Vladimir: We must come back to-morrow Estragon: What for? Vladimir: To wait for Godot Estragon: Ah! He didn’t come? Vladimir: No.
According to Beckett he does know who Godot is, which leave the reader to interpret it for
In scene four of “ A Streetcar Named Desire” Blanche attempts to convince Stella that she can get out of her situation with Stanley, but Stella insists she is not in anything she wished to get out of. Stella makes it clear that she is happy about her relationship with Stanley through their sexual chemistry by saying “ But there are things that happen between a man and a woman in the dark”. Stella believes that there is nothing wrong and she can’t understand why Blanche is so frantic. Blanche tries to persuade Stella that her situation with Stanley is just desire by arguing, “ What you are talking about is brutal desire- just- Desire!- the name of that rattle-trap streetcar that bangs through the Quarter, up one old narrow street and down another…”…
A Streetcar Named Desire was based in the time it was written – New Orleans in 1947. The late 1940’s was a postwar era as the United States rose as a victorious superpower above the rest of the world. This era was also the beginning of the Baby Boom – a time of high marriage and birth rates in the country. There was a postwar surge in luxury with the end of rations and the emergence of better, cheaper cars and entertainment. Although there were many positive advances during the time, there was also the dark cloud of the Soviet Union as the Cold War was brewing and the atomic bomb was being threatened once again.…
In the movie, A Street Car Named Desire, Blanche uses the quote, “I don't want realism. I want magic! Yes, Yes, magic! I try to give that to people." to explain her desire for her fantasy life to become reality. Blanches fantasy life would restore her youth, forgive her past and she would be more welcomed by people like Stanley and Mitch. I do agree with her statement, and believe that living in a “fantasy world” for a short period of time can be beneficial, but I do not agree with the circumstances Blanches is doing so by. Blanche wants to forget the death of her husband, the termination of her position as a schoolteacher caused by a discovered affair with a high school aged boy and the loss of her childhood home and plantation. Some of…
Critics have praised Tennessee Williams’ A Streetcar Named Desire for its characters. Crude, sensual Stanley; dreamy, burned-out Blanche; bashful, meek Mitch. That being said, the successful portrayal of these characters is the mark of an excellent Streetcar performance. According to many readers, the stunning characterization is what makes A Streetcar Named Desire so compelling and legendary. Yet I would like to disagree. I think it is the play’s setting that makes the story so fascinating.…
Everyone wants to live a life they do not have. Some people want to be rich, while others want to travel the world and never work a day in their lives. In order to live the lives they do not have, many people create their own fantasies. Tennessee Williams’ Streetcar Named Desire depicts Blanche and Stella’s lives as lies, while revealing how they do not wish to face their own realities, for they will never to able to live the life they have always hoped for.…
In every human relationship, there is some kind of power involved. It is the core of all human relationships. The power of seduction between a women and a man, the power of persuasion, the power of strength over weakness, the power that a parent holds over a child, power of wealth and social statues are just some different kinds of power which are adapted in own everyday lives. With friendship, comes decisions, which comes then with control which ends up just being power over these person. Power is used to have a kind of upper hand on someone(s) or to have control over them. In the play ‘A Streetcar Named Desire’ by Tennessee Williams 1947 and the film ‘Mean Girls’ directed by Mark Waters , both highly express and illustrate these different roles of power through the characters and stereotyping, dialogue, motifs and techniques.…
“They told me to take a street-car named Desire, and transfer to one called Cemeteries, and ride six blocks and get off at - Elysian Fields!” (Scene 1, Page 6)…
The speaker finishes by asking his love why she kept him waiting. The reader is drenched in the idea of regret and longing, a much different feeling than A Streetcar Named Desire.…
Godspell truly captivates the heart and mind of the mere spectator because of its austerity, and its provincial meanings. The movie is not a message for our times, or a movie to focus on the movement of Jesus, or even quite a movie for the youth. In Fact, it is a sequence of stories and tunes, like the bible is, and it is conveyed with the straightforwardness that ingenuous stories demand: with zero illusions, no knowledgeable implements, and a lot of modest honesty.…
Marie was the type of person that would sacrifice everything if that can help someone. For example, she (although temporarily) gave up her dreams of going to Paris to study at the Sorbonne to be able to help her older sister Bronya (Bronislava) achieve that same dream. She exiled herself in the Polish countryside and took a job as a governess so that she could support Bronya…
is a woman in her 30s. She was a highclass lady who's class is now fading and so…
Kazan’s A Streetcar Named Desire: A Key to Confusion? Tennessee Williams’s A Streetcar Named Desire and Elia Kazan’s film version of the play share the same characters and the same story. Except for the opening scene, Kazan doesn’t change the plot at all. To emphasize the meanings of death and desire, the movie shows Blanche taking different streetcars in the area surrounding where Stanley and Stella live—and the viewer can imagine how difficult it is for Blanche to adjust.…
A Streetcar Named Desire, by Tennessee Williams, is riddled with symbolism. The symbols found in the play include masculinity, light, bathing, liquor, white, and much more. Each symbol can be interpreted with a profound underlying meaning. However, the most prominent symbol that drastically changed the play’s plot was the Varsouviana Polka. This instrumental tune manifested her guilty conscience and became her ultimate demise. Through the art of symbols, Williams narrated the tragedy of Blanche’s downward spiral into the internal abyss by employing the polka music.…
The loss of identity is an oft-discussed subject in literature. A character's tie or affiliation to a defined identity in a piece has the tendency to illustrate how the archetype of the character functions in society as a whole. In A Streetcar Named Desire by Tennessee Williams, the symbolic death of the aristocratic Southern lifestyle of grandeur serves as a notion that illuminates on the meaning of the piece. Comparing and contrasting characters such as Blanche DuBois, a typical Southern belle who is struggling to hold onto the dreams and mannerisms of the Old south and refusing to face of the reality of it all being over, and Stanley Kowalski, a working class brute who is representative of the emerging blue collar demographic in the newly industrious South, Williams uses the figurative death of America’s Old South to exemplify how the South is experiencing a demographic and cultural shift and how the notion of the Old South will soon be rendered meaningless. In displaying the figurative death of the “Old South”, Williams effectively shows how the notion of an old, traditional lifestyle can quickly become useless in America’s ever-changing cultural landscape.…
In A Streetcar Named Desire by Tennessee Williams, the main characters have a difficult time facing reality. Blanche DuBios, Stanley Kowalski, and Stella Kowalski live different lives, but are all stuck within their own fantasy worlds. In this story, Williams shows that too much fantasy can lead to devastation.…