Scene One of A Streetcar Named Desire
What is the dramatic significance of scene one of the play A Streetcar
named Desire?
Scene 1 of this play has great dramatic significance. In this essay, I
will be looking at key points throughout the scene that reveal the key
features of the plot, characters, theme and imagery plus how it is
used to give the audience a taster for what is to come.
Scene one is set in New Orleans, I feel this is used because in
peoples mind beforehand it has a strong emotional presence and is
often associated with many types of genres such as music. Sight and
smell are often used in plays to help people get a sense of atmosphere
and this is no exception. Cleverly as always to make something stand
out in the media eye Williams takes this one step further by combining
the strong senses of glorious unbelieving sights of New Orleans and
the vast cultural display of music to create a strong, atmospheric
potion. It offers a romantic vision of dingy life(referring to the not
so perfect world they live in). The mix of characters demonstrates the
way that New Orleans has changed to other southern American cities. It
was originally a catholic settlement while most southern cities were
protestant
The music of the blue piano is cleverly used in the background to
portray to feel of changing life throughout the city, while seemingly
also reacting to the changing moods in the play through hate and anger
of Blanche’s arguments with Stanley to love and forgiveness when
Blanche arrives to stay with Stella. I feel it is also used to take
the sting out of the feel of poverty.
The polka music displays its original musical style, whilst being used
for far more striking and startling incidents su...
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...nough’ in
many situations to get his point across.
Stanley’s middle-scene entrance with meat underlines his primitive
qualities as if he were taking it back to his cave fresh from the
kill. It also displays a strong sexual bond between him and Stella
which is also shown as noticeable by other characters. Stanley shouts
“Catch!” as he throws the meat to the negro woman who yells “Catch
What?”. The negro woman and Eunice see this as sexual and hysterical
in his act of tossing the meat to a delighted Stella.
This is a very cleverly thought out & structured first scene as this
certainly prepares the audience for what is to come. Many class
conflicts and clashes with high tempo drama from all sides of the
story are certainly expected to remain throughout while a classic
twist could and hopefully will be to carry on the great start could be
on the cards.
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.
Death in A Streetcar Named Desire Tennessee Williams uses the theme of death continually in the play ‘A Streetcar Named Desire’ through the use of dramatic imagery and literal references. The characters of Blanche and Mitch are used the most frequently to express Williams’ own obsession with death. Though neither of the characters actually obsesses about death, Blanche’s life has been smothered by the deaths of those she loves and the coming death of Mitch’s mother is an obvious motivation for his actions. Blanche first voices the theme of death in the very first scene whilst discussing the fate that has befallen Belle Reve.
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.
she was told "to take a streetcar named Desire, and then to transfer to one
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?
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
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.
Tennessee Williams has said, “We have to distrust each other. It is our only defense against betrayal.” Betrayal is prevalent in life and literature and creates uncertainty. According to Williams, without questioning people, one will eventually be betrayed. Characters deceive each other and, occasionally, themselves as they try to mend their lives. In A Streetcar Named Desire by Tennessee Williams, betrayal is evident in every relationship — Blanche and Mitch, Blanche and Stella, and Blanche and Stanley — and contributes to the theme of uncertainty in the novel. Blanche Dubois is the ultimate example of betrayal because she ends up being betrayed and betraying others throughout the play, which serves as a basic model of the effects betrayal can have on a person.
In Tennessee Williams play "A Streetcar Named Desire" two of the main characters Stanley and Blanche persistently oppose each other, their differences eventually spiral into Stanley's rape of Stella.
In Tennessee Williams' play, A Streetcar Named Desire, Williams uses the suicide of Blanche's husband to illuminate Blanche's insecurities and immoral behavior. When something terrible happens to someone, it often reveals who he or she truly is. Blanche falls victim to this behavior, and she fails to face her demons. This displays how the play links a character’s illogical choices and their inner struggles.
The seven deadly sins are well established as being detrimental; nevertheless, humanity naturally gravitates towards the inhuman. The life of Blanche DuBois, the protagonist of Tennessee Williams’ play, A Streetcar Named Desire is derailed by lust: the lechery of her ancestors causes the loss of the family home, her husband’s lust leads to suicide, and her own sexuality forces her to leave her occupation and her hometown in disgrace. After taking the streetcars Desire and Cemeteries, Blanche seeks refuge from reality in the home of her sister Stella and her masculine and somewhat barbaric husband Stanley. Despite her attempts to start an unblemished life with a new persona and love interest, Mitch, Blanche’s dark past begins to resurface after
Tennessee Williams gives insight into three ordinary lives in his play, “A Streetcar Named Desire” which is set in the mid-1930’s in New Orleans. The main characters in the play are Blanche, Stanley, and Stella. All three of these characters suffer from personalities that differentiate each of them to great extremes. Because of these dramatic contrarieties in attitudes, there are mounting conflicts between the characters throughout the play. The principal conflict lies between Blanche and Stanley, due to their conflicting ideals of happiness and the way things “ought to be”.
During the time period Tennessee Williams, author of the play A Streetcar Named Desire, lived in, men were typically portrayed as leaders of the household. Through Williams' usage of dialogue, specific descriptions of each characters, as well as sound, he illustrates to readers of today's society how differently a man and woman coexisted in the mid-1900s, compared to today. Through the eyes of a topical/historical theorist, who stresses the relationships between the story and the time period it takes place, the distinction between today's society and that of five decades past, can be observed with depth and precision.
A Streetcar Named Desire is a play founded on the premise of conflicting cultures. Blanche and Stanley, the main antagonists of the play, have been brought up to harbour and preserve extremely disparate notions, to such an extent that their incompatibility becomes a recurring theme within the story. Indeed, their differing values and principles becomes the ultimate cause of antagonism, as it is their conflicting views that fuels the tension already brewing within the Kowalski household. Blanche, a woman disillusioned with the passing of youth and the dejection that loneliness inflicts upon its unwilling victims, breezes into her sister's modest home with the air and grace of a woman imbued with insecurity and abandonment. Her disapproval, concerning Stella's state of residence, is contrived in the face of a culture that disagrees with the old-fashioned principles of the southern plantations, a place that socialised Blanche to behave with the superior demeanour of a woman brain-washed into right-wing conservatism. Incomparably, she represents the old-world of the south, whilst Stanley is the face of a technology driven, machine fuelled, urbanised new-world that is erected on the foundations of immigration and cultural diversity. New Orleans provides such a setting for the play, emphasising the bygone attitude of Blanche whose refusal to part with the archaic morals of her past simply reiterates her lack of social awareness. In stark contrast Stanley epitomises the urban grit of modern society, revealed by his poker nights, primitive tendencies and resentment towards Blanche. ...