Streetcar Extra

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Stanley asserting his masculinity in a Patriarchal Society Scene 3
Stage directions- Stanley gives a loud whack of his hand on her thigh
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Stanley asking Blanche what she forgot Scene 11
"Unless it is the paper lantern you want to take with you. You want the lantern?"
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Blanche wanting to uphold her illusion and dependency on strangers Scene 11
(holding tight to his arm) "Whoever you are- I have always depended on the kindness of strangers"
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Performance- Elia Kazan 1951 film Violence
Underplayed- don't witness the assault
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Performance- Elia Kazan 1951 film Blanche and Sexuality
Sexuality is suppressed- "intimacies with strangers" is changed to "meetings" and Blanche is presented as indolent and feeble like a "moth"
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Performance- Elia Kazan 1951 film Stella and the ending
Stella runs towards Eunice at the end saying "I'm never going back" instead of the original where she is comforted by Stanley
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Performance- Young Vic Benedict Andrews 2014 production Revolving Stage
The stage is a rectangle which is constantly in perpetual motion to demonstrate the changing perspectives on New Orleans
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Performance- Young Vic Benedict Andrews 2014 production Stanaley's Violence
When Stanley lashes out the stage moves faster replicating the idea it makes the audience feel sick
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Performance- Young Vic Benedict Andrews 2014 production **** Scene
Stanley covers Blanches face with the Ballgown (demonstrating Blanche wanting to live an illusion and linking to the night Alan died)
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Context-When was the Play set?
1940's
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Context- Abraham Lincoln
1861 Lincoln became President- the Republicans were anti-slavery and the Southern states broke away
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Context-American Civil War
1861- 1865 The Southern Confederate states (South- Mississippi, Alabama, Louisianan, Texas, Tennessee) fought against the northern Union to defend their rights to keep the slaves
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Critics- Judith J Thompson (Illusion)
‘the play’s romance is wholly illusory; her descent, however, is not.’
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Critics- Judith J Thompson (Stanley ********* Blanche's illusion)
‘the memories of the past she attempts to escape or transcend, Stanley, the realist, pursues the corrupt facts of her stories’
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Critics- Judith J Thompson (Blanche as a tragic hero)
‘Blanche, like the Greek tragic hero, is guilty of hubris, or overweening arrogance.’
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Critics- Judith J Thompson (Mitch and Blanche)
‘Mitch not only strips Blanche of her romantic pretensions of youth, refinement and virginal innocence, but also symbolically divests her of all her illusions, hopes and dreams of magically transcending the past’
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Critics- Judith J Thompson (Blanche and animal instincts)
‘symbols of her own repressed animal instincts that now threaten to destroy’
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Critics- Judith J Thompson (Streetcar)
‘a recurrent symbol of Stanley’s phallic force’
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Critics- Judith J Thompson (Blanche's loss of sanity)
‘Blanche descends to the underworld of madness and stays there, finding only in the depths of her own unconscious the romantic wonderland’
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Critics- Carla McDonough (Mitch)
‘In Mitch resides the only possibility in the play for a masculinity that does not fall into the stereotypes of either weak homosexuality or brutal heterosexuality yet Mitch cannot break through the sexual code upheld and policed by Stanley.’
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Critics- Carla McDonough (Stanley's Brutal nature)
‘Stanley’s assertiveness is clearly dependent on his relationship with Stella and his ability to crush opposition.’
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Critics- Leonard Quirino (Phallic symbol of the StreetCar)
'The banging of the tired old streetcar up and down the narrow streets simulates Blanche’s view of intercourse just as, in the very first scene, Stella’s breathless laughter... stimulates her reaction to sexuality'
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Critics- Leonard Quirino (Stanley and Games)
‘In the last scene of the play, Stanley is not only winning every card game being played, but he has also won the game he played with Blanche.’ ‘the master of games in Streetcar is Stanley Kowalski’
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Critics-Simon Bubb (Male Characters)
‘not a single male character to whom we can look for a truly positive embodiment of masculinity’
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Critics-Simon Bubb (Men the cause of suffering)
‘men are ultimately shown not as active agents of redemption from … suffering, but as its cause.’
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Critics-Simon Bubb (Blanche's dead husband Allan)
'Her late husband, Allan, is presented as a desperately tragic figure, a young man unreconciled to his own sexuality.’
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After the Civil War
Many Southerners brought into the nostalgia of the south in it's 'ante-belleum (before the war) heydey
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Southern Belle
Developed in the South in the Antebellum Period. Based on the young, unmarried women in the plantation-owing upper class of society
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Elysian Fields
Greek Mythology- Paradise for the dead (Blanche takes two Streetcars: Desire and Cemeteries before reaching Elysian)
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New Orleans- Vieux Carre
(The French Quarters) a cosmopolitan city and a "Cultural melting pot" for multicultural and multilingual culture. Birthplace of Jazz, soul
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Greek Tradgedy
the downfall a great man/ woman
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Protagonist
The hero that normally downfalls-normally of high status
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Hubris
Excessive pride or arrogance
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Hamartia
Fatal flaw or weakness
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Peripeteia
Reversal of fortune
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Catharsis
Emotional outpouring/ relief/ renewal
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Anagnorisis
The Character's inside to fate and destiny because of their unravelling
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Tennessee own parents
His mother and father were mismatched both socially and emotionally
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Williams' Sister (Rose)
Suffered from a form of Schizophrenia and underwent Lobotomy
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Williams' Mother (Edwina)
Ended her life in a mental institue
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Williams' Sexuality
Williams' struggled with his own sexuality as at the time homosexuality was considered immoral and illegal
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Conflict of Stanley and Blanche
Metaphor for the conflict between the Old and New world (after slavery was abolished)
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Stella's Survival
In submitting to Stanley, Stella rejects Blanche and the South, her old values
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Stanley Thriving
Stanley represents the New Multicultural accepting world and thus he thrives
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Blanche the epitome of a Southern Belle
Personification- she is degraded and her physiological decline mirrors the end of the play to reflect the dying Southern Belle Tradition and the
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Other cards in this set

Card 2

Front

Stanley asking Blanche what she forgot Scene 11

Back

"Unless it is the paper lantern you want to take with you. You want the lantern?"

Card 3

Front

Blanche wanting to uphold her illusion and dependency on strangers Scene 11

Back

Preview of the front of card 3

Card 4

Front

Performance- Elia Kazan 1951 film Violence

Back

Preview of the front of card 4

Card 5

Front

Performance- Elia Kazan 1951 film Blanche and Sexuality

Back

Preview of the front of card 5
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