A souvenir is a play in which a main character recounts the events of the play that come from the character`s memory. The term was coined by playwright Tennessee Williams and describes his work The Glass Menagerie. In his production notes, Williams says, „As a `memory game`, the Glass Menagerie can be presented with unusual freedom of convention.“ [1] In an extension of the definition, it has been argued that Harold Pinter`s plays Old Times, No Man`s Land and Betrayal are memoirs in which „memory becomes a weapon.“ Brian Friel`s Dancing at Lughnasa is an example of the late 20th century genre. The plot of the play is loosely based on Williams` own memories. The narrator, Tom Wingfield, enters and exits the action, sometimes speaking directly to the audience. The other characters Amanda and Laura also take up their own memories over and over again. [3] [4] Williams A Streetcar`s tracks Named Desire and Summer and Smoke are also known as Memory Plays. [5] The scene is a memory and therefore not realistic. Memory needs a lot of poetic freedom.
It omits certain details; others are exaggerated, depending on the emotional value of the items it touches, because memory is mainly in the heart. The interior is therefore rather dark and poetic. Harold Pinter`s works from the 1970s, including Landscape, Silence, A Kind of Alaska, Betrayal and Old Times, have been described as memories by Michael Billington and others. The characters recite their own versions of past events and there is no clear indication of what, if any, is true. [6] In Friel`s Dancing at Lughnasa, „a memory that focuses on the five single Mundy sisters struggling to preserve the family home. The memory that guides the form and substance of the play belongs to Michael, Chris` love child, the youngest of the sisters. [7] [8] Critic Irving Wardle argued that Friel invented the modern memory game, citing Philadelphia, Here I Come! and Faith Healer as examples. [9] Hugh Leonard`s play Da is another example of remembrance. [10] The term has also been used to describe films such as John Ford`s The Man Who Shot Liberty Valance, described by Scott Eyman as „underpopulated sets“ and „archetypal characters.“ [11] In a 2007 essay entitled „Some Memory Plays Before the `Memory Play`“,“ scholar and director Attilio Favorini identifies Ibsen, Strindberg, Pirandello and O`Neill as representatives of the early 20th century memory game, arguing the influence of Freud and Jung on their work. [12] The piece is memory. As it is a memory game, it is dimly lit, it is sentimental, it is not realistic.
In memory, everything seems to happen with music. This explains the violin in the wings. I am the narrator of the play and also a character of it. The other characters are my mother Amanda, my sister Laura and a gentleman caller who appears in the final scenes. [2] Dharamveer Bharti wrote Suraj ka satvan ghoda in 1952. It was adapted in 1992 by Shyam Benegal as a film of the same name on the big screen. .