Cat on a Hot Tin Roof: Conclusion; Final Williams: A Streetcar Named Desire

We will screen the rest of the film Cat on a Hot Tin Roof today. Please turn in your observation sheets as participation credit by the end of today's class.

Once we're done, we'll pick up our last Tennessee Williams' play: A Streetcar Named Desire. SOTA is producing this play in February. Go see it if possible.

We'll read together a bit (for the rest of class), but finish reading this script and completing the analysis questions for homework.

Largely, A Streetcar Named Desire centers around Stella, her sister Blanche who drops in for a visit, and Stella's husband Stanley. Drama, secrets, and complications, as only Tennessee Williams can provide, ensues.

A Streetcar Named Desire can be described as an elegy, or poetic expression of mourning, for an Old South that died in the first part of the twentieth century.
The plot of A Streetcar Named Desire is mostly driven by the dueling personalities of Blanche and Stanley (protagonist and antagonist), with Stella acting as a confidante to both Stanley, her husband, and Blanche, her sister.

1. Light is used as a motif and symbol in the play. Consider what its presence or absence indicates. Particularly, what does it mean as a personal symbol for Blanche?
2. Williams uses sound as a dramatic device. When and what does Blanche hear music? Look for this sort of symbolism throughout the play. Music helps create tone, as well.

The two most complex characters in the play are Blanche and Stanley. What follows is an examination and analysis of the main characters in the play. When we read a novel, short story, or watch a film or play, we should be ready to examine the meaning as well as analyze the characters. Who are they? How does the author or actor portray them?

Blanche DuBois
"When the play begins, Blanche is already a fallen woman in society's eyes. Her family fortune and estate are gone, she lost her young husband to suicide years earlier, and she is a social pariah due to her indiscrete sexual behavior. She also has a bad drinking problem, which she covers up poorly. Behind her veneer of social snobbery and sexual propriety, Blanche is an insecure, dislocated individual. She is an aging Southern belle who lives in a state of perpetual panic about her fading beauty. She does not want to belong in this setting, but she fits in quite nicely to our image of New Orleans as a cesspit and ancient behemoth. Stanley quickly sees through Blanche's act and seeks out information about her past.

In the Kowalski household, Blanche pretends to be a woman who has never known indignity. Her false propriety is not simply snobbery, however; it constitutes a calculated attempt to make herself appear attractive to new male suitors. Blanche depends on male sexual admiration for her sense of self-esteem, which means that she has often succumbed to passion. By marrying, Blanche hopes to escape poverty and the bad reputation that haunts her. But because the chivalric Southern gentleman savior and caretaker (represented by the ideal Shep Huntleigh) she hopes will rescue her is extinct, Blanche is left with no realistic possibility of future happiness. As Blanche sees it, Mitch is her only chance for contentment, even though he is far from her ideal.

Stanley's relentless persecution of Blanche foils her pursuit of Mitch as well as her attempts to shield herself from the harsh truth of her situation. The play chronicles the subsequent crumbling of Blanche's self-image and sanity. Stanley himself takes the final stabs at Blanche, destroying the remainder of her sexual and mental esteem by raping her and then committing her to an insane asylum. In the end, Blanche blindly allows herself to be led away by a kind doctor, ignoring her sister's cries. This final image is the sad culmination of Blanche's vanity and total dependence upon men for happiness."

Stanley Kowalski
"Audience members may well see Stanley as an egalitarian hero at the play's start. He is loyal to his friends and passionate to his wife. Stanley possesses an animalistic physical vigor that is evident in his love of work, of fighting, and of sex. His family is from Poland, and several times he expresses his outrage at being called “Polack” and other derogatory names. When Blanche calls him a “Polack,” he makes her look old-fashioned and ignorant by asserting that he was born in America, is an American, and can only be called “Polish.” Stanley represents the new, heterogeneous America to which Blanche doesn't belong, because she is a relic from a defunct social hierarchy. He sees himself as a social leveler, as he tells Stella in Scene Eight.

Stanley's intense hatred of Blanche is motivated in part by the aristocratic past Blanche represents. He also (rightly) sees her as untrustworthy and does not appreciate the way she attempts to fool him and his friends into thinking she is better than they are. Stanley's animosity toward Blanche manifests itself in all of his actions toward her—his investigations of her past, his birthday gift to her, his sabotage of her relationship with Mitch.

In the end, Stanley's down-to-earth character proves harmfully crude and brutish. His chief amusements are gambling, bowling, sex, and drinking, and he lacks ideals and imagination. His disturbing, degenerate nature, first hinted at when he beats his wife, is fully evident after he rapes his sister-in-law. Stanley shows no remorse for his brutal actions. The play ends with an image of Stanley as the ideal family man, comforting his wife as she holds their newborn child. The wrongfulness of this representation, given what we have learned about him in the play, ironically calls into question society's decision to ostracize Blanche." (both taken from Sparknotes)

Mitch, Stella and some of the other characters provide Stanley and Blanche with appropriate foils. Mitch and Stella, in particular, complete the possible futures for Stanley/Stella and Blanche/Mitch.

There is a lot in this play (as in all Tenessee Williams' work). Characters are complex, plot is driven by the desires of its characters, conflict is nicely supported through characterization, setting is significant, and literary devices such as symbolism run rampant through its pages. No wonder the world knows this play. It is fine play writing.

A Streetcar Named Desire clips:
The 1951 film starred a young Marlon Brando and actress Vivien Leigh. The movie was directed by Elia Kazan. Read a little about each actor and the director--this is important for those of you interested in film production.

Here's the famous Stella scene.
And the screaming contest it created. 

EXTRA CREDIT OPPORTUNITY:

• Take a character from Cat on a Hot Tin Roof, Glass Menagerie, or A Streetcar Named Desire and write a monologue or scene that involves that character that did not appear in the play. Perhaps you could write a scene between Brick and Skipper, or between Amanda and Tom's estranged father, or a birthday party when Blanche and Stella were young teenage girls still living at the plantation. 
• Write a parody of Tennessee Williams' work. Poke fun at his characters or their revealing of secrets. Parodies work when you exaggerate characters or plots or scenes from the original source. See Blue Harvest (Family Guy) as an example.
• Place a character in a Williams play in a contemporary setting and write that scene. 

Extra credit will be due by 1/25 (end of Midterm Week). Submit your extra credit in our Google Classroom site.

HOMEWORK: Please read the rest of A Streetcar Named Desire and complete the play analysis sheet for Tuesday, Jan. 15.