Streetcar named desire.notes on whole play docx PDF

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STREETCAR NAMED DESIRE CONTEXT: Written in 1947 “The ravishment of the tender, the sensitive, the delicate, by the savage and brutal forces of modern society” –Tennessee Williams TENNESSEE WILLIAMS AND THE SOUTH:  Born in Mississippi in 1911  Plays associated with the American South  Following the defeat of Confederate states in the American Civil War (1861-1865) an enduring mythology had formed around the ‘Old South’ in its pre-Civil War era: a graceful. Civilised society superior to the vulgar, materialistic Northern States  However, this myth was based upon the enslavement of millions of black Americans as a source of unpaid labour  The legends of the ‘Old South’ play an important role in many of his plays  Was a homosexual “In the South, the Civil War is what AD is elsewhere, they date from it” –Mark Twain HISTORICAL CONTEXT: 

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Tennessee Williams was working on Streetcar at the end of WW2 but there is very little mention made of the war. Despite the fact that the events of the war had been cataclysmic, they receive only a brief mention in the play. This is a characteristic of all William’s’ plays That said, many writers at the time were concerned with the ideas that, whilst great leaps forward were being made in a variety of spheres, man’s capacity for evil and desrcution also continued to grow. In one sense, the journey from desire to death can be linked to this theme As a southerner, he was more affected by the events of the American Civil War (1861-1865). Following their defeat by the Northern states, the South suffered economically. However, this air of the decaying grandeur added to the romantic appeal for many writers including William’s As time moved on, industrialisation continued in the cities. Whilst the plantations continued to decay, urban growth and capitalism flourished in cities William’s was interested in the progress of American History—not only where it had been, but also where it was going and how it would get there Stanley represents the American Dream that all men were born equal and can succeed equally, whilst Blanche represents the old world, where class and race are still important issues Williams was homosexual and this is clearly an aspect of his work, it is important to remember that for most of his life, homosexuality remained illegal. It was however tolerated in some places, such as New Orleans

CULTURAL AND POLITICAL CONTEXT:  Tennessee Williams saw the south as a broken and damaged place in which the decay was somehow charming  “I write out of love for the South… once a way of life that I am just able to remember—not a society based on money… I write about the South because I think the war between romanticism and the hostility to it is very sharp there”  William’s is an almost completely non-political writer. More than any other America dramatist, he began to move away from writing about the large political issues to writing about the emotional burdens of everyday life  The tensions in this play come partly from cultural conflict—the worlds of Stanley and Blanche are so opposed that neither can understand the other SOCIAL CONTEXT: 

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Women in the Old South had a social and symbolic role, were expected to be passive and chaste. This world could not give Blanche what she needed and so she tried to marry into the ‘light and culture’, she discovers that there is corruption and deceit behind the façade All the Southern writers seemed to have vivid imaginations which were often bizarre and grotesque (Southern Gothic). The roots of this literature lay perhaps in the fact that the writers knew that they were part of a dying culture—where the dashing and romantic were founded on an economy based on injustice and cruelty Blanche and Stanley are from different worlds where money has different values.

WRITING THE PLAY: ▫ Williams started to write the play in 1945, the year WW2 ended and it was first performed in 1947 ▫ Play influenced by Williams’ own life; his mother was a ‘Southern Belle’ and his father an alcoholic travelling salesman ▫ His sister Rose was mentally unstable and was eventually given a lobotomy and spent the rest of her life in an institution ▫ He was obsessed with death—like Blanche, wo is haunted by her husband’s suicide POWERFUL CHARACTERISATION: Blanche DuBois Complex, contradictory— unable to accept reality—the tragic heroine. Her weakness, coupled with the failure of others to understand her, led to her breakdown and committal into an institution

Stella Kowalski Devoted to Stanley, attracted by his rough, dominant manner; she must choose between her husband and her sister

Stanley Kowalski Polish descent but born in the USA and proud of it; antagonist. Smouldering sexuality and selfconfidence mixed with chauvinism and capacity for cruelty

Mitch Friend and workmate of Stanley’s; at first fascinated by Blanche but cannot face the truth about her past

GENDER AND SEXUALITY EXPLORED:  Sexual desire in the context of post-war America; Stanley and Stella’s relationship is held together by Stanley’s belief that women need to be dominated and Stella’s willingness to be dominated  Blanche, a promiscuous heterosexual woman possibly influenced by Williams’ status as a gay man, at a time when homosexuality was still illegal in most American states  Sexual passion an unstoppable forced that (like the streetcar) will carry the victim to a path of self-destruction SOCIAL CLASS AND CONFLICT: Blanche and Stella are members of old-established land owning aristocracy- a ‘plantation’ family that became rich from slave labour  Blanche, desperate to hold on to the Southern belle illusion; Stella, happy to abandon to enjoy animal passion with Stanley  Stanley a working-class polish man—Blanche often describes him as ‘sub-human’ or animalistic  Post-war, class divides shifted; men like Stanley who had fought in WW2 came back with a greater sense of entitlement and were also empowered by the rise of trade unions 

DEATH, MADNESS AND TRAGEDY:  Blanche’s decline into mental instability is partly a result of her experiences of death; her husband’s suicide and tending of dying relatives  Her breakdown after Stanley rapes her can be seen as a kind of death  Blanche is a tragic heroine—her downfall presented as inevitable throughout but is she a victim of society or of her own passions DRAMATIC EFFECTS:  

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Stage directions go beyond practical instructions ‘Poetic naturalism’ (Williams): drama located in the real but reaches for the poetic or intangible—Blanche living in idealised past which brutally contrasts the harsh reality of the present Expressionist theatre devices: transparent sets, mixing of theatrical sets, evocative music and lighting, sound effects and heightened poetic language

Dramatic Structure: 1. Introduction: create tone/present setting/introduce characters/relate necessary information/inciting force 2. Rising Action: set in motion by exciting force 3. Turning Point: Climax/ turning point in action—rising action becomes falling action/ usually occurs in the 3rd part (can occur rand often does occur nearer the end than the 3rd part/ includes emotional/lyrical/ crisis: point at which opposing forces that create conflict interlock in the decisive action on which the plot will turn; episode/incident wherein situation of protagonist is certain either to improve or worsen; includes narrative structure 4. Falling Action: movement set in motion by a single event, tragic force/ Relief scenes 5. Catastrophe: conclusion of play; final stage in falling action ending dramatic conflict and consisting of action that results from climax; tragic fall/death of a tragic hero/ Denouement: neat end of plot; final resolution of conflicts; typing up of loose ends, play comes to an end

REALISM VS. EXPRESSIONISM: Realism:  Characters are real and relatable  The protagonist is a good character  Setting is reflective of everyday life (more detailed) EG: the invisible fourth wall of the set  Acting style is realistic

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Dialogue is not heightened for effect, but is that of everyday speech Action is linear, based on course and effect, and is psychologically driven Audience can identify with the everyday situations and characters on stage—lighting compliments time and situation The whole effect is of transparency; nothing draws attention to the act of making theatre

Expressionism: ▫ Characters are symbolic of a wider class or attitude ▫ Setting is more creative and complex (Less detailed) less use of props— abstract ▫ Acting is intense, violent, and an expression of tormented emotions (Speech is fast, breathless and melodramatic) ▫ Dialogue is fragmented, poetic and unrealistic ▫ Action is episodic, mimicking a dream like state ▫ Atmosphere is often vivid, dreamlike and nightmarish, aided by unrealistic lighting and visual distortions in set ▫ Self-conscious; the separate elements are the production are obvious and undisguised

A STREET CAR NAMED DESIRE:  Blanche is literally brought to the Kowalski place by “Desire”, but she is also brought there by desire; her sexual escapades in Laurel ruined her reputation and drove her out of town  This isn’t the first time we’ve seen sex do destructive things in Williams’ play. If we go back to Blanche’s first reference to the streetcar  “They told [her] to take a street-car named Desire and then transfer to one called Cemeteries And ride six blocks and get off at-Elysian Fields!”  We see Desire, then Cemeteries, then Elysian Fields. Sex, death, the afterlife, it’s like a linear progression. Sex leads to death, or at least some heavy-duty wreckage  There are more examples of this throughout: -

Blanche claims that her ancestors “epic fornications” left to the squandering of the family fortune and the eventual loss of Belle Reve Blanches own good reputation meets its end at the hand of her epic fornications in the Flamingo Hotel After Blanche had an affair with a high school student of hers, her boss, *Mr. Graves* fired her When Blanche’s former husband was found having sex with another man, he killed himself out of shame Stanley’s supposed rape of Blanche (a sexual act) kills what’s left of her sanity

THE SIGNIFICANCE OF DESIRE: ▫ Blanche herself seems to recognise some sort of connection with desire “Death, death was as close are you are. The opposite is desire”

▫ Blanche is somehow under the impression that sex is her escape from death. She turned sex to comfort herself after her husband died, and after her relatives passed away one by one. ▫ Unfortunately, as we already know, Desire leads to Cemeteries leads to the Elysian Fields. Blanche has actually got herself into a vicious cycle. Something dies, so she turns to sex, which causes something else to die, which makes her turn to sex, and so on. SCENE 1—KEY WORDS: -

Expressionistic Symbolic Motif Irony Ethnic diversity Femininity Contrast

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Masculinity Illusion Reality Southern Belle Primal Sexually Licentious Primitive

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Is the use of props, noises/or stage directions to convey a blatant parallel with the characters states of mind on stage It is hence symbolic, non-realist, metaphorical theatre that uses objects, musical underscoring, costumes, props, and theatrical space to create an experience for the audience that suggests poetic truths This genre of theatre arose from Expressionism

ELEMENTS OF PLASTIC THEATRE IN THE PLAY: 1. The Varsouviana Polka: *This is the polka tune that reminds Blanche of the last day she spent with her husband—it was in the middle of the Varsouviana that Blanche told him she was disgusted with his homosexual actions, which causes him to commit suicide *The song is first heard in Scene 1- when Stanley asks her about her husband *William depicts how the music foreshadows the imminent disaster for Blanche—he uses the music to bring about Blanches loos of the grip of truth and reality 2. Blue piano *The blues music enhances the dreamlike feeling in the play *This is prominent in the first scene when Blanche recalls the fate of Belle Reve and in the 5th scene when she kisses the young man *The blue piano is loudest when Blanche is sent away to the asylum in the last scene *This piece shows the cyclical nature of the play, it begins and ends with the same background music—possibly showing how Blanche’s arrival and departure are meaningless (especially to Stanley) *The blue piano not only gives the readers a sense of setting, but also shows Blanche’s need for companionship 3. Locomotives *Stanley is associated with the power sounds of locomotives—modern, impressive and raw *When Blanche tells Mitch of her marriage, she is harrowed by the memory of

“You were married once, weren’t you?” – “[The music of the polka rises up, faint in the distance” P15

“The blue piano expresses the spirit of life that goes on here” -P1

“his appreciation of rough humour, his love of good drink and food and games,

an oncoming locomotive *The start of the last phase of the movement in the rape in scene 10, the locomotives sound grows louder *The locomotives represent Stanley, who brings Blanche’s downfall by unmasking her truth *Its sound may also be seen as a symbol of Blanche’s desire to escape 4. “It’s only paper moon!” *The song is prominent in the 7th scene when Stanley learns of Blanche’s promiscuity *The louder Stanley insists on the undeniable facts the louder she sings *The song’s lyrics describe how love turns the world into a phony fantasy and this reflects Blanche’s approach to life *Blanche believes her lying is harmless, as she tries to weave harmony with her lies, however she is just a sham who pretends sexual innocence 5. Shadows *Light represents truth, which Blanche wishes to avoid by putting a lantern on the light bulb *When Blanche and Stanley fight in scene 10, there are oddly shaped shadows on the walls *The jungle cries enhance the sense if madness of Blanche and these effects combined heighten Blanche’s final breakdown

his car, his radio…”

*Lurid reflections appear on the walls around Blanche. The shadows are of a grotesque and menacing form*

HOW IS MASCULINITY PRESENTED IN STREET CAR? The cyclical nature of the play is presented through the poker night, which occurs when Blanche arrives to Elysian Fields and when she departs. The poker night is symbolic of the masculinity of the protagonist of the play, Stanley. Poker is typically regarded as a male dominated game and is associated with “whisky bottles”. However, William’s uses juxtaposing imagery to undermine the masculinity of Stanley and the other male characters, he describes them as “men at the peak of their physical manhood, as coarse and direct as the primary colours”. As a reader, the male characters are depicted as young, attractive and physically strong, which are attributes that would be appealing to young women such as Stella. However, William’s contrasts this imagery with the idea with primary colours, which are colours that can only been seen by young children. This infantizing of Stanley and the other characters which undermines their masculinity; Stanley’s outburst of violence on Stella towards the end of the poker night is a reflection of his childish behaviour and William’s infantizing on Stanley is a possible foreshadowing of this. Signs of inner conflict: Blanche:

Blanche contrasts with Stella: *She springs up and crosses Stella remains calm to it, and removes a whisky and passive whilst bottle. She pours a half Blanche shouts and tumbler of whiskey and dominates most of tosses it down* the dialogue “The boy—the boy died.” “ “But I’ve got to be good and keep my hands of children”

Belle Reve has symbolic significance for Blanche “I stayed at Belle Reve and tried to hold it together!” “I stayed and fought for it, bled for it, almost died for it!” “But maybe he’s just what we need to mix our blood now that we’ve lost Belle Reve” “But you are the one that

Evidence of Instability: *A cat screeches. She catches her breath with a startled gesture* “You’re all I’ve got in the world and you’re not glad to see me!” “I can’t be alone!” “Why, the Grim Reaper had put

abandoned Belle Reve, up his tent on our not I!” doorstep!... Stella. Belle Reve was his headquarters!” HOW MIGHT YOU SUMMARISE THE DIFFERENCES BETWEEN THE TWO SISTERS? Theme: Violence:

Blanche: “Why! I’ve been half crazy Stella! When I’d found out you’d been insane enough to come back in here after what happened” “You’re married to a madman!”

Stella: “But it wasn’t anything as serious as you seem to take it” “I said I am not in anything I have a desire to get out of” “I was—sort of—thrilled by it”

Culture:

“We’ve got to get hold of some money, that’s the way out” “Well—if you’ll forgive me —he’s common!” “I take it for granted that you still have sufficient memory of Belle Reve to find this place and these poker players impossible to live with”

“I guess that money is always nice to get a hold of”

Social Class:

“Then don’t you think your superior attitude is a bit out of place?” “Well you’re taking entirely too much for granted” “I’m not sure it would have made any difference where I saw him

General “But you’ve given in. and “I’m not in anything I want to contentment: that isn’t right, you’re not get out of” “Don’t be so ridiculous, old! You can get out” darling” Attitudes “Yes, I ran into Shep “this morning he gave me ten dollars to smooth things over. towards Huntleigh…” men: “Texas is literally spouting You take five of it, Blanche, and I’ll keep the rest” gold in his pockets”

Explanation: Blanche overreacts greatly about the violence between Stanley and Stella, Blanche believes Stella should leave Stanley and that he is a madman, however, Stella is incredibly passive about the situation and even reveals that she has a certain passion for Stanley’s aggression, which shocks Blanche. Blanche has a very heavy focus on money, Stella however, shows a careless attitude towards the subject. Blanche is living in the illusion she is still a Southern Belle and is a part of higher society, she acts very pretentious even though she has been chased from her home town for promiscuity. Stella on the other hand, has a very understanding attitude, she is loyal about her love fort Stanley and even talks down to Blanche though she is the younger sister and Blanche has constantly talked at her. Blanche is convinced Stella wishes to escape Stanley and is discontent with her positon, Stella, however, is happily married to Stanley. Blanche believes men should pay her way, and puts a great emphasis on a young and rich gentleman she had met, Stella on the other hand acts selflessly and is happy to share $10 with Blanche.

MARXISTS CRITICISM:   

A Marxist critique may consider the play to be a social drama because it expresses the socioeconomic conditions and class struggles of 1940’s America the play represents the decline of plantation families such as the DuBois’ and the rise of the working class such a Stanley Stella’s passivity may represent the acceptance of the rise of the working class

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Equally, Blanche and Stanley’s conflict which is central to the text could be an attempt to crush and fight the working class Blanche can represent the Establishment that is trying to subdue the working class who is represented by Stanley—Blanche refers to Stanley as primal, but this idea could portray the working class as fighting back the Establishment Napoleonic Code—Marxist’s would view it as the working class moving up in the world and fighting aristocracy (Although it can also be perceived as Stanley being greedy and arrogant and wanting Belle Reve)

CHRISTOPHER INNES: Views Stanley as “representing the norms of a soulless society...