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Drowning: The Tragic Destruction of the Apollonian - HonENG172

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According to Friedrich Nietzsche, all tragic tales can be traced back to a basic struggle between illusion and reality. When the brutal chaos of reality bears down too heavily on...

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A Streetcar Named Desire A critical discussion of the rape scene

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The Language of Stanley and Blanche in 'A Streetcar Named Desire' 

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The Language of Stanley and Blanche in 'A Streetcar Named Desire' 

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The Language of Stanley and Blanche in A Streetcar Named Desire

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The significance of the setting in 'A Streetcar Named Desire' 

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The significance of the setting in 'A Streetcar Named Desire' 

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Old South vs New America: 'A Streetcar Named Desire' 

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Old South vs New America: 'A Streetcar Named Desire' 

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Light, music, action, use of motifs and symbols in 'A Streetcar Named Desire' 

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Light, music, action, use of motifs and symbols in 'A Streetcar Named Desire' 

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An explanation of how Grice's Maxims can be used to identify issues of reliability in discourse.

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'A Streetcar Named Desire'

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What does this Wordle convey about how language is used within the play? 

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What does this Wordle convey about how language is used within the play? 

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How does 'A Streetcar Named Desire' meet the conventions of a tragedy? 

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How does 'A Streetcar Named Desire' meet the conventions of a tragedy? 

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Actors and Actresses discussion of their performance/ interpretation

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Actors and Actresses discussion of their performance/ interpretation

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Behind The Scenes: Gillian Anderson on A Streetcar Named Desire

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An interview with actress Gillian Anderson who talks about starring as Blanche DuBois in the Young Vic Theatre's production of A Streetcar Named Desire by Tennessee Williams. Film by http://impactvideoproduction.co.uk

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Behind The Scenes: Gillian Anderson on The Departure

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An interview with actress Gillian Anderson who talks about starring in and directing The Departure for the Young Vic Theatre, a short film made for YV Shorts by Andrew O'Hagan. The Departure is a prequel to Tennessee Williams' A Streetcar Named Desire.

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It is the most striking of entrances: from around a corner comes Blanche DuBois - carrying a valise, "daintily dressed" as if for a cocktail party and with "shocked disbelief" on her face as she arrives at her sister Stella's New Orleans home in A Streetcar Named Desire. Why is she here and what has she left behind?

It is the most striking of entrances: from around a corner comes Blanche DuBois - carrying a valise, "daintily dressed" as if for a cocktail party and with "shocked disbelief" on her face as she arrives at her sister Stella's New Orleans home in A Streetcar Named Desire. Why is she here and what has she left behind?

Gillian Anderson, who played Blanche in an award-winning performance at the Young Vic theatre in London, has returned to the role for a short film exploring those days before Blanche's arrival in the play. The Departure has been made for the Young Vic series of shorts that complement the theatre's main-house productions.

"When Blanche first arrives at Elysian Fields [the street where Stella lives], you have the impression that she's a little shaky, perhaps from travel, and hyper," says Anderson. "You don't have a sense yet of the depth of loneliness or despair or financial insecurity or tragedy that she has been through recently - and, it turns out, since childhood. That unravels during the play as Stanley starts to 'smoke her out' ... She arrives in a gold dress and gold shoes, seemingly put together. I was interested in the state she was in before she put on that armour and that facade and knocked on her sister's door."

The Departure is set in two locations that are unseen in Williams's play but exist almost as characters in their own right: Belle Reve, once the family's plantation home, and the seedy Flamingo hotel where Blanche attains notoriety. "When we first see her [in The Departure], she is coming back to Belle Reve from a funeral and you get the sense that it's the last of the lot. She's worn out and weighed down by the loss of her family," says Anderson. "She moves on to the Flamingo hotel, where she is kicked out after a dalliance with an underaged boy and she might be arrested for it. People have turned on her."

The film was shot on location at a "warehouse-slash-Georgian house" in Bermondsey, south London, days after Streetcar finished its acclaimed run at the Young Vic in September 2014. It was written, at Anderson's suggestion, by the author Andrew O'Hagan who calls Anderson "the most intelligent actress of her generation". "What's great about Andrew's writing," says the star, "is it upholds [Blanche's] attempt at maintaining her own dignity through denial."

Anderson, who previously directed herself in an episode of The X Files, is also the director of The Departure. She says the film is "like a curious study of a character in a period of time" and that it was designed to retain a "theatrical feel" and capture the "magic realist" element of Williams's writing - "moments in time that are suspended ... not otherworldly but suspended somehow, in between reality and non-reality".

For the actor-director it "felt effortless" to make the short at the end of Streetcar's run and delve into Blanche's backstory. She adds: "I feel like I have a clear idea of how she ends up after she is taken away by the doctors at the end of the play." So might there one day be a sequel to go alongside the prequel? "We did talk about it," she says, "it would be fun to do."

Directed by Benedict Andrews and utilising a striking revolving stage and a soundtrack including PJ Harvey, A Streetcar Named Desire was one of last year's most talked about theatre productions. It also gained a wider audience with a worldwide NT Live broadcast. For those who were unable to see the production on stage or screen, The Departure offers a taste of Anderson's portrayal. (In a four-star review, Michael Billington wrote that she "captures both Blanche's airy pretensions to grandeur and her desolate loneliness".

The Young Vic considers its short films to be a "fourth stage" for the theatre. They have been watched by more than 300,000 people since 2012. Recent shorts have included Mayday, starring Juliet Stevenson and directed by Natalie Abrahami, which explores themes from the pair's collaboration on Samuel Beckett's Happy Days. Their production of Beckett's play returns to the Young Vic on 13 February.
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Gillian Anderson goes back to Blanche for Streetcar prequel

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It is the most striking of entrances: from around a corner comes Blanche DuBois - carrying a valise, "daintily dressed" as if for a cocktail party and with "shocked disbelief" on her face as she arrives at her sister Stella's New Orleans home in A Streetcar Named Desire.

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The Departure: a short film starring Gillian Anderson

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Gillian Anderson resumes her role as Blanche DuBois in a prequel to Tennessee Williams's A Streetcar Named Desire, inspired by the Young Vic theatre's acclaimed production in 2014. Subscribe here ► http://bit.ly/subgdnculture The film takes place in the days before Blanche arrives at her sister Stella's home.

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The play opens in New Orleans in the 1940s at the ground-floor flat of a young couple, Stanley and Stella Kowalski. Upstairs lives another couple, Eunice and Steve. The dynamic between main characters Stella and Stanley is made immediately clear when he-clearly a gruff dude-tosses a piece of meat to his wife for her to make into dinner. Gender roles anyone? Meanwhile, it's clear that she adores him-she even tails after to watch him bowl with his friends.

After both Kowalskis exit, Blanche DuBois comes onstage. She's Stella's older, single sister (early thirties). She's dressed all in white, delicate, and "moth-like." Blanche waits inside the apartment and has a shot of Stanley's booze.

When Stella comes back, the sisters reunite and Blanche reveals some bad news: their family plantation, Belle Reve, has been lost; they are bankrupt. She had a bit of a break-down, so she's now taking some time off from her teaching position at the school (Blanche teaches high school English). She resents that she had to stay home and watch their older family members die one by one while Stella was off with Stanley. Blanche is also horrified that her sister is living in a dump like this one when they both come from such a wealthy, elite background.

Blanche has another drink. (From now on, just assume Blanche is either having a drink or about to have a drink at all times.) Stella goes to the bathroom and Stanley enters, which means he and Blanche are alone for Big Sexual Tension Scene Number One. While they chat, Blanche reveals that she was married once, but her husband died.

As Blanche is bathing, Stanley finds out from Stella that Belle Reve was lost. He rifles through Blanche's things and believes that her costume jewelry and fake furs are all genuine, expensive pieces -he thinks that she sold Belle Reve and kept the profits for herself. Later, while alone with Blanche, he accuses her of this. She shows him all the papers detailing the estate and its bankruptcy, proving her story correct. Meanwhile, Blanche tries to pull her "Aren't I so cute and pretty?" act with Stanley, and he's having none of it. Before the scene ends, Stanley reveals that Stella is pregnant.

Later that night, the women go out for dinner while Stanley and his buddies play poker at the house. Among said buddies is Mitch, who is single but lives with his elderly, sick mother. He's a bit more sensitive than the others. Stella and Blanche return home at about 2 a.m. to find the men still gambling and very drunk.

Blanche flirts with Mitch and it's clear that he returns her interest. He's a bit of an awkward teddy-bear, though, and Blanche has to carry the conversation entirely. Meanwhile, Stanley is angry that the women are chattering and interfering with his poker night. In a drunken rage, he hits Stella. The two women run upstairs to Eunice's place, and the men all go home after sticking Stanley in the shower and trying to sober him up.

Now under control, Stanley feels horrible at what he's done to his wife. He staggers outside, sobbing, and yells up to her- Stellaaaa!- to come down to him. To Blanche's horror, Stella does, and the two make up. The next morning, Blanche waits for Stanley to leave and then comes downstairs to her sister. She insists that they get out of this horrible situation immediately. Stella says she's happy-she's "thrilled" by Stanley's aggression, not frightened by it.

Meanwhile, Blanche and Mitch start dating. She won't let him see her in any strong light because she's trying to hide her age, and she also won't give him more than a goodnight kiss in the hopes that holding out will make him want to marry her. After one date, she reveals some of her past to Mitch. When she was young, she was married to a man who turned out to be gay. After discovering him with another man, Blanche called him "disgusting," and he killed himself. Since then, Blanche has been haunted by his death (made clear to the audience by the repeated use of the polka song that was playing when he committed suicide).

Tensions continue to rise between Blanche and Stanley, who can't stand his sister-in-law's phony act and her air of superiority. He does a little hunting around and discovers that Blanche has been lying about what went down in Laurel (her hometown). Apparently, she was fired from her job as a schoolteacher after she was discovered having an affair with one of her high school students. She then sank further into scandal, entertaining many gentlemen at a place called the Hotel Flamingo until she was essentially asked to leave town.

Stanley reveals all of this information to Stella (and, we find out later, to Mitch as well). The couple fights over it, since Stella wants to defend and help her sister, whereas Stanley wants Blanche out of his house. In the midst of their argument, Stella goes into labor and Stanley rushes her to the hospital.

While they're at the hospital, Blanche is left alone at the apartment. Mitch comes to see her, but by now he's wised up as to her real character. He wants her to have sex with him, seeing as that's what she does, apparently, with many other men. Blanche refuses; she still thinks Mitch should marry her. Mitch says, basically, "No, thanks" and takes off.

Blanche drinks herself silly until Stanley comes home from the hospital to get some rest, since the doctors say Stella won't deliver the baby until the morning. Now, he's alone with Blanche, which gives him the opportunity to tell her off the way he's always wanted.

Blanche responds to his anger by retreating further into self-delusion. She's all dressed up in her costume jewelry and finest gown, and she claims that she's going on a cruise in the Mediterranean with an old boyfriend. She also claims that Mitch came back to beg her forgiveness, which we all know isn't true.

She and Stanley continue to argue, and Blanche worries that she, a single and attractive woman, shouldn't be alone in an apartment with a man like Stanley. Stanley finds her fear amusing, but then attacks and rapes her. This isn't shown on stage; the scene comes to an end just as he's carrying a nearly unconscious Blanche into the bedroom.

The final scene features Stella (with the new baby) and Eunice helping Blanche to pack her things. They're sending her away to a mental institution. Blanche told Stella that Stanley raped her, but Stella doesn't believe her story. She just thinks her sister has gone mad. Blanche has somehow convinced herself that she's still going on this cruise with her old boyfriend, so she willingly packs and pretties herself.

Meanwhile, Stanley, Mitch, and a few of their buddies are sitting around the kitchen table playing poker. When the doctor comes to take Blanche away, at first she resists. But when he plays the part of the Southern gentleman and offers her his arm, Blanche accepts it and goes willingly. Mitch takes a swing at Stanley, revealing that he knows Blanche's story to be true (or at least strongly suspects it). Horribly distraught, Stella calls after her retreating sister, but submits to Stanley's comforting arms on the porch of their house as Blanche disappears around the street corner and offstage.

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The play opens in New Orleans in the 1940s at the ground-floor flat of a young couple, Stanley and Stella Kowalski. Upstairs lives another couple, Eunice and Steve. The dynamic between main characters Stella and Stanley is made immediately clear when he-clearly a gruff dude-tosses a piece of meat to his wife for her to make into dinner.

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Home → SparkNotes → Literature Study Guides → A Streetcar Named Desire

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'A Streetcar Named Desire' (1951 film). Scene one: 'blue music'.

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A Streetcar Named Desire [1951]. Directed. Elia Kazan. Produced. Charles K. Feldman. Performers. Vivian Leigh and Marlon Brando. DVD. Warner Bros, 2006. Disclaimer: I do not own the copyright to this film, I have uploaded this clip for educational purposes.

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Scene from A Streetcar Named Desire (1951)

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What's a Rhinestone? - A Streetcar Named Desire (1951)

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A scene from the revolutionary movie A Streetcar Named Desire, with Marlon Brando as Stanley Kowalski who is suspicious about Vivien Leigh's Blanche DuBois' ability to get luxurious goods with her meagre teacher's pay.

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'A Streetcar Named Desire' (1951 film). Scene four: Trains passing

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A Streetcar Named Desire [1951]. Directed. Elia Kazan. Produced. Charles K. Feldman. Performers. Vivian Leigh and Marlon Brando. DVD. Warner Bros, 2006. Disclaimer: I do not own the copyright to this film, I have uploaded this clip for educational purposes.

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'A Streetcar Named Desire' (1951 film). Scene three: Rhumba music.

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A Streetcar Named Desire [1951]. Directed. Elia Kazan. Produced. Charles K. Feldman. Performers. Vivian Leigh and Marlon Brando. DVD. Warner Bros, 2006. Disclaimer: I do not own the copyright to this film, I have uploaded this clip for educational purposes.

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'A Streetcar Named Desire' (1951 film). Scene three: Waltz music.

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A Streetcar Named Desire [1951]. Directed. Elia Kazan. Produced. Charles K. Feldman. Performers. Vivian Leigh and Marlon Brando. DVD. Warner Bros, 2006. Disclaimer: I do not own the copyright to this film, I have uploaded this clip for educational purposes.

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'A Streetcar Named Desire' (1951 film). Scene six: The Varsouviana.

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A Streetcar Named Desire [1951]. Directed. Elia Kazan. Produced. Charles K. Feldman. Performers. Vivian Leigh and Marlon Brando. DVD. Warner Bros, 2006. Disclaimer: I do not own the copyright to this film, I have uploaded this clip for educational purposes.

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'A Streetcar Named Desire' (1951 film). Scene nine: The Varsouviana.

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A Streetcar Named Desire [1951]. Directed. Elia Kazan. Produced. Charles K. Feldman. Performers. Vivian Leigh and Marlon Brando. DVD. Warner Bros, 2006. Disclaimer: I do not own the copyright to this film, I have uploaded this clip for educational purposes.

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'A Streetcar Named Desire' (1951 film). Scene ten: 'blue piano'.

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A Streetcar Named Desire [1951]. Directed. Elia Kazan. Produced. Charles K. Feldman. Performers. Vivian Leigh and Marlon Brando. DVD. Warner Bros, 2006. Disclaimer: I do not own the copyright to this film, I have uploaded this clip for educational purposes.

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I am a woman. I am an adult. I am a wife and mother. I am college-educated, hard-working, and active in my community. But I don't like what the idea of a "modern woman" has come to be, and the expectations it has. Some of us still prioritize family over finances, love over labor, and femininity above all. For me, these women are Southern Belles. You might not be one, but they definitely exist. Here are the biggest differences between Southern Belles and Modern Women.

(Note: A Southern Belle can be from anywhere, it's not geography, it's mentality.)

1. Southern Belles take care of their partners, and value relationships more than just hookups or partying. They can have fun but at the end of the day they want someone to come home to.

2. They take care of themselves and the way they look not because they want to please a man, although that can feel good, but because they know that looking put together means the whole world takes you more seriously.

3. Even though they work out and take care of their bodies, they aren't afraid of eating, and would not be caught dead picking at a salad on a first date. (Nothing is sexier than a woman with an appetite.)

4. They have the gift of gab. They know how to charm anyone, and can get valuable information from anyone they need to.

5. Not knowing how to cook is just not an option for the Southern Belle. They were raised to know how to make a good meal, to feed themselves and the people they love, and to have people looking forward to coming over for dinner. When you go to their house, you know that you are going to leave full and happy.

6. Family is the most important part of their life, and having frequent phone calls/meals/quality time with the people they love is essential. They are not the kind of girls who just call their mom on mother's day and dad on father's day.

7. Unlike the Modern Woman, the career is not the most important part of the Southern Belle's life. They work and can have professional, high-earning jobs, but they know that a career or a promotion or an extra thousand dollars a month isn't going to be what keeps them really happy or makes life worth living.

8. Southern Belles never take pride in being "awkward" or "adorkable." They are ladies who are proud of their social skills, and know how to put people at ease.

9. Unlike Modern Women who are taught to evaluate options and go with the best deal, they are LOYAL. They would never turn on family or friends, even if one of them made a mistake.

10. It may sound like a cliché, but only because it's true: Southern Belles are not afraid to get dirty, to do hard work, and be "one of the guys" when it's needed. Most of them have done field work, shot a gun, or driven a tractor. It's not a country song, it's real life.

11. When it comes to taking care of their families, no one is more dedicated or takes it more seriously.

12. They understand that a lot of relationships and love means sacrifice. They know that saying "I do" means accepting that isn't all about you anymore. Sometimes, if love means they have to move to another city or change careers or raise a family, they are ready to do it.

13. They are not afraid to cook with butter.

14. They know that curse words are something that can be used to enhance conversation, but shouldn't be relied on as the basis of a vocabulary.

15. Even if they don't fit into them perfectly, Southern Belles are not afraid of gender roles. They are not afraid to admit that men and women are different, excel at different things, and serve different roles biologically and socially. It doesn't mean they're not equal, it just means that they both have their value.

16. While Modern Women might look down on things that are too traditionally "girly," femininity is something that Southern Belles embrace fully.

17. Yes, this means that cheerleading is considered a real sport and discipline for them.

18. They are human and make mistakes like everyone else, but it's important for Southern Belles to always keep a brave face and a strong back for the other people in their lives. They know, especially when they have families, that people depend on them to keep calm in the face of chaos.

19. When they invite someone over, they always have the best gossip ready. And they know that gossip is an art form.

20. They can party, but they are never (or at least almost never) sloppy or blackout drunk. They know that it's just not a good look on anyone - male or female.

21. Southern Belles don't care if not every woman wants to be like them, or if they're considered too "traditional" or "old-fashioned." They are happy to live the life they have, and be who they are, without pleasing some feminist or businesswoman who wants them to be more "modern." They know how much better life is when you live it in style.

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21 Differences Between A Southern Belle And A Modern Woman

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I am a woman. I am an adult. I am a wife and mother. I am college-educated, hard-working, and active in my community. But I don't like what the idea of a "modern woman" has come to be, and the expectations it has.

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Scene 7 detailed notes