Stella Vine

“A Streetcar Named Desire” by Tennessee Williams is a powerful, thought-provoking play which explores the theme of appearance versus reality. The playwright successfully develops this theme through his characterisation of the play’s main protagonists and Williams’ effective utilisation of a variety of techniques greatly enhances the audience’s appreciation of the play as a whole. Initially, fading southern belle Blanche DuBois strikes the audience as being cultivated, decorous and unblemished. Nevertheless

readings of the text, one can examine each characters relationship to the birth of Stella and Stanley's child and how it affects their own small worlds, and their own childlike traits and personalities. Instead

motifs and language/dialogue. Williams creates a constant struggle between Blanche’s need for fantasy and illusion and Stanley constantly trying to ground Blanche, forcing her to acknowledge reality. The first image of Stanley throwing meat at Stella is a symbol that represents his primitive self, inner brutality and savage like behavior, all qualities of Dionysian thought. Blanche however is portrayed as an educated, civilized English teacher linking her to Apollo, the God of literature

place in the 1950’s, an era where American’s were recovering from great losses. Blanche comes to visits Stella after she loses Belle Reve and her teaching job, however she doesn’t inform Stella on when she plans on leaving. In Stella’s two-bedroom apartment Blanche feels very uncomfortable because she comes from a high class society in the south, and doesn’t seem to understand why her sister Stella chose the life she has. Immediately she dislikes Stella’s husband Stanley due to his lack of manners and

Blanche confessing their past and feelings for one another. It is the morning after the intense poker night at Stella and Stanley’s apartment and Blanche is concerned about how Stella is being treated by her husband. After seeing Stella fall back into Stanley’s arms immediately after he hit her, she is very confused at how Stella can go right back to him

When Blanche and Stanley began to quarrel, various false shadows began to appear on the wall behind her. Odd noises and jungle cries also occurred as Blanche began to convert into madness. All of these effects combined to affect Blanche’s final breakdown and departure from reality in the face of Stanley’s physical threat. When she lost her sanity in her final struggle against Stanley, Blanche went back entirely into her own world. Whereas she originally coloured her perception of reality according

respect to him. She thinks that since he is of Polish blood he is not good enough for her or her sister. When Stanley first meets Blanche he thinks she is lying about losing the plantation and that she sold it for money. Stanley thinks that his wife Stella has a right to the money “and with the Napoleonic code his money”. He wants to protect the money and merchandise that should be his. This can be seen as conflict between the old South and the North as the racist south is more than a stereotype in

on the situation and the person of interaction. Blanches fluctuating performance and actions can be found countless times in the book A Street Car Named Desire. To analyze this personality aspect, Blanche can been seen doing this with her sister Stella Dubois. Williams reveals this in the lines "Now don 't get worried, your sister hasn 't turned into a drunkard, she 's just all shaken up and hot and tired and dirty", and again in "What you are talking about is brutal desire- just desire". The primary

Blanche DuBois, Stella Kowalski, Stanley Kowalski and Harold Mitchell, but lets start by talking about the plot of the play. The plot is extremely well put together and fairly easy to follow. In the first scenes you have the two main female characters, Stella arrives down from Laurel, Mississippi to stay with her sister Blanche in New Orleans. You can see when Blanche arrives that she’s there because she’s trying to hide something through her conversations with her sister Stella and suspect that

Konstantin Sergeyevich Stanislavsky was a Russian performing artist and theater chief. The Stanislavsky framework has had a pervasive impact, particularly in the period after World War II. Stanislavsky regarded theater-production as a genuine attempt obliging devotion, order and respectability. For the duration of his life, he subjected his own particular acting to a procedure of thorough masterful self-examination and reflection. His improvement of an estimated praxis—in which practice is utilized