This landmark play is set in the South when in its years of decline and is a landmark play by Tennessee Williams. Two interesting characters which I wish to discuss are Blanche Dubois and Stanley Kowalski who in their own ways demonstrate the delusional Southern grandeur which mask their problems of alcoholism and general despair. This is truly a portrayal of American identity in a subterfuge manner.
Dubois is perhaps a typical Southern woman who is faced by depression and the fact that she is no longer the woman she once once in a fast declining South which is faced by high unemployment and a general debauchery. Her trip across the seedy streets of Louisiana’s New Orleans at the behest of her sister emphasises the seedy reputation of the place which is awash with prostitution and other problems and issues which she finds revolting (Hornbrook, 1998).
Principally one can view the decline of the South with its upfront morals and all that jazz which descends into unhappiness and desolation as Dubois is faced with financial ruin and dereliction. Williams is skilful in portraying this situation and the play’s jargon is also full of those wistful references to the past which Dubois so characteristically personifies, regal throwback to the American identity of the past.
The South’s rural charms and all its pretensions of high morality are personified by Dubois reactions to her current situation where she longs for a better world which has now long gone and she can do nothing to bring back. The character is perhaps reminiscent of Scarlet O’Hara in Gone With the Wind in many ways although strength and moral courage are certainly not Dubois’ strong points.
The contrast with Stanley Kowalski could not be greater. Kowalski is a member of the rising urban based working class and he cannot fathom all these allusions to past greatness which is no longer apparent. In fact the intrusion of Blanche Dubois into his household causes substantial conflicts and problems with his wife as the tension which is created can be said to be palpable.
Kowalski is only interested in making more money so he and his family can continue to live comfortably and as such is the personification of the American Dream which puts profit over dignity. He is also a very strong and physically and completely dominates his wife Stella who is Blanche’s sister by sexual prowess and sheer force. The clashes and contrast with Blanche Dubois cannot be greater as the latter muses and waxes lyrical over her past which is now in the dustbin, Stanley on the other hand is more involved with the present and what can be achieved with his forceful personality (Roger, 1993).
Both characters do personify American society in different ways with Blanche looking at the stately delusional past when all was well ordered and without blemish while Stanley is a man of the moment as the urban working class continues to dominate society in the way one could imagine. However the real fulcrum of the story is Stella Kowalski who manages to strike a balance between the delusional grandeur of Blanche Dubois and the animal like lustful character of Stanley Kowalski.
The play is skilfully oriented about the decline of society which is also portrayed in the character of Blanche’s husband who committed suicide over an alleged homosexual affair. The characters are a wonderful and interesting microcosm of American society.
Works Cited:
Williams, Tennessee (1995). A Streetcar Named Desire. Introduction and text. Oxford: Heinemann Educational Publishers.
Production notes. Dec. 3, 1947—Dec. 17, 1949
December 3, This Day In History Calendar (2008). Sourcebooks, Inc.
Hornbrook, David. Education and Dramatic Art. 2nd ed. New York, NY: Routledge, 1998. Print.
Bak, John S. "Criticism on A Streetcar Named Desire: A Bibliographic Survey, 1947-2003." Cercles.10 (2004): 3-32. Web. 9 Mar 2011.
Esch, Kevin. "I Don't See Any Method At All": The Problem of Actorly Transformation." Journal of Film and Video. 58 (2008): 95-107. Web.
Ebert, Roger. "A Streetcar Named Desire." Rev. of A Streetcar Named Desire, dir. Elia Kazan. Roger Ebert Reviews 12 May 1993. Web.
