A Streetcar Named Desire - a Short Textual Analysis
Summary:
Provides a short textual analysis of Tennessee Williams' play, A Streetcar Named Desire. Describes how Williams allows actors and the director to decide on much of the stage direction, allowing for artistic interpretation. Analyzes main characters from the play.
In "A Streetcar Named Desire", Tennessee Williams leaves a large amount of stage direction to the actor and the director. The choices in the performance made by the latter can neither be right nor wrong, as there are so many options open for artistic interpretation. The extract from Scene three is no exception and within the dialogue there are numerous suggestions for explanation of characters, music, setting and forewarning for the audience.
"The game is still going on" (page 144). The opening quote of this extract is key in foreshadowing the events of the poker night scene. It refers not only to the game Blanche plays with Stanley by belittling and flirting with him but also makes reference to Scene two ..."Lay...her cards on the table" (page.137) which Stanley says in reference to what a women would have to do to gain his interest, something which Blanche fails to do. Blanches haughty and self-important pretence around Stanley, her insistent ridicule of Stella, and constant criticism concerning their life, all provide seeds for later conflict.
The world according to Blanche is one that differs from that of others and she also seems to be the most fictional character of the four in this extract. Many comments made by Blanche require cultural de-coding; for example her line "One that's been picked a few days" in reference to looking ."..done in..." make reference to her promiscuity. However this does not cause her illusion to dissipate in any way, it is simply blatant probing for further compliments from Stella. This is something which Stella, who seems to have the patience of a saint, complies with every time. Stanley language, on the other hand, greatly supports what he is saying. His bluntness is what makes him so convincing. Unlike Blanche's loaded comments, laden with expectation, Stanley's short and abrupt lines support his personality, one which is somewhat callous. These differing personalities haul the two characters into a combat of determination, and should be captured by the highly conflicting styles of the two actors.
The self-interested and pretentious discussion prior to Stella and Blanche's entry, too foreshadows cultural conflict and chaos. Stella's entrance into her house is done with a new found confidence, one essentially derived from her outing with Blanche, and her time away from Stanley. Immediately as Blanche and Stella enter the room, a gruff atmosphere is imminent, and it feels as though Stella is not welcome, even in her own home.
Blanche's comment "Please don't get up" (page 145) is laughable. It is such a prima donna statement to make. If she was in fact as superior to the rest as she insinuates, she would not even bother to be so high and mighty considering the type of people she is dealing with.
More often than not, Stanley is the one in total control of the space and the situation. I see him as both taller and stronger than Blanche and Stella. In terms of physicality of the characters, the power arrangement and spatial relationship has switched, and explains some of the confidence that Stella
discharged. Blanche and Stella are outnumbered by the men, but it is only Stanley who is involved in the conversation, and he becomes increasingly aggressive. He is seated and involved in his poker game, his dominance is not apparent, and thus he has to illustrate his strength and power in alternate ways.
The volume of Stanley's voice and the rapid and terse timing of his line delivery would be a sign of power. This additionally suggests he is not actually of low intelligence. He may be uneducated but is shrewd and quick-witted. Use of derogatory terms such as ."..you women..." too aid with his rare struggle for power. Each of Stanley's lines are delivered abruptly, rebounding and hitting the "women" each time a new argument is thrown at him. Since Stanley's verbal abuse leaves Stella unperturbed, he uses his physical strength to portray his masculinity and dominance by treating Stella like an object, and this also foreshadows the prospect of violence in the future. Including music during the poker game would be key in portraying the characters conflicting emotions, not too loud at this stage, but adding extra clutter and disorder to the scene.
Although Stella exits the room after being told to leave by Stanley "Why don't you women go up and sit with Eunice"", it seems as though the 'loud whack of his hand...' on Stella's thigh is what causes Blanche to subside "I think I will bathe", "My nerves are in knots." The use of the onomatopoeia "Whack" in the narration imparts a ringing in one's ear, like a harsh reverberation. A sound that would force most people to recede into reality, causes Blanche to shift further into her illusion, which is what the constant bathing creates.
Personally, after some time, Blanche's endless charade grows to be tiresome, and one finds Stanley's lack of guile and earthy wit soon becomes refreshing. The remark by Stanley, "Nobody's getting up so don't be worried" is the sort that, after three scenes of Blanche's patronising manner, makes you smile audaciously from your theatre seat. The intensity and influence of Stanley's personality is undoubtable. In this extract, he is rude and spiteful to Stella, but he travels from one extreme to another, and in other instances one admires him for his genuine love for his wife.
Although Blanche lives her life as a fantasy, I would portray her as strong, not delicate or scrawny, her skills to seduce a man would at least equal her status as a victim. This becomes apparent when she first meets Mitch, and particularly, in the discussion about him with Stella.
Mitches "awkward courtesy" depicts not only the contrast to Stanley and his other friends but also illustrates how enchanted Mitch is by Blanche the moment he sees her. The music here would be bluesy, as the conative implications associated with the Blues are sensual, and romantic, an idealism that both Mitch and Blanche are searching for. Blanche is flattered by him, however, when one considers their personalities, the prospect of a flourishing couple does not seem promising. As Blanche and Mitch become further enthralled in conversation, there should be a complete lack of chemistry between them, on the stage, and within the music where there should be incompatible sounds.
"What does, What does he do"" The repetition of theses words by Blanche, brings attention to a line that could otherwise be throw away. The hesitation suggests that she is distracted in some way, and this leaves room for creativity by the performer to portray Blanche's desire for a perfect relationship. From the audience's point of view it is obvious that such a relationship is impossible as we are dealing with a women who is lost in the psychological maze of her mind.
Throughout this scene I would utilize sounds and music to differ the atmosphere, to foreshadow future events and to expose the internal works a character. The music should not dictate the play, merely support it and inspire a sense of the mood of a particular scene or moment. A combination of subtlety such as the physicality of the characters, the timing, tone, spatial relationships and music would let the audience know what is taking place in the story itself. The latter details would also explain the more profound meaning behind what is occurring at that precise moment in the play. Whether it be foreshadowing, or have other such structural purposes, nothing should be spelt out to the audience, as this is partly the thrill of going to the theatre.
This is the complete article, containing 1,265 words
(approx. 4 pages at 300 words per page).
