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Memory play
Memory play is a term coined by playwright Tennessee Williams, describing his work ''The Glass Menagerie''. In his production notes, Williams says, "Being a 'memory play', ''The Glass Menagerie'' can be presented with unusual freedom of convention."〔Williams, p xvi〕 In a widening of the definition, it has been argued that Harold Pinter's plays ''Old Times'', ''No Man's Land'' and ''Betrayal'' are memory plays, where "memory becomes a weapon". Brian Friel's ''Dancing at Lughnasa'' is a late 20th-century example of the genre.
==''The Glass Menagerie''==
In the play-script, Williams describes the scene: The scene is memory and is therefore non-realistic. Memory takes a lot of poetic licence. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart. The interior is therefore rather dim and poetic. In his first few lines Tom Wingfield declares: The play is memory. Being a memory play, it is dimly lighted, it is sentimental, it is not realistic. In memory everything seems to happen to music. That explains the fiddle in the wings. I am the narrator of the play, and also a character in it. The other characters are my mother Amanda, my sister Laura and a gentleman caller who appears in the final scenes.〔Williams, pp 3–5〕 The action of the play is loosely based on Williams' own memories.The narrator, Tom Wingfield, moves in and out of the action, directly addressing the audience at times. The other characters Amanda and Laura also revisit their own memories throughout. Williams' plays ''A Streetcar Named Desire'' and ''Summer and Smoke'' are also referred to as memory plays.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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