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Themes of a streetcar named desire
Themes in the streetcar named desire
Characteriztion through streetcar named desire
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Streetcar Named Desire: Visual, Aural and Spatial
The sound for ‘A Streetcar Named Desire’ is effective but this could
be built upon to improve it and create a more intense atmosphere. The
stage directions do state when sound should be used, they usually
state the piece of music and the way in which it should be played, for
example “Blue piano and the hot trumpet sound louder”. I think that if
an amalgamation of types of music such as; instrumental music,
recorded sounds and vocal pieces. This would provide a range of sounds
and would be more interesting for the audience. More sound could be
used to reflect the action taking place in the play, an example being
when, in Scene Ten, when Blanche is trying to get hold of Shep
Huntleigh and is getting more and more distressed this would be an
appropriate time for some fast paced music to enhance her panic.
The space on the stage could have been used a lot more effectively.
The actors could use the whole of the stage, split certain parts of it
up to represent different rooms and scenes, also the changing of space
to create dramatic effect. A good example of a use of this changing
space is in Scene Ten before Blanche gets raped by Stanley, the scene
could start with the space room sized and then as he becomes more
dominating over her it shrinks to show how trapped she feels.
The scenery in the play needs to be relevant to the era and
surroundings of New Orleans, realistic enough so that the audience
know where they are and are interesting but not so much that it takes
the focus of the play away from the actors, the scenery should be life
like, for example the flat, if it is flat like then the audience can
relate with the characters and it can make it feel more real.
The era of the play is also set by the costume that the actors wear to
suggest the time and conditions that the characters live in, the
costumes should also dictate the class of the people in the play as
there are clear divides. For example Blanche would wear long frilly
summer dresses to show that she is still living in the past and wears
clothes that draw attention to herself and most importantly, make her
look attractive. Blanche’s make up would be highlighted to show her
vanity but also to give the appearance that she is younger than she
is. The scenery would show to the audience exactly what it is that she
A significant aspect of the play is the acting and wardrobe, because it helps demonstrate the personalities of the characters.
Identity in Contemporary American Drama – Between Reality and Illusion Tennessee Williams was one of the most important playwrights in the American literature. He is famous for works such as “The Glass Menagerie” (1944), “A Streetcar Named Desire” (1947) or “Cat on a Hot Tin Roof (1955)”. As John S. Bak claims: “Streetcar remains the most intriguing and the most frequently analyzed of Williams’ plays.” In the lines that follow I am going to analyze how the identity of Blanche DuBois, the female character of his play, “A Streetcar Named Desire”, is shaped. Firstly, we learn from an interview he gave, that the character of Blanche has been inspired from a member of his family.
Isn't it true the relationship between Stella and Stanley is praiseworthy, since it combines sexual attraction with compassion for the purpose of procreation? Isn't it true that as opposed to Stanley's normalcy in marriage, Blanche's dalliance in sexual perversion and overt efforts to break up Stanley and Stella's marriage is reprehensible? Isn't it true that Stella's faulty socialization resulting in signs of hysteria throughout the play meant that she probably would have ended her life in a mental hospital no matter whether the rape had occurred or not?
When discussing the notion that “Love can often lead to the creation of an ‘Outsider’." there are cases in our literary examples that would agree with the statement, and some that would not. Outsiders in Much Ado About Nothing, Pride and Prejudice and A Streetcar Named Desire are created by both love and other themes, whether it be class, power, disinterest or a scandal.
she was told "to take a streetcar named Desire, and then to transfer to one
During early times men were regarded as superior to women. In Tennessee William’s play, “A Streetcar Named Desire”, Stanley Kowalski, the work’s imposing antagonist, thrives on power. He embodies the traits found in a world of old fashioned ideals where men were meant to be dominant figures. This is evident in Stanley’s relationship with Stella, his behavior towards Blanche, and his attitude towards women in general. He enjoys judging women and playing with their feelings as well.
The human mind is fragile, unpredictable and unreliable. Simultaneously, the human mind is a master of self-defense against emotionally shaking experiences that one might live through. During the first half of the 20th century, mental illness was not a subject widely spoken about and drugs, electro-convulsive therapy, and surgery were used as treatments for persistent illnesses of the mind (PBS “Timeline: Treatments (...)”). This is the world Tennessee Williams grew up in, with a three year older sister who developed a mental illness herself (Hoare). In 1947, Tennessee Williams broke through the barrier of fame with his well known play A Streetcar Named Desire: the story about the emotional demise of the fragile, yet determined, southern belle Blanche DuBois and her visit to her sister Stella in New Orleans. Williams himself said that his plays are “pleas for the understanding of delicate people” (Rocamora): they contain a desperation for sensitivity, tenderness and humaneness that can rarely be found other plays (Maupin). Blanche DuBois is Tennessee Williams’ representation of the “delicate people”, as she battles psychological illness through fear, guilt and compensation for the surrounding people and relations in the play.
In Williams’ Streetcar Named Desire the characters represent two opposing themes. These themes are of illusion and reality. The two characters that demonstrate these themes are Blanche, and Stanley. Blanche represents the theme of Illusion, with her lies, and excuses. Stanley demonstrates the theme of reality with his straightforward vulgar ness. Tennessee Williams uses these characters effectively to demonstrate these themes, while also using music and background characters to reinforce one another.
‘why, on our wedding – soon as we came in here – he snatched off one
“Illusions commend themselves to us because they save us pain and allow us to enjoy pleasure instead. We must therefore accept it without complaint when they sometimes collide with a bit of reality against which they are dashed to pieces” (Sigmund Freud). Illusion can be a part of our lives; however, if taken to the extreme, it can lead one to forget reality. Every individual has problems in life that must be faced with reality and not with illusion, even though it might throw one into flames of fires. Tennessee Williams' play of a family reveals the strength of resistance between reality and desire, judgment and imagination, and between male and female. The idea of reality versus illusion is demonstrated throughout the play. Blanche's world of delusion and fantastical philosophy is categorized by her playful relationships, attempts to revive her youth, and her unawareness in the direction of reality of life. In Tennessee William’s play, A Streetcar Named Desire, through the study of character and tropology, fantasy and illusion allow one to make life appear as it should be rather than as it is.
A Streetcar Named Desire sets the decaying values of the antebellum South against those of the new America. The civil, kindly ways of Blanche’s past are a marked contrast to the rough, dynamic New Orleans inhabited by Stella and Stanley, which leads Tennessee Williams’s “tragedy of incomprehension” (qtd. in Alder, 48). The central protagonist, Blanche, has many flaws; she lies, is vain and deceitful, yet can be witty and sardonic. These multifaceted layers balance what Jessica Tandy, who played Blanche in the first stage production in 1947, “saw as her ‘pathetic elegance’ . . . ‘indomitable spirit and ‘innate tenderness’” (Alder 49). Through a connected sequence of vignettes, our performance presented a deconstruction of Blanche that revealed the lack of comprehension and understanding her different facets and personas created. Initially Blanche is aware of what she is doing and reveals
The main characters in this play are Blanche Dubois, Stella Kowalski, Stanley Kowalski, and Mitch. However, the minor characters are Eunice, Steve, Pablo, the Negro women, the doctor, the nurse, the Mexican woman, and the young collector.
2. What causes Mitch and Blanche to take a "certain interest" in one another? That is, what is the source of their immediate attraction? What seems to draw them together? What signs are already present to suggest that their relationship is doomed/problematic?
In the story Alice in Wonderland, the world of Wonderland represents the main antagonist Alice’s fantasy that is fueled by her desire of staying in the past and remaining a child. Ultimately, she fears the changes that come with becoming an adult; thus, she resists reality and embraces the lies of her fantasy of staying a child by staying in Wonderland. Furthermore, this is similar to how the main antagonist in A Streetcar Named Desire, Blanche DuBois, resists reality by lying to herself and everyone she knows because she also fears reality. Unlike Blanche, Alice soon realizes that by embracing her fantasies and desires she would be led down a path of destruction because fantasy and reality are incompatible. Likewise, Tennessee Williams covers the topic of the incompatibility of fantasy and reality in A Streetcar Named Desire by making the character Blanche DuBois, which represents fantasy, resist and have a conflict with the character Stanley Kowalski, which represents reality, because he wants to convey that it is natural to fear and resist reality and take solace in desire and fantasy.
This is how Shakespeare’s plays are a product of the Elizabethan theatrical context in which they were first performed.