kowalski. Blanche is in her thirties and, with no money, has nowhere else to go.
Blanche tells Stella that she has taken a leave of absence from her English-teaching position because of her nerves (which is later revealed to be a lie). Blanche laments the shabbiness of her sister's two-room flat. She finds Stanley loud and rough, eventually referring to him as "common". Stanley, in return, does not care for Blanche's manners and dislikes her presence.
Stanley later questions Blanche about her earlier marriage. Blanche had married when she was very young, but her husband died, leaving her widowed and alone. The memory of her dead husband causes Blanche some obvious distress. Stanley, worried that he has been cheated out of an inheritance, demands to know what happened to Belle Reve, once a large plantation and the DuBois family home. Blanche hands over all the documents pertaining to Belle Reve. While looking at the papers, Stanley notices a bundle of letters that Blanche emotionally proclaims are personal love letters from her dead husband. For a moment, Stanley seems caught off guard over her proclaimed feelings. Afterwards, he informs Blanche that Stella is going to have a baby. This can be seen as the start of Blanche's mental upheaval.
The night after Blanche's arrival, during one of Stanley's poker parties, Blanche meets Mitch, one of Stanley's poker player buddies. His courteous manner sets him apart from the other men. Their chat becomes flirtatious and friendly, and Blanche easily charms him; they like each other. Suddenly becoming upset over multiple interruptions, Stanley explodes in a drunken rage and strikes Stella. Blanche and Stella take refuge with the upstairs neighbor, Eunice. When Stanley recovers, he cries out from the courtyard below for Stella to come back by repeatedly calling her name until she comes down and allows herself to be carried off to bed. After Stella returns to Stanley, Blanche and Mitch sit at the bottom of the steps in the courtyard, where Mitch apologizes for Stanley's coarse behavior.
Blanche is bewildered that Stella would go back to her abusive husband after such violence. The next morning, Blanche rushes to Stella and describes Stanley as a subhuman animal, though Stella assures Blanche that she and Stanley are fine. Stanley overhears the conversation but keeps silent. When Stanley comes in, Stella hugs and kisses him, letting Blanche know that her low opinion of Stanley does not matter.
As the weeks pass, Blanche and Stanley continue to not get along. Blanche has hope in Mitch, and tells Stella that she wants to go away with him and not be anyone's problem. During a meeting between the two, Blanche confesses to Mitch that once she was married to a young man, Allan Grey, whom she later discovered in a sexual encounter with an older man. Grey later committed suicide when Blanche told him she was disgusted with him. The story touches Mitch, who tells Blanche that they need each other. It seems certain that they will get married.
Later on, Stanley repeats gossip to Stella that he has gathered on Blanche, telling her that Blanche was fired from her teaching job for having sex with a student and that she lived at a hotel known for prostitution (the Flamingo). Stella erupts in anger over Stanley's cruelty after he states that he has also told Mitch about the rumours, but the fight is cut short as she goes into labor and is sent to the hospital.
As Blanche waits at home alone, Mitch arrives and confronts Blanche with the stories that Stanley has told him. At first she denies everything, but eventually confesses that the stories are true. She pleads for forgiveness, but an angry and humiliated Mitch refuses her the chance at an honorable relationship and attempts to sexually assault her instead. In response, Blanche screams "fire", and he runs away in fright.
Hours before Stella has the baby, Stanley and Blanche are left alone in the apartment. Blanche has descended into a fantasy that an old suitor of hers is coming to provide financial support and take her away from New Orleans. Stanley goes along with the act before angrily scorning Blanche's lies and behavior, and advances toward her; in response, she threatens to glass him, but is overpowered. Stanley rapes Blanche, imminently resulting in her psychotic crisis.
Weeks later, at another poker game at the Kowalski apartment, Stella and her neighbor, Eunice, are packing Blanche's belongings. Blanche has suffered a complete mental breakdown and is to be committed to a mental hospital. Although Blanche has told Stella about Stanley's assault, Stella cannot bring herself to believe her sister's story. When a doctor and a matron arrive to take Blanche to the hospital, she initially resists them and collapses on the floor in confusion. Mitch, present at the poker game, breaks down in tears. When the doctor helps Blanche up, she goes willingly with him, saying: "Whoever you are, I have always depended on the kindness of strangers." The play ends with Stanley continuing to comfort Stella, but also fondling with her blouse, while the poker game continues uninterrupted, as Steve says: "This game is seven-card stud."
Stage productions[edit]
Original Broadway production[edit]
Carl Van Vechten portrait photograph of Marlon Brando during the Broadway production of A Streetcar Named Desire (December 27, 1948)
Carl Van Vechten portrait photograph of Marlon Brando during the Broadway production of A Streetcar Named Desire (December 27, 1948)
The original Broadway production was produced by Irene Mayer Selznick.[2] It opened at the Shubert in New Haven shortly before moving to the Ethel Barrymore Theatre on December 3, 1947.[2] Selznick originally wanted to cast Margaret Sullavan and John Garfield, but settled on Jessica Tandy and Marlon Brando, who were virtual unknowns at the time. The opening night cast also included Kim Hunter as Stella and Karl Malden as Mitch.[2] Tandy was cast after Williams saw her performance in a West Coast production of his one-act play Portrait of a Madonna. Williams believed that casting Brando, who was young for the part as it was originally conceived, would evolve Kowalski from being a vicious older man to someone whose unintentional cruelty can be attributed to youthful ignorance. Despite its shocking scenes and gritty dialogue, the audience applauded for half an hour after the debut performance ended.[3] Brooks Atkinson, reviewing the opening in The New York Times, described Tandy's "superb performance" as "almost incredibly true," concluding that Williams "has spun a poignant and luminous story."[4] Later in the run, Uta Hagen replaced Tandy, Carmelita Pope replaced Hunter, and Anthony Quinn replaced Brando. Hagen and Quinn took the show on a national tour and then returned to Broadway for additional performances. Early on, when Brando broke his nose, Jack Palance took over his role. Ralph Meeker also took on the part of Stanley both in the Broadway and touring companies. Tandy received a Tony Award for Best Actress in a Play in 1948, sharing the honor with Judith Anderson's portrayal of Medea and with Katharine Cornell.
Uta Hagen's Blanche on the national tour was directed not by Elia Kazan, who had directed the Broadway production, but by Harold Clurman, and it has been reported, both in interviews by Hagen and observations by contemporary critics, that the Clurman-directed interpretation shifted the focus of audience sympathy back to Blanche and away from Stanley (where the Kazan version had located it). This was the original conception of the play, and has been reflected in subsequent revivals.
The original Broadway production closed, after 855 performances, in 1949.
Original cast[edit]
Jessica Tandy as Blanche DuBois
Karl Malden as Harold "Mitch" Mitchell
Marlon Brando as Stanley Kowalski
Kim Hunter as Stella Kowalski
Rudy Bond as Steve Hubbell
Nick Dennis as Pablo Gonzales
Peg Hillias as Eunice Hubbell
Vito Christi as Young Collector
Richard Garrick as Doctor
Ann Dere as Nurse
Gee Gee James as Negro Woman
Edna Thomas as Mexican Woman
Original London production[edit]
The London production, directed by Laurence Olivier, opened at the Aldwych Theatre on October 12, 1949. It starred Bonar Colleano as Stanley, Vivien Leigh as Blanche, Renee Asherson as Stella, and Bernard Braden as Mitch.[1][5]
Belle Reprieve[edit]
Bette Bourne and Paul Shaw of the British gay theater company, Bloolips, and Peggy Shaw and Lois Weaver of the American lesbian theater company, Split Britches, collaborated and performed a gender-bent production of Belle Reprieve, a twisted adaption of Streetcar. “This theatrical piece creates a Brechtian,” “epic drama” that relies on the reflective rather than emotional involvement of the audience—a “commentary on the sexual roles and games in Williams’s text.” Blanche was played by Bette Bourne as “man in a dress," Stanley was played by Peggy Shaw as a “butch lesbian,” Mitch was played by Paul Shaw as a “fairy disguised as a man,” and Stella was played by Lois Weaver as a “woman disguised as a woman.”[6]
Revivals[edit]
The first all-black production of Streetcar was likely performed by the Summer Theatre Company at Lincoln University in Jefferson City, Missouri, in August 1953 and directed by one of Williams's former classmates at Iowa, Thomas D. Pawley, as noted in the Streetcar edition of the "Plays in Production" series published by Cambridge University Press. The black and cross-gendered productions of Streetcar since the mid-1950s are too numerous to list here.
Tallulah Bankhead, for whom Williams had originally written the role of Blanche, starred in a 1956 New York City Center Company production directed by Herbert Machiz.
The first Broadway revival of the play was in 1973. It was produced by the Lincoln Center, at the Vivian Beaumont Theater, and starred Rosemary Harris as Blanche, James Farentino as Stanley and Patricia Conolly as Stella.[7]
The Simpsons did an episode, A Streetcar Named Marge, in which "Streetcar!", a musical version of the play, was featured. Ned Flanders and Marge took the leading roles as Stanley and Blanche, respectively.
The Spring 1988 revival at the Circle in the Square Theatre starred Aidan Quinn opposite Blythe Danner as Blanche and Frances McDormand as Stella.[8]
A highly publicized revival in 1992 starred Alec Baldwin as Stanley and Jessica Lange as Blanche. It was staged at the Ethel Barrymore Theatre, the same theatre that the original production was staged in. This production proved so successful that it was filmed for television. It featured Timothy Carhart as Mitch and Amy Madigan as Stella, as well as future Sopranos stars James Gandolfini and Aida Turturro. Gandolfini was Carhart's understudy.[9]
In 1997, Le Petit Theatre du Vieux Carre in New Orleans mounted a 50th Anniversary production, with music by the Marsalis family, starring Michael Arata and Shelly Poncy. In 2009, the Walnut Street Theatre in Philadelphia, where the original pre-Broadway tryout occurred, began a production of the play for its 200th anniversary season.
The 2005 Broadway revival was directed by Edward Hall and produced by The Roundabout Theater Company. It starred John C. Reilly as Stanley, Amy Ryan as Stella, and Natasha Richardson as Blanche.[10] The production would mark Natasha Richardson's final appearance on Broadway prior to her death in 2009 following a skiing accident.
The Sydney Theatre Company production of A Streetcar Named Desire premiered on September 5 and ran until October 17, 2009. This production, directed by Liv Ullmann, starred Cate Blanchett as Blanche, Joel Edgerton as Stanley, Robin McLeavy as Stella and Tim Richards as Mitch.[11]
From July 2009 until October 2009, Rachel Weisz and Ruth Wilson starred in a highly acclaimed revival of the play in London's West End at the Donmar Warehouse directed by Rob Ashford.
In November 2010, a student production by the Oxford University Dramatic Society was staged at the Oxford Playhouse which sold out and was critically acclaimed.[12]
In April 2012, Blair Underwood, Nicole Ari Parker, Daphne Rubin-Vega and Wood Harris starred in a multiracial adaptation at the Broadhurst Theatre.[13] Theatre review aggregator Curtain Critic gave the production a score of 61 out of 100 based on the opinions of 17 critics.[14]
A production at the Young Vic, London, opened on July 23, 2014, and closed on September 19, 2014. Directed by Benedict Andrews and starring Gillian Anderson, Ben Foster, Vanessa Kirby and Corey Johnson; this production garnered critical acclaim and is the fastest selling show ever produced by the Young Vic.[15] On September 16, 2014, the performance was relayed live to over one thousand cinemas in the UK as part of the National Theatre Live project to broadcast the best of British theatre live from the London stage to cinemas across the UK and around the world.[16] Thus far, the production has been screened in over 2000 venues.[17] From April 23, 2016 till June 4, 2016, the production was reprised at the new St. Ann's Warehouse in Brooklyn, New York City.[18]
In 2016 Sarah Frankcom directed a production at the Royal Exchange in Manchester starring Maxine Peake, Ben Batt, Sharon Duncan Brewster and Youssef Kerkour. It opened on 8 September and closed on 15 October. It was critically well received with Peake's performance in particular singled out for praise.[19]
In 2018, it headlined the third annual Tennessee Williams Festival St. Louis at the Grandel Theatre. Carrie Houk, the Festival's Executive Artistic Director, and Tim Ocel, the director of the play, chose to cast the play with actors whose ages were close to Tennessee Williams' original intentions. (The birthday party is for Blanche's 30th birthday.) Sophia Brown starred as Blanche, with Nick Narcisi as Stanley, Lana Dvorak as Stella, and Spencer Sickmann as Mitch. Henry Polkes composed the original score, and James Wolk designed the set. The critics were unanimous in their praise.[20][21]
Adaptations[edit]
Film[edit]
Vivien Leigh in the trailer for A Streetcar Named Desire
Main article: A Streetcar Named Desire (1951 film)
In 1951, a film adaptation of the play, directed by Elia Kazan, with Malden, Brando, and Hunter reprising their Broadway roles, joined by Vivien Leigh from the London production for the part of Blanche. The movie won four Academy Awards, including three acting awards (Leigh for Best Actress, Malden for Best Supporting Actor and Hunter for Best Supporting Actress), the first time a film won three out of four acting awards (Brando was nominated for Best Actor but lost). Composer Alex North received an Academy Award nomination for this, his first film score. Jessica Tandy was the only lead actor from the original Broadway production not to appear in the 1951 film. References to Allan Grey's sexual orientation are essentially removed, due to Motion Picture Production Code restrictions. Instead, the reason for his suicide is changed to a general "weakness".[22] The ending itself was also slightly altered. Stella does not remain with Stanley, as she does in the play.
Pedro Almodóvar's 1999 Academy Award-winning film, All About My Mother, features a Spanish-language version of the play being performed by some of the supporting characters and the play itself plays an important role in the film. However, some of the film's dialogue is taken from the 1951 film version, not the original stage version.
The 1973 Woody Allen film Sleeper includes a late scene in which Miles (Woody) and Luna (Diane Keaton) briefly take on the roles of Stanley (Luna) and Blanche (Miles).
It was noted by many critics that the 2013 Academy Award-winning Woody Allen film Blue Jasmine had much in common with Streetcar and is most likely a loose adaptation. It shares a very similar plot and characters, although it has been suitably updated for modern film audiences.[23][24]
In 2015, Gillian Anderson directed and starred in a short film prequel to A Streetcar Named Desire, titled The Departure. The short film was written by the novelist Andrew O'Hagan and is part of Young Vic's short film series, which was produced in collaboration with The Guardian.[25]
Opera[edit]
In 1995, an opera was adapted and composed by André Previn with a libretto by Philip Littell. It had its premiere at the San Francisco Opera during the 1998–99 season, and featured Renée Fleming as Blanche.
Ballet[edit]
A 1952 ballet production with choreography by Valerie Bettis, which Mia Slavenska and Frederic Franklin's Slavenska-Franklin Ballet debuted at Her Majesty's Theatre in Montreal, featured the music of Alex North, who had composed the music for the 1951 film.[26]
Another ballet production was staged by John Neumeier in Frankfurt in 1983. Music included Visions fugitives by Prokofiev and Alfred Schnittke's First Symphony.
In the mid 2000s, another production was staged by Winthrop Corey, then Artistic Director of Mobile Ballet mobileballet.org
In 2006, a production was staged by John Alleyne, then Artistic Director of Ballet BC.
In 2012, Scottish Ballet collaborated with theatre and film director Nancy Meckler and international choreographer Annabelle Lopez Ochoa to create a new staging of A Streetcar Named Desire.[27]
In 2018, the Erkel Theatre in Budapest revisited the production with Marianna Venekei choreographing, Iurii Kekalo dancing as Stanley Kowalski, Lea Földi as Blanche DuBois, and Anna Krupp as Stella.[28]
Television[edit]
Main articles: A Streetcar Named Desire (1984 film) and A Streetcar Named Desire (1995 film)
In 1955, the television program Omnibus featured Jessica Tandy reviving her original Broadway performance as Blanche, with her husband, Hume Cronyn, as Mitch. It aired only portions of the play that featured the Blanche and Mitch characters.
The multi-Emmy Award-winning 1984 television version featured Ann-Margret as Blanche, Treat Williams as Stanley, Beverly D'Angelo as Stella and Randy Quaid as Mitch. It was directed by John Erman and the teleplay was adapted by Oscar Saul. The music score by composed by Marvin Hamlisch. Ann-Margret, D'Angelo and Quaid were all nominated for Emmy Awards, but none won. However, it did win four Emmys, including one for cinematographer Bill Butler. Ann-Margret won a Golden Globe award for her performance and Treat Williams was nominated for Best Actor in a Miniseries or TV Movie.
A 1995 television version was based on the highly successful Broadway revival that starred Alec Baldwin and Jessica Lange. However, only Baldwin and Lange were from the stage production. The TV version added John Goodman as Mitch and Diane Lane as Stella. This production was directed by Glenn Jordan. Baldwin, Lange and Goodman all received Emmy Award nominations. Lange won a Golden Globe award (for Best Actress in a Miniseries or TV Movie), while Baldwin was nominated for Best Actor, but did not win.
In 1998, PBS aired a taped version of the opera adaptation that featured the original San Francisco Opera cast. The program received an Emmy Award nomination for Outstanding Classical Music/Dance Program.[citation needed]
Inspirations[edit]
The streetcar took its name from Desire Street in the 9th Ward of New Orleans
Main article: Streetcars in New Orleans § Historic lines
The Desire Line ran from 1920 to 1948, at the height of streetcar use in New Orleans. The route ran down Royal, through the Quarter, to Desire Street in the Bywater district, and back up to Canal. Blanche's route in the play—"They told me to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at—Elysian Fields!"—is allegorical, taking advantage of New Orleans's colorful street names: the Desire line itself crossed Elysian Fields Avenue on its way to Canal Street. There, one could transfer to the Cemeteries line, which ran along Canal, blocks away from Elysian Fields.
The character of Blanche is thought to be based on Williams' sister, Rose Williams, who struggled with mental health issues and became incapacitated after a lobotomy.[1]
Theatre critic and former actress Blanche Marvin, a friend of Williams, says the playwright used her name for the character Blanche DuBois, named the character's sister Stella after Marvin's former surname "Zohar" (which means "Star"), and took the play's line "I've always depended on the kindness of strangers" from something she said to him.[29]
"A Streetcar Named Success"[edit]
"A Streetcar Named Success" is an essay by Tennessee Williams about art and the artist's role in society. It is often included in paper editions of A Streetcar Named Desire. A version of this essay first appeared in The New York Times on November 30, 1947, four days before the opening of A Streetcar Named Desire. Another version of this essay, entitled "The Catastrophe of Success", is sometimes used as an introduction to The Glass Menagerie.
Awards and nominations[edit]
Awards
1948 New York Drama Critics' Circle Best Play
1948 Tony Award for Best Actress in a Play – Jessica Tandy
1948 Pulitzer Prize for Drama
1992 Theater World Award for Best Actress in a Play – Jessica Lange
2003 Olivier Award for Best Supporting Actress in a Play - Essie Davis
2010 Olivier Award for Best Actress in a Play – Rachel Weisz
2010 Olivier Award for Best Supporting Actress in a Play - Ruth Wilson
Nominations
1988 Tony Award for Best Revival of a Play
1988 Tony Award for Best Actress in a Play – Frances McDormand
1988 Tony Award for Best Actress in a Play – Blythe Danner
1992 Tony Award for Best Actor in a Play – Alec Baldwin
2005 Tony Award for Best Featured Actress in a Play – Amy Ryan
2005 Tony Award for Best Costume Design of a Play
2005 Tony Award for Best Lighting Design of a Play
2010 Olivier Award for Best Revival of a Play
2015 Olivier Award for Best Revival of a Play
2015 Olivier Award for Best Actress in a Play – Gillian Anderson
Auction record[edit]
On October 1, 2009, Swann Galleries auctioned an unusually fine copy of A Streetcar Named Desire, New York, 1947, signed by Williams and dated 1976 for $9,000, a record price for a signed copy of the play.
References[edit]
^ Jump up to: a b c d Williams, Tennessee (1995). A Streetcar Named Desire. Introduction and text. Oxford: Heinemann Educational Publishers.
^ Jump up to: a b c d Production notes. December 3, 1947—December 17, 1949
Jump up ^ December 3, This Day In History Calendar (2008). Sourcebooks, Inc.
Jump up ^ Brooks Atkinson, "First Night at the Theatre", New York Times, December 4, 1947.
Jump up ^ https://theatricalia.com/play/427/a-streetcar-named-desire/production/ms8
Jump up ^ Geis, Deborah. “Deconstructing (A Streetcar Named) Desire: Gender Recitation in Belle Reprieve”. Feminist Theatrical Revisions of Classic Works. Ed. Sharon Friedman. Jefferson, NC and London: McFarland & Company, Inc., 2009. 237-246. Print.
Jump up ^ Barnes, Clive (April 27, 1973). "A Rare 'Streetcar'; Fresh Approach Taken at Vivian Beaumont". The New York Times. Retrieved September 26, 2012.
Jump up ^ Production notes. March 10 – May 22, 1988.
Jump up ^ Production notes. April 12—August 9, 1992.
Jump up ^ Production notes. April 26–July 3, 2005.
Jump up ^ "A Streetcar Named Desire". SydneyTheatre.com.au. Sydney Theatre Company. Archived from the original on June 14, 2011. Retrieved June 21, 2011.
Jump up ^ "OTR reviews A Streetcar Named Desire at Oxford Playhouse". Oxford Theatre Review. July 26, 2012. Retrieved September 26, 2012.
Jump up ^ "Blair Underwood On Stanley, Stella And 'Streetcar'". National Public Radio. May 1, 2012. Retrieved May 2, 2012.
Jump up ^ "A Streetcar Named Desire". Curtain Critic. Retrieved June 21, 2012.
Jump up ^ "What's on: A Streetcar Named Desire by Tennessee Williams", Young Vic.
Jump up ^ "Young Vic – A Streetcar Named Desire, National Theatre Live.
Jump up ^ Nick Curtis (December 3, 2014). "Gillian Anderson: Self destruction is my default mode". Evening Standard. Retrieved November 9, 2015.
Jump up ^ "St. Ann's Warehouse - A Young Vic & Joshua Andrews Co-Production". St. Ann's Warehouse. Retrieved April 27, 2016.
Jump up ^ "Maxine Peake stalks to the heart of Blanche DuBois". theguardian.com. Retrieved 23 September 2016.
Jump up ^ Fenske, Sarah (11 May 2018). "A Streetcar Named Desire Triumphs at the Tennessee Williams Festival". Riverfront Times.
Jump up ^ Newmark, Judith (11 May 2018). "'A Streetcar Named Desire' sizzles in its own poetry". St. Louis Post-Dispatch.
Jump up ^ Cohan, Steven (1997). Masked Men: Masculinity and the Movies in the Fifties. Bloomington, Indiana: Indiana University Press. p. 254. ISBN 0-253-21127-1. Retrieved July 11, 2008.
Jump up ^ "Movie Review: Woody Allen's Blue Jasmine Is Perhaps His Cruelest-Ever Film". Vanity Fair. Retrieved September 12, 2013.
Jump up ^ "Blue Jasmine: Woody Allen's excellent homage to A Streetcar Named Desire". Tri-city Herald. Retrieved September 12, 2013.
Jump up ^ Wiegand, Chris (February 5, 2015). "Gillian Anderson goes back to Blanche for prequel to A Streetcar Named Desire". The Guardian. Retrieved October 6, 2016.
Jump up ^ Kolin, Philip C. (2000). Williams: A Streetcar named Desire. Cambridge University Press. p. 157. ISBN 978-0-521-62610-1.
Jump up ^ "A Streetcar Named Desire" Archived October 12, 2013, at the Wayback Machine. Scottish Ballet
Jump up ^ http://www.gainsayer.me/balletbudapest/
Jump up ^ Clark, Nick (July 27, 2014). "Critic claims 'I was the inspiration for Blanche DuBois'". The Independent. Retrieved August 29, 2014.
External links[edit]
Wikimedia Commons has media related to A Streetcar Named Desire.
Wikiquote has quotations related to: A Streetcar Named Desire
A Streetcar Named Desire (New York productions chronology) at the Internet Broadway Database
show
v
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A Streetcar Named Desire by Tennessee Williams
Characters
Blanche DuBois
Stanley Kowalski
Stella Kowalski
Films
1951 film
1984 film
1995 film
Other
Opera
"A Streetcar Named Marge"
"A Streetcar Named Success"
show
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Pulitzer Prize for Drama
1918–1950
Why Marry? (1918)
Beyond the Horizon (1920)
Miss Lulu Bett (1921)
Anna Christie (1922)
Icebound (1923)
Hell-Bent Fer Heaven (1924)
They Knew What They Wanted (1925)
Craig's Wife (1926)
In Abraham's Bosom (1927)
Strange Interlude (1928)
Street Scene (1929)
The Green Pastures (1930)
Alison's House (1931)
Of Thee I Sing (1932)
Both Your Houses (1933)
Men in White (1934)
The Old Maid (1935)
Idiot's Delight (1936)
You Can't Take It with You (1937)
Our Town (1938)
Abe Lincoln in Illinois (1939)
The Time of Your Life (1940)
There Shall Be No Night (1941)
The Skin of Our Teeth (1943)
Harvey (1945)
State of the Union (1946)
A Streetcar Named Desire (1948)
Death of a Salesman (1949)
South Pacific (1950)
1951–1975
The Shrike (1952)
Picnic (1953)
The Teahouse of the August Moon (1954)
Cat on a Hot Tin Roof (1955)
The Diary of Anne Frank (1956)
Long Day's Journey into Night (1957)
Look Homeward, Angel (1958)
J.B. (1959)
Fiorello! (1960)
All the Way Home (1961)
How to Succeed in Business Without Really Trying (1962)
The Subject Was Roses (1965)
A Delicate Balance (1967)
The Great White Hope (1969)
No Place to be Somebody (1970)
The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1971)
That Championship Season (1973)
Seascape (1975)
1976–2000
A Chorus Line (1976)
The Shadow Box (1977)
The Gin Game (1978)
Buried Child (1979)
Talley's Folly (1980)
Crimes of the Heart (1981)
A Soldier's Play (1982)
'night, Mother (1983)
Glengarry Glen Ross (1984)
Sunday in the Park with George (1985)
Fences (1987)
Driving Miss Daisy (1988)
The Heidi Chronicles (1989)
The Piano Lesson (1990)
Lost in Yonkers (1991)
The Kentucky Cycle (1992)
Angels in America: Millennium Approaches (1993)
Three Tall Women (1994)
The Young Man from Atlanta (1995)
Rent (1996)
How I Learned to Drive (1998)
Wit (1999)
Dinner with Friends (2000)
2001–present
Proof (2001)
Topdog/Underdog (2002)
Anna in the Tropics (2003)
I Am My Own Wife (2004)
Doubt: A Parable (2005)
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Ruined (2009)
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Clybourne Park (2011)
Water by the Spoonful (2012)
Disgraced (2013)
The Flick (2014)
Between Riverside and Crazy (2015)
Hamilton (2016)
Sweat (2017)
Cost of Living (2018)
show
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Works by Tennessee Williams
Plays
Candles to the Sun (1936)
Spring Storm (1937)
Fugitive Kind (1937)
Not About Nightingales (1938)
Battle of Angels (1940)
Auto-da-Fé (1941)
The Glass Menagerie (1944)
You Touched Me (1945)
Stairs to the Roof (1947)
A Streetcar Named Desire (1947)
Summer and Smoke (1948)
The Rose Tattoo (1951)
Camino Real (1953)
Cat on a Hot Tin Roof (1955)
Orpheus Descending (1957)
Suddenly Last Summer (1958)
Sweet Bird of Youth (1959)
Period of Adjustment (1960)
The Night of the Iguana (1961)
The Milk Train Doesn't Stop Here Anymore (1963)
The Seven Descents of Myrtle (1968)
In the Bar of a Tokyo Hotel (1969)
Will Mr. Merriweather Return from Memphis? (1969)
Out Cry (1971)
Small Craft Warnings (1972)
The Two-Character Play (1973)
The Red Devil Battery Sign (1975)
This Is (An Entertainment) (1976)
Vieux Carré (1977)
A Lovely Sunday for Creve Coeur (1979)
Clothes for a Summer Hotel (1980)
The Notebook of Trigorin (1981)
Something Cloudy, Something Clear (1981)
A House Not Meant to Stand (1982)
Novels
The Roman Spring of Mrs. Stone (1950)
Moise and the World of Reason (1975)
Short story
collections
Hard Candy: A Book of Stories (1954)
Three Players of a Summer Game and Other Stories (1960)
The Knightly Quest: a Novella and Four Short Stories (1966)
One Arm and Other Stories (1967)
Eight Mortal Ladies Possessed: a Book of Stories (1974)
Screenplays
The Glass Menagerie (1950)
A Streetcar Named Desire (1951)
The Rose Tattoo (1955)
Baby Doll (1956)
Suddenly, Last Summer (1959)
The Fugitive Kind (1959)
Ten Blocks on the Camino Real (1966)
Boom! (1968)
The Loss of a Teardrop Diamond (1957, filmed 2008)
Non-fiction
"The Catastrophe of Success" (1947)
"A Streetcar Named Success" (1947)
Poetry
In the Winter of Cities (1956)
Androgyne, Mon Amour (1977)
Unfinished
manuscripts
In Masks Outrageous and Austere (1983)
Related
articles
List of one-act plays by Tennessee Williams
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One More Day (Diamond Rio song)
From Wikipedia, the free encyclopedia
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"One More Day"
Single by Diamond Rio
from the album One More Day
B-side
"Stuff"
Released
October 30, 2000
Format
CD single, 7-inch
Genre
Country
Length
3:35
Label
Arista Nashville 69036
Songwriter(s)
Bobby Tomberlin
Steven Dale Jones
Producer(s)
Michael D. Clute
Diamond Rio
Diamond Rio singles chronology
"Stuff"
(2000) "One More Day"
(2000) "Sweet Summer"
(2001)
"Stuff"
(2000) "One More Day"
(2000) "Sweet Summer"
(2001)
"One More Day" is a song written by Bobby Tomberlin and Steven Dale Jones, and recorded by American country music group Diamond Rio. It was released in October 2000 as the second single and title track from their album One More Day, in addition to gaining popularity after the death of NASCAR driver Dale Earnhardt. The song reached the top of the Billboard Hot Country Singles & Tracks (now Hot Country Songs) chart. It peaked at number 29 on the Billboard Hot 100, making it a minor crossover hit. After falling from the charts, it received heavy recurrent rotation as a tribute to the people who died in the September 11, 2001 terrorist attacks.
Contents
[hide]
1 Content
2 Reception
3 Music video
4 Chart performance
4.1 Year-end charts
5 References
6 External links
Content[edit]
The narrator has a dream that a wish was granted to him. He talks about how he didn't wish for any extravagant gift like a "mansion in Malibu", he wished for one more day with his lover.
Reception[edit]
Keyboardist Dan Truman recalled the beginning of the songs popularity, “It all started in Los Angeles, when RCA Nashville chairman Joe Galante played six of our new songs for some RCA people who were from outside country music. When he came home, he told us he was just astounded, because after he played ‘One More Day’ everybody stood up and applauded. That’s why it was chosen for a single. And then, there it went.[1]”
Music video[edit]
The music video was shot in black and white and directed by Deaton Flanigen and features Diamond Rio performing in and outside of a mansion. It also shows a model swimming in the mansions swimming pool. The video premiered on September 28, 2000 on CMT.
Chart performance[edit]
The song entered the Hot Country Singles & Tracks chart at number 68 on November 4, 2000, and spent a total of 33 weeks on that chart.
"One More Day" reached its peak position at number 1 on the Billboard country charts dated for March 10, 2001. Making it the group's third number one and their first since "How Your Love Makes Me Feel" in 1997. A week later, the song fell to number 2, with Toby Keith's "You Shouldn't Kiss Me Like This" — which had also been number 1 on the March 3 charts — reclaiming the number 1 position. Keith held the number one position on March 24, with Diamond Rio still at number 2 that week. Finally, on the chart dated March 31, "One More Day" returned to the number 1 position, giving the song a total of two non-consecutive weeks at the top of the country charts.
In addition to peaking at number 6 on the Hot Adult Contemporary Tracks charts, "One More Day" peaked at number 29 on the Billboard Hot 100.
Chart (2000–2001)
Peak
position
US Hot Country Songs (Billboard)[2] 1
US Billboard Hot 100[3] 29
US Adult Contemporary (Billboard)[4] 6
Year-end charts[edit]
Chart (2001)
Position
US Country Songs (Billboard)[5] 6
US Billboard Hot 100 86
Preceded by
"You Shouldn't Kiss Me Like This" by Toby Keith Billboard Hot Country Singles & Tracks number-one single
March 10, 2001
March 31, 2001 Succeeded by
"You Shouldn't Kiss Me Like This" by Toby Keith
"Who I Am" by Jessica Andrews
References[edit]
Jump up ^ Anon (2002). "Biography: Diamond Rio" Arista Nashville.com. Retrieved September 17, 2009
Jump up ^ "Diamond Rio Chart History (Hot Country Songs)". Billboard.
Jump up ^ "Diamond Rio Chart History (Hot 100)". Billboard.
Jump up ^ "Diamond Rio Chart History (Adult Contemporary)". Billboard.
Jump up ^ "Best of 2001: Country Songs". Billboard. Prometheus Global Media. 2001. Retrieved August 14, 2012.
External links[edit]
Lyrics of this song at MetroLyrics
[hide]
v
t
e
Diamond Rio singles
Diamond Rio
"Meet in the Middle"
"Mirror, Mirror"
"Mama Don't Forget to Pray for Me"
"Norma Jean Riley"
"Nowhere Bound"
Close to the Edge
"In a Week or Two"
"Oh Me, Oh My, Sweet Baby"
"This Romeo Ain't Got Julie Yet"
"Sawmill Road"
Love a Little Stronger
"Love a Little Stronger"
"Night Is Fallin' in My Heart"
"Bubba Hyde"
"Finish What We Started"
IV
"Walkin' Away"
"That's What I Get for Lovin' You"
"It's All in Your Head"
"Holdin'"
Greatest Hits
"How Your Love Makes Me Feel"
"Imagine That"
Unbelievable
"You're Gone"
"Unbelievable"
"I Know How the River Feels"
One More Day
"Stuff"
"One More Day"
"Sweet Summer"
"That's Just That"
Completely
"Beautiful Mess"
"I Believe"
"Wrinkles"
"We All Fall Down"
Can't You Tell
"Can't You Tell"
"One Believer"
Greatest Hits, Volume 2
"God Only Cries"
The Reason
"God Is There"
"This Is My Life"
See also
Discography
Retrieved from "https://en.wikipedia.org/w/index.php?title=One_More_Day_(Diamond_Rio_song)&oldid=836600265"
Categories:
2000 singles
2000 songs
Diamond Rio songs
Songs written by Steven Dale Jones
Billboard Hot Country Songs number-one singles
Music videos directed by Deaton-Flanigen Productions
Arista Nashville singles
Country ballads
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text:
Main course
From Wikipedia, the free encyclopedia
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This article is about the meal component. For the Bee Gees album, see Main Course.
Part of a series on
Meals
Meals
Breakfast
Second breakfast
Elevenses
Brunch
Lunch
Tea
Supper
Dinner
Combination meal
Kids' meal
Snack
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Components and courses
Full course dinner
Amuse-bouche
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v
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The main course is the featured or primary dish in a meal consisting of several courses. It usually follows the entrée ("entry") course.
Contents
1 Usage
2 Serving
3 See also
4 References
5 Bibliography
6 External links
Usage[edit]
In the United States and Canada (except Quebec), the main course may be called "entrée".[1][2][3][4] English-speaking Québécois follow the French use of the term.
According to linguist Dan Jurafsky, North American usage ("entrée") retains the original French meaning of a substantial meat course.[5]
A sirloin steak dinner. This may be the main course of a meal.
Serving[edit]
The main dish is usually the heaviest, heartiest, and most complex or substantial dish on a menu. The main ingredient is usually meat, fish or another protein source. It is most often preceded by an appetizer, soup or salad, and followed by a dessert. For those reasons the main course is sometimes referred to as the "meat course".
In formal dining, a well-planned main course can function as a sort of gastronomic apex or climax. In such a scheme, the preceding courses are designed to prepare for and lead up to the main course in such a way that the main course is anticipated and, when the scheme is successful, increased in its ability to satisfy and delight the diner. The courses following the main course then calm the palate and the stomach, acting as a sort of dénouement or anticlimax.
See also[edit]
Food portal
Course (food)
Full course dinner
Meal structure in Italy
References[edit]
Jump up ^ "Oxford Dictionaries". Retrieved 12 September 2017.
Jump up ^ "entrée (noun) definition and synonyms - Macmillan Dictionary". www.macmillandictionary.com. Retrieved 12 September 2017.
Jump up ^ cf. Cambridge
Jump up ^ Stewart, Marjabelle Young and Elizabeth Lawrence (1999). Commonsense Etiquette: A Guide to Gracious, Simple Manners for the Twenty-First Century. St. Martin's Press. p. 99.
Jump up ^ "You are what you eat — and how you translate the menu". Retrieved 12 September 2017.
Bibliography[edit]
Vergé, Roger (1996). The Main Course. Weidenfeld & Nicolson. ISBN 0-297-83638-2. Retrieved May 25, 2017.
External links[edit]
Wikibooks Cookbook[permanent dead link]
This food-related article is a stub. You can help Wikipedia by expanding it.
v
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