In Arthur Miller’s The Crucible and Tennessee Williams’ A Streetcar Named Desire‚ both American playwrights utilize stage directions as well as their character’s interactions within the narrative to provide a setting. The social environment‚ transitions between act or scene location and atmosphere from the settings staging directions reveal the different lifestyles in New England and the post-WWII New and Old South of America. Both plays involve characters originating outside of the main setting
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The aspects of lighting and sound in drama play a pivotal role in the progression of a play’s storyline as well as its ability to convey ideas to the audience. Arthur Miller’s‚ “All My Sons”‚ and Tennessee Williams’ “A Streetcar Named Desire” exemplify this use of visual and auditory elements for the purpose of story development particularly well‚ doing so in similar yet contrasting ways. The element of lighting plays a vital role in the interpretation of ideas in dramatic pieces‚ often occurring
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The fusion of Eros and Thanatos in A Streetcar Named Desire Death and desire have been linked closely together ever since Freud identified Eros (the instinct of life‚ love and sexuality) and Thanatos (the instinct of death and destruction) as two coinciding and conflicting drives within human being (Cranwell). In Tennesse Williams’ play A Streetcar Named Desire (1947) these fundamental drives of Eros and Thanatos dominate the story from the beginning to the end. This becomes particularly clear through
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pressures on ill adjusted characters. This is a direct result of the collective American desire to diverge from conformity‚ a common view shared by many progressive people in the 40s and 50s‚ including Tennessee Williams and Arthur Miller. Picture white picket fences lining newly mowed green lawns‚ each house nearly identical‚ sheltering a providing husband and dainty housewife committed to one man. To break from this archetype would be justification for a person to be treated as a social pariah. America
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which seems to be more profound after his death; along with echoing this idea of death vs. desire‚ which is often times related to Blanche as she yearns to be desired‚ yet is constantly shadowed by death. This scene also incorporates dramatic irony as can be observed when Blanche assures Mitch that Stella is older than her‚ despite the stage directions informing us Blanche is 5 years older. This may derive from Blanche’s need to put on a façade to impress Mitch‚ which is seen again when she asks him
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A Streetcar Named Desire In what way can A Streetcar Named Desire be seen as an exploration of"old" America versus the "new" America? In the play‚ Blanche represents old America and Stanley represents new America. Why Blanche represents old America is because of her way of thinking‚ lifestyle and values. When Blanche walks into the room where the guys are playing poker‚ there is a great example of how Blanche represents old and Stanley new. When she walks in‚ the guys are sitting around the table
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Blue Jasmine‚ movie by Woody Allen is a successful adaptation of the play “Streetcar Named Desire” by Tennessee Williams. Blue Jasmine shows Jasmine‚ main character‚ living in entitled world‚ once wealthy woman falls into nothingness. Jasmine recreates the character of Blanche DuBois in Streetcar Named Desire in context to contemporary age. Like Jasmine‚ Ginger represents Stella as her sister; however as an adopted sister. Auggie‚ Stella’s ex-husband and Chili‚ Ginger’s current‚ blue collar boyfriend
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A Streetcar Named Desire by Tennessee Williams And so it was I entered the broken world To trace the visionary company of love‚ its voice An instant in the wind (I know not whither hurled) But not for long to hold each desperate choice "The Broken Tower" by Hart Crane SCENE ONE The exterior of a two-story corner building on a street in New Orleans which is named Elysian Fields and runs between the L & N tracks and the river. The section is poor but‚ unlike corresponding
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marriages waiting for that particular sunrise and married serving their husbands till their eyes get close keeping all their desires‚ passion within besides dreams and hope‚ you too find fear in their visions‚ fear of raising the voice‚ fear of society which’s kept limitations on them‚ she’s viewed as a "femme" more than as a human‚ told to cover the face or wear veil when step out from their confined boundaries which’s considered a so called shield besides‚ my land’s a jewel producer yet treated like the
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In Tennessee Williams a streetcar named desire‚ he explores the notions of secrets and lies through conceptual polarities‚ the real vs. the unreal. Mostly relating to Blanch and her alternate reality created by secrets and lies. Society and class also play a big role in the relation to secrets and lies‚ upper class vs. lower class and man vs. woman. Polarity of the real and surreal in relation to the notion of secrets and lies‚ I believe is the way in which each individual perceives their lies
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