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  • The more I read it, the more I get out of it.

    

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• ― Carobookie said on Aug 31, 2007 about the Paperback edition| Add your feedback

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  • Stella!

    A powerhouse of the modern American theatre.

    

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• ― Batona said on Mar 30, 2007 about the Paperback edition| Add your feedback

A Streetcar Named Desire is one of the most remarkable plays of our time. It created an immortal woman in the character of Blanche DuBois, the haggard and fragile southern beauty whose pathetic last grasp at happiness is cruelly destroyed. It shot Marlon Brando to fame in the role of Stanley Kowalski, a sweat-shirted barbarian, the crudely sensual brother-in-law who precipitated Blanche's tragedy. Produced across the world, translated into many languages, and recreated as a prize-winning film, A Streetcar Named Desire has attracted one of the widest audiences in contemporary literature.
The structure of this play is best seen through a series of confrontations between Blanche DuBois and Stanley Kowalski. In the first scene the confrontation is not so severe, but it increases in severity until one of the two must be destroyed. To understand fully the scenes of confrontations, readers should have a good understanding of what is at stake in each encounter. That is, they should understand some of the differences between the DuBois world and the Kowalski world.

The most obvious difference between the worlds of Blanche DuBois and Stanley Kowalski lies in the diversity of their backgrounds. We immediately recognize that the very name DuBois and Kowalski contrast. Williams has begun to sketch the personalities by a nationality association. We assume DuBois to be an aristocratic name, possibly one with a proud heritage. A DuBois wouldn’t be found working in a steel mill, as would a Kowalski. A DuBois speaks softly and flittingly. A Kowalski speaks loud and brutally. Kowalskis relish loud poker parties with their characteristic rough humor. Blanche DuBois winces at this. Her preferences for entertainment are teas, cocktails, and luncheons. Speech, to Stanley, is a way of expressing his wants, likes, and dislikes. Blanche speaks on a higher level. She searches for values, reflecting education in her manner of speaking. Kowalski regards money as the key to happiness; money will buy anything. Stanley’s interest in Belle Reve centers only upon the fact that under the Napoleonic Code he loses money. He cares nothing for the tradition of the place but only its financial value. Money, to his type, is a power that can buy some basic wants or pleasures of life. This gives him a type of animal superiority to the world of people (like the DuBois) who do not understand the value of money and then become destitute.

Stanley and Blanche, as individual representatives of these two worlds, show even more contrasts in their personalities. The use of color differs remarkably. Stanley needs vividness to prove his physical manhood. He is presented “as coarse and direct and powerful as the primary colors.” His green and scarlet bowling shirt is an example. Blanche shuns loud shades and selects pastels or white. The directness of bright colors repulses her; she prefers muted, muffled tones.

Another contrast arises in the comparison of their zodiac signs. Stanley was born in December under Capricorn the Goat. This brings to mind many obvious associations in connection with Stanley’s personality. Blanche’s sign is Virgo, the virgin. True, she is a very degenerate “virgin,” but in body only. She tries to keep the mentality of a virgin. She believes she is a virgin because the men she has slept with have meant nothing to her; they have not actually taken from her. She has not given of her real self to them. But to represent herself in such a manner seems a direct lie to the Kowalski world. There can be no such subtle difference in the Kowalski world. This leads to one of the central conflicts of the play, Blanche’s honesty versus her seeming dishonesty

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