Albee and Williams' Use of Virility in Their Plays

2024 Words5 Pages
bulb-icon

Recommended: A streetcar named desire, blanche's character journey

The sexual dominance of male characters over their female counterparts in the plays establishes their superiority and control. Both playwrights suggest that a degree of personal status is acquired by sexually dominate women. The rape scene shows Stanley’s use of power sexually through rage and strength, used to illustrate his final defeat of Blanche and establish himself as ‘King’ of his territory, ‘limited to expressing basic desire’ . ‘Since earliest manhood… his life has been pleasure with women... giving and taking of it... with power and pride’. It is a power he can achieve over women that they cannot over him. ‘Let’s have some rough house! [He springs towards her, overturning the table. She cries out... he picks up her inert figure… carries her to the bed]’. The use of stage directions portrays Blanche’s passivity, and gives the audience a better understanding of how the event empowers Stanley; also the enjambment, ‘Don’t you come towards me another step or I’ll-‘, intensifies Blanche’s lack of power comparatively with Stanley’s. Similarly Albee shows men’s power through the ability to overpower; George asserts ‘I’d take you by force, right here on the living room rug.’ It is telling that at the end of the play he takes her to bed, after destroying her illusion. Albee also uses sexuality as a tool for battle, Martha says ‘I was necking with one of the guests’ in an attempt to antagonise her husband; his nonchalant response undermines her quest for power, ‘... Good... Good you go right on’.

Women show a submission to the power of men, even Blanche admits that maybe Stanley is what they need to ‘Mix with [their] blood’, whereas she treats Mitch with contempt, rolling her eyeballs when he can’t see and ridiculing him in ...

... middle of paper ...

... http://www.gradesaver.com/a-streetcar-named-desire/study-guide/major-themes/ (accessed October 2010).

Harold Bloom, K Harvey. Dark Humour. Infobase Publishing, 2010.

Kolin, Philip C. Tennesse Williams: A guild to resear and performance. USA, 1998.

Oxford Dictonary . Oxford, England: Oxford University Press, 1989.

Roudane, Matthew. Who's Afraid of Virginia Woolf?: Towards the Marrow.

Shmoop Univeristy, inc. . Shmoop. 2010. http://www.shmoop.com/afraid-of-virginia-woolf/ (accessed October 2010).

Shmoop University, Inc. Shmoop. 2010. http://www.shmoop.com/streetcar-named-desire/ (accessed October 2010).

Small., Brustein 10 Quotation. Robert C. New York, USA: Penguin Group, 2004.

Williams, Tennessee. A Streetcar Named Desire. London, Great Britain: Methuen Student Edition, 1984.

—. A Streetcar Named Desire. London, Great Britain : Secker & Warburg Ltd., 1984.

Show More
Related

  • A Streetcar Named Desire Rhetorical Analysis

    1210 Words  | 3 Pages

    In this passage, Williams’ emphasises the nature of Blanche’s demise through the contrapuntal mode of the scene juxtaposing Blanche’s bathing with Stanley and Stella’s conversation. Williams wrote in a letter to Elia Kazan, who was to direct the film production of the play, that ‘It is a thing (misunderstanding) not a person (Stanley) that destroys (Blanche) in the ends’. This passage is significant as it shows the extent of Stanley’s misunderstanding of Blanche and his stubbornness to ascertain his condemnations to Stella. Furthermore, the use of colloquial lexis shows the true feebleness of Stanley’s claim because his judicial façade is diminished and shows the dangerous influence of claims as he sways Mitch away from Blanche. Stella’s character

    Read More

  • Comparing A Streetcar Named Desire and Cat on a Hot Tin Roof

    1771 Words  | 4 Pages

    Blanche, a fading beauty, uses her sugary charm and soft southern ways to attract men. In comparison, Stanley "sizes women up at a glance, with sexual classifications" to "determine the way he smiles at them" (Williams, Street 29). Course and deliberately aggressive, he is a "survivor of the stone age" (Williams, Street 72). Despite their differences, they both possess a raw sensuality. In their first confrontation, Blanche's thick display of charm angers and attracts Stanley.

    Read More

  • Gender Roles in The Yellow Wallpaper and A Streetcar Named Desire

    1527 Words  | 4 Pages

    Many different depictions of gender roles exist in all times throughout the history of American culture and society. Some are well received and some are not. When pitted against each other for all intents and purposes of opposition, the portrayal of the aspects and common traits of masculinity and femininity are separated in a normal manner. However, when one gender expects the other to do its part and they are not satisfied with the results and demand more, things can shift from normal to extreme fairly quickly. This demand is more commonly attributed by the men within literary works. Examples of this can be seen in Tennessee Williams' “A Streetcar Named Desire”, where Stella is constantly being pushed around and being abused by her drunken husband Stanley, and also in Charlotte Perkins Gilman's “The Yellow Wallpaper”, where the female narrator is claimed unfit by her husband as she suffers from a sort of depression, and is generally looked down on for other reasons.

    Read More

  • A Streetcar Named Desire

    436 Words  | 1 Pages

    In this paper it will be shown that the functionalists are correct. Functionalists argue that Blanche's self-concept, which she believes is a traditional upper class woman, eventually leads to her mental and emotional breakdown. Feminists argue Blanche is sent off to a mental hospital to hush up Stanley's crime of rape, not because of any illness. Although there is some value to the feminist interpretation, it contains several weaknesses. The following review of some aspects of the plot will reveal some of those weaknesses.

    Read More

  • Relationships in Tennessee Williams' A Streetcar Named Desire

    604 Words  | 2 Pages

    In many modern day relationships between a man and a woman, there is usually a controlling figure that is dominant over the other. It may be women over man, man over women, or in what the true definition of a marriage is an equal partnership. In the play A Streetcar Named Desire by Tennessee Williams Stanley is clearly the more dominant figure over Stella. Throughout the play there are numerous examples of the power he possesses of her. Williams portrays Stella as a little girl who lives around in Stanley’s world. She does what he wants, takes his abuse yet still loves him. Situations likes these may have occurred in the 1950’s and lasted, but in today’s time this would only end up in a quick divorce.

    Read More

  • Comparing A Raisin In The Sun And Ibsen's A Doll House

    1255 Words  | 3 Pages

    Women and men are not equal. Never have been, and it is hard to believe that they ever will be. Sexism permeates the lives of women from the day they are born. Women are either trying to fit into the “Act Like a Lady” box, they are actively resisting the same box, or sometimes both. The experience of fitting in the box and resisting the box can be observed in two plays: Lorraine Hansberry’s “A Raisin in the Sun” and Henrick Ibsen’s “A Doll House”. In Hansberry’s play, initially, Beneatha seems uncontrolled and independent, but by the end she is controlled and dependent; whereas, in Ibsen’s play Nora seems controlled and dependent at the beginning of the play, but by the end she is independent and free.

    Read More

  • Women's Roles in Antigone and A Doll's House

    902 Words  | 2 Pages

    ...n he tried to intimidate her earlier and that she would be so bold to his face. The criticism faced by the characters in the plays demonstrate the idea that women are inferior to men and should not speak out for themselves.

    Read More

  • Gender Roles in A Streetcar Named Desire

    1903 Words  | 4 Pages

    Within Tennessee Williams's story about love and abuse within marriage and challenging familial ties, there lie three very different characters that all see the world in vastly different ways. These members of a family that operate completely outside of our generation’s norms, are constantly unsure of themselves and their station within the binary not only of their familial unit, but within the gender binary that is established for them to follow. Throughout the story of the strange family, each character goes through a different arch that changes them irrevocably whether it is able to be perceived or not by those around them. The only male, Stanley is initially the macho force in the home who controls everything without question. He has no consequences for his actions against his wife and is never held accountable for treating the people around him poorly; this lasts until Blanche arrives. Blanche is an outwardly demure, but spirited young woman who after experiencing untold misfortune breaks mentally and decides to no longer care what others may think of her. She lives her life lavishly and foolishly by having dalliances with younger or richer men who shower her with gifts and attention to get sex from her all too willing form. Her effect on Stanley is one of temptation and challenge; she continually tries to convince her sister that she is too good for the man and in turn fosters a resentment for her in him. Stella acts as the antithesis of Stanley and Blanche’s extreme personalities. She is innocence and purity where they are the darkness that threatens to overtake her life. Throughout, Stella is a pawn that they both try to use against the other to no real avail as she is determined to make the best choice for herself. In th...

    Read More

  • Character Conflict in Tennessee Williams’ A Streetcar Named Desire

    572 Words  | 2 Pages

    Blanche had a desire for sex in general to cope with her divorce and the loss of her family; she just needed to feel loved. Stanley expressed his hidden desire for Blanche by being cruel to her through the whole story, and then having sex with her. Mitch showed his desire for Blanche by asking her to marry him. Stella had a desire for Stanley’s love and for Blanche’s well-being. The play is a display of the drama involved in families, and it shows that sometimes people have to make decisions and choose one relationship over another.

    Read More

  • A Streetcar Named Desire Psychoanalytic Analysis

    1091 Words  | 3 Pages

    Also, the repetitive comparison of him to an animal or ape is the perfect image not the id as it is the instinctive part of your psyche. The way this passage leaves the reader is very powerful saying that “maybe he’ll strike you” is a good example of Stanley’s aggressive nature, and when Blanche says “or maybe grunt and kiss you” is a very good example of his sexual nature.

    Read More

  • Hedda Gabler and A Streetcar Named Desire

    540 Words  | 2 Pages

    Stanley is, at first sought to be a dominant, rough individual but William’s use of stage direction implies an opposing thought. For example, Williams describes Blanche’s bed near the bedroom of Stella and Stanley’s, but what is so vital about the position of the bed readers may question. Conclusively, Stanley’s...

    Read More

  • The Gender Struggle in A Streetcar Named Desire by Tennessee Williams

    1937 Words  | 4 Pages

    Stanley, the protagonist, is a symbol for society’s view of the stereotypical male. He is muscular, forceful, and dominant. Stanley’s domination becomes so overwhelming that he demands absolute control. This view of the male as a large animal is revealed in the opening of the play where Stanley is described as “bestial.” His power and control throughout the play are foreshadowed in the opening stage directions.

    Read More

  • Desire and Dominance: A Streetcar Named Desire Analysis

    1851 Words  | 4 Pages

    Human conflict is ever-present in sex and desire. But, not until the streetcar named Desire was first shown in 1947 had the corporeal act of sex been so openly depicted on stage as a basis of dominance and power. The streetcar in the New Orleans Street, Elysian Fields, is an urban harsh world, where the laws of nature are the enduring rules of engagement. As the wild sex and violence are intimately connected, Intercourse is a product of aggressive dominance, competition and submission to a certain extent than romance. Although Williams repeatedly claimed that his piece cautioned against the world where brutes were permitted to reign, the play 's end, shows the sexually imposing dominance placed upon Blanche by Stanley, whom demolished her illusions

    Read More

  • Theme Of Empathy In Streetcar Named Desire

    1327 Words  | 3 Pages

    She looks for empathy in all the wrong places. She looks for it when with strangers, with Stanley, Mitch, and Stella. The tragedy of Alan’s death is a leading cause for Blanche’s desire for attention and empathy. After his death he becomes involved with the hotel “flamingo”. It is here where she mistakenly thinks that sex, is a form of empathy. This empathy causes her character to have a blackened image of how to gain empathy from others. Once she gets run out of the flamingo she attempts to gain attention from Stanley. “It 's mine, too. It 's hard to stay looking fresh. I haven 't washed or even powdered my face and here you are!” Blanche understands that Stanley is a man who can at least support his wife. She flirts with Stanley, in a desperate need to feel, safe and cared for. Stanley understands that Blanche is manipulative, and he does not give empathy towards her. The tragic Irony with Blanche is that she does not recognize true empathy when it is given to her, Mitch has a deep care for Blanche, to the extent that he is willing to marry her. “You need somebody. And I need somebody, too. Could it be—you and me, Blanche?” Mitch shows a great amount of compassion towards Blanche, but blanche cannot recognize this empathy and sees it more as an opportunity to manipulate him, which doesn’t turn out well in the end. Stella is the

    Read More

  • Theme Of Desire In A Streetcar Named Desire

    1188 Words  | 3 Pages

    Since Blanche’s arrival, Stanley has questioned Blanche’s lifestyle, accused her of theft and engaged in other verbal confrontation. As Mitch’s friend, Stanley deems it necessary to share what he has uncovered about Blanche’s deception and misbehavior with Mitch. After not attending Blanche’s birthday dinner, Mitch visits Blanche late in the evening. In this passage, Mitch reveals to Blanche what he now knows about her and tears off the paper lantern so that he can expose Blanche for who she is. This passage suggests that Mitch embodies the same masculinity already established in Stanley. Utilizing dialogue, characterization, and stage directions, Williams reveals the likeness between the two men.

    Read More

More about Albee and Williams' Use of Virility in Their Plays

Open Document