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. A Streetcar Named Desire - podmimokongist.ga - Download as PDF File .pdf), Text File . txt) or view presentation slides online. Mohammed the First University Faculty of Letters and Human Sciences English Department Abjection and Desire in A Streetcar Named Desire Term Paper 1.
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Nicola Onyett and Luke McBratney. A. Streetcar. Named. Desire by Tennessee Williams. STUDY. REVISE. AND for AS/A-level. A Streetcar Nam ed Desire. PDF | Translationa dn reception of Williams' "A Streetcar Named Desire" outside of the United States. PDF | 60+ minutes read | The 20 th century generation, especially the Confronting Tennessee Williams's A streetcar named desire: Essays in.
That is the way we all see each other in life. Vanity, fear, desire, competition — all such distortions within our own egos — condition our vision of those in relation to us. Add to those distortions in our own egos, the corresponding distortions in the egos of the others — and you see how cloudy the glass must become through which we look at each other… I remember you asked me what should an audience feel for Blanche.
Certainly pity. It is a tragedy with the classic aim of producing a katharsis of pity and terror, and in order to do that Blanche must finally have the understanding and compassion of the audience. This without creating a black-dyed villain in Stanley. It is a thing misunderstanding not a person Stanley that destroys her in the end. A wire from Irene and a letter from Audrey indicate that both of them feel you have definitely withdrawn yourself from association with us and that we must find someone else.
This is an American play. But then negotiations reopened with Kazan. Originally, he said he would only direct Streetcar if Selznick were fired.
Back, forth, back forth. Kazan negotiated for artistic control and billing, until finally, he was on board. Williams was ecstatic.
Irene says you think the play needs considerable re-writing. I spent a long time on it and the present script is a distillation of many earlier trials.
For the last scene, where Blanche is forcibly removed from the stage — I have an alternative ending, physically quieter, which could be substituted if the present ending proves too difficult to stage. Letter of Tennessee Williams to Elia Kazan, May , from Cape Cod: The cloudy dreamer type which I must admit to being needs the complementary eye of the more objective and dynamic worker. I believe you are also a dreamer.
There are dreamy touches in your direction which are vastly provocative, but you have a dynamism that my work needs to be translated into exciting theater. It should be controlled but violent…I think we can learn and grow with it and possibly we can make something beautiful and alive whether everyone understands it or not. People are willing to live and die without understanding exactly what life is about but they must sometimes know exactly what a play is about.
I hope we can show them what it is about but since I cannot say exactly what it is about, this is just a hope. But maybe if we succeed in our first objective of making it alive on the stage, the meaning will be apparent. I hope you agree. The face is comical but the man has a dignified simplicity and he is a great actor.
I also met Burt Lancaster. Was favorably impressed.
He has more force and quickness than I expected from the rather plegmatic type he portrayed in The Killers. He also seemed like a man who would work well under good direction. As that last paragraph indicates, both Williams and Kazan were turning their minds to casting. I will do a lot of cutting then.
The rewrite on Scene V does not read as well as original but I think it will play better and is more sympathetic for Blanche. Makes Mitch more important to her. The back wall of the interior is translucent with a stylized panorama showing through it of the railroad yards and the city when lighted behind.
It will add immensely to the poetic quality. Kazan and Garfield went back to the 30s, to the Group Theatre, and Garfield was now a movie star. Garfield balked at the idea of coming back for an open-ended run which would keep him out of Los Angeles indefinitely. The trade papers announced in early August that Garfield had signed on to play Stanley — although this was not true.
Garfield wanted to do a limited four-month run, and he also wanted to be guaranteed the role in the film, if things moved in that direction. Irene Selznick turned Garfield down, and so they had to, again, look for another Stanley. This actor has had summer stock experience and has chased a stage coach in a Grade B Western. It was his first time on a horse.
He is more adventuresome than I. I think it was a brutal experience for this actor, and I do regard actors as human beings, some of them just as sensitive and capable of disappointment and suffering as I am. I am very anxious to see and hear him as soon as I can.
He is going to read for Gadge and if Gadge likes him I would like to have a look at him. Brando was 23 years old. Williams had originally rejected even the idea of seeing Brando for the role at all, since in his mind Stanley was around Kazan understood the difference between audition and performance — that someone can be amazing onstage and awful at auditions.
Brando read the script and was impressed but also scared by it. Brando to reporter Bob Thomas: I finally decided that it was a size too large for me, and called Gadg to tell him so.
The line was busy. Williams was sitting in his beach house at Provincetown, with Pancho, his hot-tempered lover, and a couple of friends from Texas. Everyone was drunk. The electricity and the plumbing were not working so they were sitting there in the gathering dark when Brando arrived.
Brando strolled in, assessed the situation, walked into the bathroom, stuck his hand down the toilet to unclog it, and then fiddled with the blown fuses to get the electricity back on. Imagine a young Brando doing this. Brando was no idiot. No lights? No toilet? He got 30 seconds into it when Williams stopped him and told him he had the part.
Williams gave him bus fare to go right back to New York to sign the contract. He seemed wary and at a loss how to classify me.
He was wayward one moment, playful the next, volunteering that he had been expelled from school, then grinning provocatively at me. It was easy going after that. He sat up in his chair and turned forthright, earnest, even polite. It had not occurred to me before what an excellent value would come through casting a very young actor in this part. It humanizes the character of Stanley in that it becomes the brutality or callousness of youth rather than a vicious older man.
He seemed to have already created a dimensional character, of the sort that the war has produced among young veterans. This is a value beyond any that Garfield could have contributed, and in addition to his gifts as an actor he has great physical appeal and sensuality, at least as much as Burt Lancaster. When Brando is signed I think we will have a really remarkable 4-star cast, as exciting as any that could possibly be assembled and worth all the trouble that we have gone through.
Having him instead of a Hollywood star will create a highly favorable impression as it will remove the Hollywood stigma that seemed to be attached to the production.
The rest of the cast was finalized. Rehearsals for Streetcar began in October. Here is Elia Kazan on how he worked with Brando. Kazan was cunning, manipulative, secretive: he worked with each actor differently, pulling each one aside, whispering, cajoling, planting seeds. Brando was different though.
I treated him with great delicacy. One reason he got to trust me — as a director — was that I respected his privacy… I was always hoping for a miracle with him, and I often got it.
Kazan describes pulling Brando aside and starting to say something to him, and Brando would hear the first two or three words, then nod, turn and walk away. Because he got it. He understood. He absorbed everything — quickly, immediately. So few people are that absorbent.
I know where to look, where to put my hand in, what to try to pull out, what to get. However, Brando was a genius.
So we have to factor that in. He was an unusual case. Brando described Stanley: A man without any sensitivity, without any kind of morality except his own mewling, whimpering insistence on his own way … one of those guys who work hard and have lots of flesh with nothing supple about them. They never open their fists, really. They grip a cup like an animal would wrap a paw around it. That is incredibly insightful analysis.
In what is a well-known fact now, after one week of rehearsal Brando moved into the theatre, sleeping on a cot backstage. He felt insecure. He stopped eating, sleeping.
He was late to rehearsals. Kazan, rather than being impatient, was tender. He understood the stretch Brando was experiencing, and the fear that came with it. The other actors were at almost performance-level in their rehearsals, and Marlon was still mumbling and wandering around.
This was true struggle. Marlon Brando is so imitated now it is hard to remember just how revolutionary the performance was. It was very frustrating for the other actors. Marlon would come in before you said your line, or way after you said your line, or even before you had anything to say. The best was all wrong. Anyway, it was just beginning to go well for me for the first time — when you think, Oh, my God, this is it — and boom, he hit me with one that just upset everything.
He, happy because of the baby, tries to make her celebrate, but she does not want to. As she tries to pass him, he gets violent, and things escalate that far that he takes her to the bedroom and rapes her. We find out that very soon, a doctor is to take her to an asylum, thinking she is insane, but Blanche believes that she will be leaving with her lover.
Stella could not believe the story that her husband raped her. Soon, the doctor arrives, and Blanche gets out of the bathroom, and the verbalization of her thoughts make us realize that she has indeed lost her mind. At first, she fights back not wanting to leave, but then when the doctor approaches her gently, she agrees to it.
As she leaves, Stella cries holding her child in her hands, while Stanley comforts her, uttering loving words. Like this summary? I, as a Brando fan, have always loved this movie! So, you can just imagine how overjoyed I was when I finally read the play. Usually, I do not find plays interesting, but oh boy, has this one hooked me in completely! And, if you really, really, really hate reading plays, then at least watch the movie.
For those of you who want to learn something new daily, 12min App takes you on a personal development journey with the key takeaways from the greatest bestsellers. PT ES. Learn more and more, in the speed that the world demands. Take this summary with you and read anywhere! Download PDF: Download a Mountain of Knowledge For those of you who want to learn something new daily, 12min App takes you on a personal development journey with the key takeaways from the greatest bestsellers.