Streetcar important contexts
- Created by: ellenmelonnn
- Created on: 17-05-18 20:31
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- Context- Williams and external context ( historical)
- clash between Stanley and blanche- due to declining aristocracy of the south which never fully recovered after defeat in civil war ( 1861-5)
- men like Stanley came back after the world war 2- a greater sense of entitlement to share the countries wealth
- Williams mother was a southern belle- blanche is a victim of the southern belle mythology
- his sister Rose was mentally ill and given a lobotomy
- Williams guilt about his sister's fate= stella's guilt about blanche in the end
- Williams obsession with death and suicide- also intrigued by the social outsider
- Willliams greatly influenced by IBSEN AND MILLAR - plastic theatre and expressionism
- Belle reve= beautiful dream
- Williams makes use of the unseen eavesdropper- e.g Mitch and stanley
- concealing a poor hand in poker= concealing truths and identities in streetcar
- Elysian fields= greek mythology paradise
- an earlier version of the play before fully produced was titles, "the moth"
- our attention is drawn to the music because of stage directions
- Elysian fields= greek mythology paradise
- an earlier version of the play before fully produced was titles, "the moth"
- our attention is drawn to the music because of stage directions
- our attention is drawn to the music because of stage directions
- Blanche in her red robe= the scarlett women- seductive/impure
- Williams did actually see a streetcar with the name desire
- Gilbert and Gubar- "Blanche is the complete opposite to a Kowalski"
- "a victim of the mythology of the southern belle"- Samuel Tapp
- Judith Thompson, "he has to assert control over others"
- "stella adopts her own illusion"- J.M.McGlinn
- Elia Kazan, "stella is a refined girl"- matches upper class of sister but has adpated
- "stella adopts her own illusion"- J.M.McGlinn
- Judith Thompson, "he has to assert control over others"
- "a victim of the mythology of the southern belle"- Samuel Tapp
- an earlier version of the play before fully produced was titles, "the moth"
- Elysian fields= greek mythology paradise
- our attention is drawn to the music because of stage directions
- Blanche in her red robe= the scarlett women- seductive/impure
- Williams did actually see a streetcar with the name desire
- Gilbert and Gubar- "Blanche is the complete opposite to a Kowalski"
- "a victim of the mythology of the southern belle"- Samuel Tapp
- Judith Thompson, "he has to assert control over others"
- "stella adopts her own illusion"- J.M.McGlinn
- Elia Kazan, "stella is a refined girl"- matches upper class of sister but has adpated
- "stella adopts her own illusion"- J.M.McGlinn
- Judith Thompson, "he has to assert control over others"
- "a victim of the mythology of the southern belle"- Samuel Tapp
- an earlier version of the play before fully produced was titles, "the moth"
- Elysian fields= greek mythology paradise
- "Rosenkavalier"- the knight of the rose"- blanche's culture and liking for fantasy
- homosexuality being illegal until the 1960s stella says, "degenerate"
- Huey Lung- stanleys reference to him- he was a corrupt American politician but reduced unemployment dramatically
- Stanley refers to his "luck in salerno"- nearly died in second world war- he clearly has great strength
- Williams- liked poetry
- physically and mentally effected by illness
- educational journey was not smooth- 3 unis
- glass menagerie in 1944- more autobiographical than streetcar
- lost reputation as playwright after 1960s
- he uses realistic characters drawn from real life
- lyrical- there is one central idea developed throughout the entire play- plot not the focus
- his language is able to combine realism with poetic diction
- Williams assumed he was going to die- false diagnosed himself with cancer at some point
- referred to as the, "wounded genius"
- I WRITE OUT OF LOVE FOR THE SOUTH
- much of the literature of the south thrived off the nostalgia of the past
- great depression- economic tension- stella completely relies on stanley
- Williams never found love
- "I am not about to limit myself by writing about gay people"
- Williams never found love
- streetcar, "a play of sexual politics"
- uncle was a clergyman
- Elia Kazan removed the homosexual element in the film- why?
- Williams play, "focuses on anyone who has been treated unjustly"
- ethnic diversity- the Mexican women, "flores par los meurtos"
- Margaret Mitchell's 1936- Gone with the wind
- play first performed in 1947- two years after WW2
- Williams created a "layered tragedy"
- this play conforms to aristotles unity of place - only about the physchological issues of chracters
- goes against unity of time- e.g we do not see blanche tell stella about ****
- blanche is not the typical tragic heroine- she represents the downfall of the actions of other people
- goes against unity of time- e.g we do not see blanche tell stella about ****
- this play conforms to aristotles unity of place - only about the physchological issues of chracters
- Williams created a "layered tragedy"
- ethnic diversity- the Mexican women, "flores par los meurtos"
- uncle was a clergyman
- great depression- economic tension- stella completely relies on stanley
- much of the literature of the south thrived off the nostalgia of the past
- I WRITE OUT OF LOVE FOR THE SOUTH
- Williams a sensitive being
- melodrama- was a play with music but now we associate streetcar with one because it contains violence and wicked plot twists
- Hart crane- epigraph of for the whole play- "The broken tower"
- Williams portrayal of Stanley= 1940s males
- in traditional tragedy, the protagonists fate is brought about by harmartia- the streetcar symbolises that actions lead to their own fate
- Pathos
- echo of time- Louisiana used to be French territory
- Blanche's speech, "rhetoric of the south"
- Mexican woman- reminds us of multi-cultural new Orleans, a microcosm of new america
- marriage as a diplomatic tool
- stella chooses marital security over blanche
- motifs for death get stronger throughout the play
- Williams claimed his work was , "psychotherapy"
- Harold clurman, "blanche is delicate and sensitive"
- conflict between Stanley and blanche is one between effeminate culture and masculine libido
- Harold clurman, "blanche is delicate and sensitive"
- Williams claimed his work was , "psychotherapy"
- motifs for death get stronger throughout the play
- stella chooses marital security over blanche
- marriage as a diplomatic tool
- Mexican woman- reminds us of multi-cultural new Orleans, a microcosm of new america
- Blanche's speech, "rhetoric of the south"
- echo of time- Louisiana used to be French territory
- Pathos
- in traditional tragedy, the protagonists fate is brought about by harmartia- the streetcar symbolises that actions lead to their own fate
- Williams portrayal of Stanley= 1940s males
- Williams assumed he was going to die- false diagnosed himself with cancer at some point
- his language is able to combine realism with poetic diction
- lyrical- there is one central idea developed throughout the entire play- plot not the focus
- he uses realistic characters drawn from real life
- educational journey was not smooth- 3 unis
- physically and mentally effected by illness
- Huey Lung- stanleys reference to him- he was a corrupt American politician but reduced unemployment dramatically
- concealing a poor hand in poker= concealing truths and identities in streetcar
- Williams makes use of the unseen eavesdropper- e.g Mitch and stanley
- Belle reve= beautiful dream
- Willliams greatly influenced by IBSEN AND MILLAR - plastic theatre and expressionism
- Williams obsession with death and suicide- also intrigued by the social outsider
- Williams guilt about his sister's fate= stella's guilt about blanche in the end
- his sister Rose was mentally ill and given a lobotomy
- Williams mother was a southern belle- blanche is a victim of the southern belle mythology
- men like Stanley came back after the world war 2- a greater sense of entitlement to share the countries wealth
- clash between Stanley and blanche- due to declining aristocracy of the south which never fully recovered after defeat in civil war ( 1861-5)
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