"STREETCAR IS A CRY OF PAIN; FORGETTING THAT IS TO FORGET THE PLAY."
ARTHUR MILLER, 2004
- What are the differences between the two schools of thought surrounding this play? Summarize them both in your journal. We will revisit these ideas throughout our study of the play to see what we think.
Bak, John S. “Criticisms on A Streetcar Named Desire: A Bibliographic Survey, 1947-2003.”Cercles, vol. 10, 2010, pp. 3–32.
Ongoing Questions to Consider:
- To what extent does fantasy help or harm people trying to cope with reality?
- How far should someone go to show loyalty to a loved one? To friends? To family?
- What are the consequences of pursuing overwhelming desire?
- Is “deliberate cruelty” the only unforgivable crime?
- How do characters simultaneously represent and deconstruct the “American Dream”?
- How do humans’ primal instincts both strengthen and destroy them?
- Who was Tennessee Williams and what was his life like?
- How did Tennessee Williams' life influence his writing?
Homework for Wednesday:
Watch the documentary on Tennessee Williams called "Wounded Genius" (44:51).
Write down 5 interesting facts or observations about this playwright. Prepare to share your observations with the class
Watch the documentary on Tennessee Williams called "Wounded Genius" (44:51).
Write down 5 interesting facts or observations about this playwright. Prepare to share your observations with the class
SCENE ONE
Essential Question:
Essential Question:
- How does Tennessee Williams use Scene One to juxtapose the high society and the low society in 1940s New Orleans?
Vocabulary: Opening stage directions
Raffish: unconventional and slightly disreputable, especially in an attractive way. Gables: siding on a house - click to see an image of where Attenuates: reduce the force or effect of Redolences: an often pungent or agreeable odour |
- What does this place look like? Describe it in your own words or quickly sketch it in your notebook.
- What does this place feel like? (Atmosphere)
- Who lives here? How do they interact?
- Music is a recurring motif in this play. What music do you notice? What does the "blue piano" music symbolise?
- Describe the allusion to Elysian Fields.
- Overall, how would you describe this place?
Essential Question:
- How does Tennessee Williams introduce Stanley, Stella, and Blanche, and what do these introductions establish about the characters and their relationships?
Task: Create a character profile for Stanley, Stella and Blanche. Identify specific choices in stage directions and dialogue used to establish these characters.
- Begin with the stage directions.
What adjectives, adverbs, and/or verbs are used?
What imagery is used to describe these characters? What actions might be symbolic? - Move to the dialogue.
What do the characters say? What features does Williams use in their speech? (imperatives, types of sentences, innuendo etc). - Group the examples together and identify different character traits that emerge for each character.
Adverbs
Adjectives Nouns (concrete and abstract) Exclamatory Sentences Interrogative Sentences Imperatives |
Symbolic actions
Sexual Innuendo Imagery Alliteration Repetition Motif |
Act it out.
If you were handed this script and had to enter the stage as Stanley and Blanche, how you would you act this out? Remember, the audience is not afforded the luxury of all of these stage directions. How would you communicate these ideas about the character to the audience?
If you were handed this script and had to enter the stage as Stanley and Blanche, how you would you act this out? Remember, the audience is not afforded the luxury of all of these stage directions. How would you communicate these ideas about the character to the audience?
Essential Questions
- How does Tennessee Williams use Scene One to juxtapose the high society and the low society in 1940s New Orleans?
- How does Williams establish the relationships between characters in Scene One?
The Rich South
PLANTATION life created a society with clear class divisions. A lucky few were at the top, with land holdings as far as the eyes could see. Most Southerners did not experience this degree of wealth. The contrast between rich and poor was greater in the South than in the other English colonies, because of the labor system necessary for its survival.
The TIDEWATER ARISTOCRATS were the fortunate few who lived in stately plantation manors with hundreds of servants and slaves at their beck and call. Most plantation owners took an active part in the operations of the business. Click HERE for source
PLANTATION life created a society with clear class divisions. A lucky few were at the top, with land holdings as far as the eyes could see. Most Southerners did not experience this degree of wealth. The contrast between rich and poor was greater in the South than in the other English colonies, because of the labor system necessary for its survival.
The TIDEWATER ARISTOCRATS were the fortunate few who lived in stately plantation manors with hundreds of servants and slaves at their beck and call. Most plantation owners took an active part in the operations of the business. Click HERE for source
Immigration
Click on the following links for some additional contextual information on immigration around the time of our play.
Click on the following links for some additional contextual information on immigration around the time of our play.
- Immigration Restriction
- Immigration to the USA: 1789-1930
- - How is the American Dream connected to immigration?
- - When would Stanley Kowalski's parents have immigrated to the USA?
Motif: The literary device ‘motif’ is any element, subject, idea or concept that is constantly present through the entire body of literature. Using a motif [helps to establish] a specific theme dominating the literary work. Motifs are very noticeable and play a significant role in defining the nature of the story, the course of events and the very fabric of the literary piece.
Instructions: In scene one, identify when each of the following motifs are mentioned. Circle where it is mentioned and determine what is happening at the moment it is happening. For example: p.28 [the music of the polka rises up] - Stanley has just asked about Blanche's husband
Instructions: In scene one, identify when each of the following motifs are mentioned. Circle where it is mentioned and determine what is happening at the moment it is happening. For example: p.28 [the music of the polka rises up] - Stanley has just asked about Blanche's husband
- Light
- Alcohol
- Bathing
- Music - the "blue piano" / the music of the polka
- Blanche and Stella’s relationship.
- What kind of past do they share? How does this contribute to Blanche's response to Stella's living environment?
- What roles do they adopt when they meet?
- What underlying tension is there between them? Where and how does this surface?
- Stanley and Blanche’s relationship.
- What type/s of tension can be identified between Stanley and Blanche and where might this come from?
- How is Stanley described on pages 24-25?
- How do you envisage the development of their relationship at this point?
- Social distinctions in the scene
- How are class differences played out in this scene?
- How is the clash of conservative, traditional America with modern America also played out in this scene?
SCENE Two
Essential Questions
- To what extent do the characters live in reality or their own illusion? (theme: reality versus illusion)
- In scene 2, how does Williams present the conflict between old and new?
Homework: Write a blog post in response to the second essential question
- Why is Blanche bathing at the start of scene two?
- What is the importance of the Napoleonic code for Stanley? What point is Williams trying to make about social classes? p.32 and p. 44
- To what extent does page 39 foreshadow later events?
- How do Blanche and Stanley speak to one another and act around one another? How would you describe their characters?
SCENE Three
Essential Question:
What do we learn about Stanley and Stella's relationship?
What do we learn about Stanley and Stella's relationship?
Poker and Alcohol
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SCENE Four
Essential Question:
- To what extent is the scene a commentary on males and females?
- What type of language does Williams use to characterize Stanley? What does this reveal about Blanche? What point could Williams be making about men?
- Discuss the impact of sound in this scene. For what purpose has this motif been used in this scene?
- How has Williams used Stanley's physical presence in this scene? Discuss its purpose and how it relates to Blanche's speech.
- Identify the foreshadowing in this passage.
SCENE Five
Essential Question:
How does Blanche conceal the truth of her true nature?
What is Blanche's true nature? How is this revealed in Scene 5?
How does Blanche conceal the truth of her true nature?
What is Blanche's true nature? How is this revealed in Scene 5?
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1:16:44 - 1:22:00
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Click HERE for an AWESOME critical response on Streetcar. There are lots of insights on Blanche's character, the poker night, and Stanley's animalistic tendencies. I highly recommend reading and adding some annotations to your books.
SCENE six
Essential Question:
How has Blanche's past influenced her present?
How has Blanche's past influenced her present?
- How does Blanche act around Mitch? Why is she acting this way, especially considering the audience has just seen her kiss a young man in the previous scene? "I guess it is just that I have --old fashioned ideals! [She rolls her eyes, knowing he cannot see her face.]" (p. 108)
- Why does she not reveal her age? (p. 110).
BLANCHE:
He was a boy, just a boy, when I was a very young girl. When I was sixteen, I made the discovery—love. All at once and much, much too completely. It was like you suddenly turned a blinding light on something that had always been half in shadow, that’s how it struck the world for me. But I was unlucky. Deluded. There was something different about the boy, a nervousness, a softness and tenderness which wasn’t like a man’s, although he wasn’t the least bit effeminate looking –still—that thing was there…He came to me for help. I didn’t know that. I didn’t find out anything till after our marriage when we’d run away and come back and all I knew was I’d failed him in some mysterious way and wasn’t able to give the help he needed but couldn’t speak of! He was in the quicksands and clutching at me—but I didn’t know that. I didn’t know anything except I loved him unendurably but without being able to help him or help myself. Then I found out. In the worst of all possible ways. By coming suddenly into a room that I thought was empty—which wasn’t empty, but had two people in it…the boy I had married and an older man who had been his friend for years… [A locomotive is heard approaching outside. She claps her hands to her ears and crouches over. The headlight of the locomotive glares into the room as it thunders past. As the noise recedes she straightens slowly and continues speaking.] Afterwards we pretended that nothing had been discovered. Yes, the three of us drove out to Moon Lake Casino, very drunk and laughing all the way. [Polka music sounds, in a minor key faint with distance.] We danced the Varsouviana! Suddenly in the middle of the dance the boy I had married broke away from me and ran out of the casino. A few moments later—a shot! [Blanche rises stiffly. Then, the Polka resumes in a major key.] I ran out—all did!—all ran and gathered about the terrible thing at the edge of the lake! I couldn’t get near for the crowding. Then somebody caught my arm. “Don’t go any closer! Come back!” You don’t want to see!” See? See what? Then I heard voices say—Allan! Allan! The Grey boy! He’d stuck the revolver into his mouth, and fired—so that the back of his head had been—blown away! [She sways and covers her face.] It was because—on the dance-floor—unable to stop myself—I’d suddenly said—“I saw! I know! You disgust me…” And then the searchlight which had been turned on the world was turned off again and never for one moment since has there been any light that’s stronger than this—kitchen—candle… [Mitch gets up awkwardly and moves toward her a little. The Polka music increases. Mitch stands beside her.] MITCH: [drawing her slowly into his arms]: You need somebody. And I need somebody, too. Could it be --you and me, Blanche? [She stares at him vacantly for a moment. Then with a soft cry huddles in his embrace. She makes a sobbing effort to speak but the words won't come. He kisses her forehead and her eyes and finally her lips. The Polka tune fades out. Her breath is drawn and released in long, grateful sobs.] BLANCHE: Sometimes --there's God -- so quickly! |
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SCENE Seven
Essential Question:
How does this scene reveal and/or support the theme of illusion versus reality?
How does this scene reveal and/or support the theme of illusion versus reality?
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SCENE eight
Essential Question:
How does Williams characterize Stanley, and how does the audience view him?
Part 1: Using the passages, answer the following questions in your notes.
Part 2: Write a 1-paragraph response to these passages and post it on the blog post.
How does Williams characterize Stanley, and how does the audience view him?
Part 1: Using the passages, answer the following questions in your notes.
Part 2: Write a 1-paragraph response to these passages and post it on the blog post.
- How would you describe Stanley? Identify an adjective and explain why with reference to the text.
- What connections can you make to the social historical context of the time period? In other words, what does this reveal about the attitudes and ideals during the late 1940s?
- What could the "colored lights" symbolize?
- What impression does the audience get of Stella?
STANLEY
That’s how I’ll clear the table! [He seizes her arm.] Don’t ever talk that way to me! "Pig – Polack – disgusting – vulgar – greasy!" – them kind of words have been on your tongue and your sister’s too much around here! What do you think you two are? A pair of queens? Remember what Huey Long said – "Every Man is a King!" And I am the King around here, so don’t forget it! [He hurls a cup and saucer to the floor] My place is cleared! You want me to clear your places? [Stella begins to cry weakly. Stanley stalks out on the porch and lights a cigarette] (Sc. 8, p. 131) |
STANLEY
When we first met, me and you, you thought I was common. How right you was, baby. I was common as dirt. You showed me the snapshot of the place with the columns. I pulled you down off them columns and how you loved it, having them colored lights going! And wasn’t we happy together, wasn’t it all okay till she showed here? [Stella makes a slight movement. Her looks goes suddenly inward as if some interior voice had called her name. She begins a slow, shuffling progress from the bedroom to the kitchen, leaning and resting on the back of the chair and then on the edge of a table with a blind look and listening expression. Stanley, finishing with his shirt, is unaware of her reaction.] (Sc. 8, p. 137). |
SCENE Nine
Essential Questions:
How do Mitch and Blanche use light to conceal and reveal?
To what extent have these characters changed throughout the course of the play?
How do Mitch and Blanche use light to conceal and reveal?
To what extent have these characters changed throughout the course of the play?
Using pages 144-145, create a character sketch of Blanche and Mitch. Include the following:
- Adjectives to describe the character and his/her perspective
- Analysis of the light motif: What does it symbolize for each character?
- Key quotations - be sure you can explain why you have chosen them.
- Personal response: What do you think of the character?
SCENE Ten
Essential Questions:
- How does Williams utilize dramatic techniques to create tension and display Blanche's mental state?
- What is Williams' critique about gender relations in this play?
- What is the significance of Blanche's clothing in the opening stage directions? Overall, what significance does clothing have in the play as a whole?
- How would you describe Stanley and Blanche in this scene? Choose 1-2 adjectives per character and support them with quotations from the scene.
- Describe the use and purpose of stage directions in this scene (specifically on pages 159-162).
- Consider the use of sound (the jungle noises, "the blue piano", the locomotive, "the hot trumpet and drums")
- and light.
- How do these techniques impact the audience? - What does the bottle on page 162 represent?
- Why does the rape happen off stage?
- What could Williams be saying about gender relations in this play?
- How do we feel about Blanche? Has Williams created a character with whom we can sympathize? Why or why not?
SCENE Eleven
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Review
- Annotate the literary features in this passage.
- Use the analysis questions below to practice deepening your analysis of the features.
[She continues to laugh. Blanche comes around the corner, carrying a valise. She looks at a slip of paper, then at the building, then again at the slip and again at the building. Her expression is one of shocked disbelief. Her appearance is incongruous to this setting. She is daintily dressed in a white suit with a fluffy bodice, necklace and earrings of pearl, white gloves and hat, looking as if she were arriving at a summer tea or cocktail party in the garden district. She is about five years older than Stella. Her delicate beauty must avoid a strong light. There is something about her uncertain manner, as well as her white clothes, that suggest a moth.] (5).
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Analysis Questions:
- What does the example mean?
- What does it reveal about the character? Why does the example reveal that?
- What does the audience understand through this example? Why does the example help the audience understand the idea?
- How is the audience positioned to feel? Why does the audience feel that way?
- What word or phrase within the example seems most important? Can you label it (adjective, verb, simile etc)?
- Why is that word/phrase so significant?
- How does the example support the argument in the topic sentence?
Individual Oral Commentary - practicing analysis
This is good IOC and Paper One practice.
- As a class, identify the important passages from the play.
- From the list: Pick a passage that you are going to annotate and discuss with your small group. Your goal is to teach your group about this passage.
- Spend time doing the following:
- Identity the key theme, criticism, big idea, or aspect of characterization that emerges from that passage
- Annotate the passage for literary and structural (stage directions) features.
- What is the effect on the audience? Consider the audience in the theater (what they hear, see, feel. How does that impact them?) Consider the actor (what do the stage directions indicate for the actor?)
- Analyze the features while considering that theme, big idea etc. Make sure you can share your ideas with the class. Your job is to teach the class about your passage rather than create an IOC. It does NOT need to be structured like an IOC.
This is good IOC and Paper One practice.