Williams agreed, “Blanche was in some ways a projection of his sense of himself” (Hern xxxii) and we incorporated this connection into the performance by placing him on stage at the start through to the end of the performance to delineate the story arc. In hindsight, some concluding lines would have strengthened this as well as the ending. The central vignettes focussed on Blanche’s key relationships with Stanley, Mitc...
... middle of paper ...
...d in the second vignette as it is a recurring motif “forever associated in Blanche’s mind with the betrayal of love and the death of a loved one” (Alder 71). Described by Irene Selznick as Blanche’s “memory music . . . this was the first musical element William’s integrated into the draft play’s scripts” (Davison 402). Deliberate incorporation of only fragments of the melody demonstrated “the disintegration of Blanche’s mental state” (404).
Blanche’s tragedy lies, not in the will of the Gods, but in the hands of those on stage. There are many ‘if only’ moments that, had they been acted upon would have altered the divided state of Blanche’s crumbling world. The incomprehension of the characters and their inability to act differently exposes the lonely superficiality of “a person who hasn´t known any sorrow” (scene 3, 29,) and the self-destructive nature of humanity.
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