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How is a streetcar named desire like tennessee williams life
How is a streetcar named desire like tennessee williams life
How is a streetcar named desire like tennessee williams life
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Behind the scenes
Streetcar Named Desire, a playwright by Tennessee Williams, was made to play on stage but it was also turned into a movie on 1951 directed by Elia Kazan, who also directed the original stage production, starring Marlon Brando as Stanley Kowalski and Vivien Leigh as Blanche Dubois. The two versions, both screenplay and stage play, have the same storyline, character’s characteristics, as well the settings. Reading the dialogue makes the reader wants to see the story whether if it is a stage play or in a movie. The execution of the plot will depend on how the movie director or stage director guide their actors and actresses to perform well to make the storytelling elegant. The original script remained the same for the movie adaptation. However, even if we say that both adaptations are pretty much the same, there will be revisions, small or big, just like any other typical stage play turned into film. The opening scene is one of the key points which makes the film version outstands the play version because of visual effects that is implemented to the movie. Censorship played a significant role in altering the image of the play that is why original screen is different from play due to regulations of Motion Picture Association of America. The film version has less exposure of the issue when it comes to bisexuality and child exploitation compare to stage play version. The differences between the stage production and film version is the opening scene of the storyline which emphasize the theme like desire, the kissing scene between Blanche DuBois and the boy collector and the censorship of homosexuality in the story.
First, Elia Kazan, the film director, wants to emphasize the opening screen of the play as close as pos...
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... and child exploitation were altered or deleted from the film in attempt to make it more wholesome to the society. Although a number of scenes were extracted in the movie, and new dialogue was written to make the screenplay less erotic. The opening scene is one of the major changes between the movie and the play. In the movie, the act highlights the main theme of the storyline that helps the viewer to get the gist of the plot from the very beginning: Desire. The amorous relationship between Blanche and the collector boy made scene less lascivious. The exploitation of an adolescent in the play was removed in the film because it is inappropriate to the viewer. Censorship is also one of the key figures that altered the scene from the original play. In the screenplay, homosexuality of Blanche’s late young husband was totally removed because it is expressed as immoral.
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
Identity in Contemporary American Drama – Between Reality and Illusion Tennessee Williams was one of the most important playwrights in the American literature. He is famous for works such as “The Glass Menagerie” (1944), “A Streetcar Named Desire” (1947) or “Cat on a Hot Tin Roof (1955)”. As John S. Bak claims: “Streetcar remains the most intriguing and the most frequently analyzed of Williams’ plays.” In the lines that follow I am going to analyze how the identity of Blanche DuBois, the female character of his play, “A Streetcar Named Desire”, is shaped. Firstly, we learn from an interview he gave, that the character of Blanche has been inspired from a member of his family.
Tennessee Williams A Streetcar Named Desire is a overly dramatic play that concludes in a remarkable manner. The play takes off by introducing Stanley and Stella, a married couple whom live in New Orleans. They have a two-sided relationship, very loving but abusive. Then suddenly Blanche shows up, Stella’s sister, and informs Stella that their home in Belle Reve was lost. A few days later, Blanche meets and becomes attracted to Mitch, a friend of Stanley. Blanche sees Stanley as an abusive husband and contrasts him to Mitch. Blanche immediately begins to develop deep emotions for Mitch because he is very romantic and a gentleman. Blanche begins to talk to Stella because she does not want her sister to be abused.
Superficial is the first impression that Blanche gives when she enters the play. Consumed by appearance and face value, she is unable to see that Stella’s new lifestyle is not as horrid as she imagines. In comparison to Belle Reve, it is true that these New Orleans slums may not meet Dubois standards, but Blanche is unable to see beyond the way things appear in order to realize that Stella’s world does not revolve around material items. This flaw is intertwined with her vanity and her need keep up appearances. On the surface, Blanche appears to be snobbish and conceited.
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.
After two world wars, the balance of power between the genders in America had completely shifted. Tennessee Williams’ A Streetcar Named Desire is a harsh, yet powerful play that exposes the reality of the gender struggle. Williams illustrates society’s changing attitudes towards masculinity and femininity through his eloquent use of dramatic devices such as characterization, dialogue, setting, symbolism, and foreshadowing.
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.
As Stanley continues torturing Blanche and draws Stella and Mitch away from her, Blanche’s sanity slowly dwindles. Even though she lied throughout the play, her dishonesty becomes more noticeable and irrational due to Stanley's torment about her horrible past. After dealing with the deaths of her whole family, she loses Belle Reve, the estate on which her and her sister grew up. This is too much for Blanche to handle causing her moral vision to be blurred by “her desperate need to be with someone, with ancestors for models who indulged in “epic fornications” with impunity, [Blanche] moves through the world filling the void in her life with lust” (Kataria 2). She also loses a young husband who killed himself after she found out he was gay when she caught him with another man. After that traumatic experience she needed “a cosy nook to squirm herself into because ...
Written in 1947, A Streetcar Named Desire has always been considered one of Tennessee William’s most successful plays. One way for this can be found is the way Williams makes major use of symbols and colours as a dramatic technique.
Tennessee William’s A Streetcar Named Desire is one of the most popular plays in American history. The play contains this theme of Old South versus New South where old southern ideals and way of life clashes against newly formed ideals of the late 19th and early 20th century. The distinctions between the Old South’s emphasis on tradition, social class, and segregation versus the New South’s emphasis on hard work can be seen throughout the play. It is manifested in the main characters of the play. Blanche DuBois’s civilized and polished nature makes her a symbol of the Old South while Stanley Kowalski’s brutish, direct, and defying nature represents the New South. Tennessee Williams uses the characters of his play to present a picture of the social, gender role, and behavior distinctions that existed between the Old South versus the New South. Furthermore, the two settings provided in the play, Belle Reve and Elysian Fields can also be seen as different representations of the Old versus the New with the way both places are fundamentally different.
...itome of southern aristocracy, a world dominated by old-fashioned laws and conservative morals, whilst Stanley embodies the fast-moving, vigorous asperity of the modern world and New Orleans. Blanche, quite literally, summarises her attitude to such cultural differences in the line "maybe he's what we need to mix with our blood now that we've lost Belle Reve and have to go on without Belle Reve to protect us." In this sense, she views the male to be a figure of security and protection, perhaps the only worldly perception that she shares with her opposition whose chauvinism exposes a characteristically defined view of the universal man and his role as predator, protector and guardian. Otherwise, their notions are so diverse that their incompatibility drives the plot along and fuels arguments in every scene.
Both William Shakespeare 's Othello and Tennessee William 's A Streetcar Named Desire are both theatre productions. Othello was written in 1603 and contains themes of betrayal and loyalty, whilst Streetcar was written in 1947 and both contain themes of social standing. Streetcar was intended to be received by an educated adult audience, whereas Othello was intended to be watched by a mixture of educated and uneducated adults. Both pieces possess a serious narrative tone, and were intended to entertain an audience whilst presenting the author 's themes and ideas.
Starting in scene five, this scene during the film deals with theme. Blanche is flirtatious with a young man who is trying to collect some money in order to obtain a newspaper despite not having any money. Every time the young man tries to excuse himself from the current situation he is in with Blanche, he has no chance. Blanche continues making advances toward the boy, even kissing him without waiting for initiative from the young man. A big factor throughout this scene is eye contact. In the film, the young man’s eyes never make contact with anyone else but
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
Owing to its high intensity emotional plot and subtle yet powerful acting by its lead cast ensured that the movie became a blockbuster. Tennessee weaves a plot set in New Orleans around three characters: Blanche, her brother-in-law Stanley and her sister Stella. The following essay‘s objective is to compare both, Williams’s play with a motion picture based on it, highlighting similarities and differences between the two. Similarities After watching the movie and going through the drama text, one can only agree with the fact that Elia Kazan retains the core plot and the originality of the play written by Williams, perfectly. Williams was responsible for working on the screen play of the movie, and this fact reflects clearly on the onscreen version of the play as his thought and personality are clearly reflected in the movie.