A Streetcar Named Desire

Indubitably, Tennessee Williams is one of the most influential playwrights of the 20 th century. Despite his grand popularity only two plays had been translated before Jacek Poniedziałek published his collection. The aim of the paper is to show the translation strategies implemented by the translator and comment on the validity of his choices. In contrast to Kazimierz Piotrowski and Eugeniusz Cęcalski, Poniedziałek preserves vernacular language and often adds words or phrases that could not have been uttered in the forties. This provokes a question what kind of language is spoken in Poniedziałek's Streetcar. In my research I try to find these elements of the play which might have been lost in the sphere of drama translation. Moreover, I will compare Poniedziałek's strategy with a more conservative approach taken by the previous translator. Sztuki Tennessee Williamsa, jednego z najbardziej rozpoznawalnych drama-turgów amerykańskich XX wieku, cieszą się popularnością również w Polsce. Takie pozycje, jak Noc Iguany, Tatuowana róża czy Nagle, zeszłego lata były wielokrotne wystawiane na deskach polskich teatrów. Mimo niekwestionowanej popularności sztuki Williamsa zostały wydane w oficjalnej formie książkowej jedynie dwukrot-nie: Tramwaj zwany pożądaniem w tłumaczeniu Eugeniusza Cękalskiego opubli-kowany w "Dialogu" w roku 1957; dziesięć lat później Kazimierz Piotrowski prze-łożył Szklaną menażerię, która znalazła się w trzecim tomie antologii Współczesny dramat amerykański. Oczywiście dzieła Williamsa były tłumaczone i interpreto-wane jeszcze wielokrotnie, lecz poza wspomnianymi przekładami żadna wersja nie została oficjalnie wydana. W 2012 r. nakładem Wydawnictwa Znak ukazał się zbiór dramatów Williamsa w przekładzie Jacka Poniedziałka Tramwaj zwany po żądaniem i inne dramaty, w którym oprócz tytułowej sztuki znalazła się Szklana http://dx.

This article examines the language of clothes in Elia Kazan's 1951 film A Streetcar Named Desire, focusing on the outfits of the main character, Blanche DuBois, portrayed by Vivien Leigh. Represented in contrast to the garments worn by other characters and especially her nemesis, Stanley Kowalski, Blanche's clothes express complex messages with regard to social class and cultural identity, which feed into broader midcentury controversies around fashion in America, the performativity of clothing and its potential uses as a passing device. Another line of enquiry concerns the differences between Tennessee Williams' descriptions of Blanche's appearance in the play and their realization on screen, the “translation” of the playwright’s remarks into cinematic images, and the resulting visual narratives, which give weight to specific readings of the plot. Finally, the article approaches the image of Blanche as a reflexive commentary on the nature of film and a critique of Hollywood glamor. By emphasizing the constructedness of Blanche’s appearance: her “dressing for the part,” the use of setting, lighting and even music to enhance her social performance, the film questions its own artifice, while Vivien Leigh simultaneously embodies and deconstructs the image of blonde femininity, which dominated the cinema of the era.

This essay explores how Tennessee Williams has made use of props and stage directions, in A Streetcar Named Desire (written in 1947), to provide the audience insight into Blanche's character and psychological state as well as develop her character. By exploring the symbolic meaning of bathing, lighting and flowers, and the necessity of music and clothing for Blanche's character, this essay concludes that the play has conformed to the norms followed by a majority of plays. This has been done to captivate the audiences interest and arouse speculation and excitement within the crowd. Through the use of quotes and examples from A Streetcar Named Desire, the essay has provided evidence to support why something was done and for what purpose. Also, the use stage directions are discussed and the purpose behind them. The conclusion drawn at the end of this essay is how props and stage directions contribute to Blanche's character and what we can understand about Blanche through the symbolism used in the play.

This essay explores how Tennessee Williams has portrayed the upper class and lower class in his play ‘A Streetcar Named Desire’ (written in 1947), with Blanche representing the old Southern upper class and Stanley representing the developing lower classes. The essay is linked to Part 3 of the English HL course.

By using evidence and quotes from the play, this essay explores the different features of each class and the differences between both, as well as the reason why William’s has portrayed them in such a way. This has been done to convey that both sides have flaws and ultimately, it is pride and unwillingness to compromise that will lead to a hostile situation and result in one victor rather than both sides being satisfied. Moreover, through depicting them as such, the writer has convinced the audience that both sides are flawed but a power struggle is not a suitable solution.

The essay concludes that Williams has portrayed the lower classes as stronger because after the American Revolution and the influences of the Second World War, the upper classes were deteriorating and the lower classes were rising up against them. The victor was ultimately Stanley, and the lower class.

In the history of the relation between jazz and feature film, two movies had a crucial role: The Jazz Singer by Alan Crosland (1927) and A Streetcar Named Desire by Elia Kazan (1951). In the first case jazz is the subject of narration; in the second one the jazz music is an expressive tool for narrative purpose. This was not a sudden change  and before A Streetcar Named Desire there had been many important cases (not always well documented) where jazz cues are used for underscoring a scene. This essay offer an overview of the presence of jazz in the film music before the emergence of jazz-orientated film soundtrack in 1951, collecting many examples and proposing a typology of themes and connotations. The jazz connotation to portray characters and situations lead to the stereotypes with which the American culture saw black people and black culture. Moral weakness, sordid places, and uncontrolled instincts were linked to jazz and these characteristics were projected, through the use of a jazz cues, to the characters on the screen. The essay ends with a focus on the use of jazz in Italian movies under the Fascism and in the postwar years.

The decentralization process from Copernicus to Freud proved that no human knowledge could be relied on with definite certainty. The modern world is the world of facts, not truths. Literature is one fact among the many and it could have, in turn, many facts in itself. Besides, literature, and especially dramatic production are supposedly the mirror of real life. The distance we have with this life, to use a Brechtian notion, helps us get a gestalt view of it. Adler (1990) and Thomieres (2012) have worked on the structural aspects of Tennessee Williams's A Streetcar Named Desire to reach at a psychological understanding of the relations in the play. More specific psychoanalytic analysis of the work has been conducted by Timpane (1995), Silvio (2002) and Lidya (2011). This research aims at shedding light on the multiple layers of the play using the Lacanian psychoanalytic concepts of Dream and Desire. The research gives us a new interpretation and understanding of life, people, and society based on the structure and content of A Streetcar Named Desire. Among all the researches that have been conducted on the works of Williams so far, not much has been done on this aspect.

This paper analyzes Williams' two best known plays, A Streetcar Named Desire and Cat on a Hot Tin Roof. Sex is used throughout these texts as a tool of power and control. Williams shows the complications behind this seemingly natural and simple physical act and how the wielding of sexual power can be devastating.

Movie adaptations of dramatic works have always been very popular. Tennessee Williams’s A Streetcar Named Desire (1947) has been adapted several times and in different ways. Feminist and gender studies have examined the important role of Otherness in the construction of female identity. Using their findings, we compare the ways in which the theme of Otherness has been employed in representing female gender identity in Tennessee Williams’s A Streetcar Named Desire and in its Iranian film adaptation, The Stranger (Bigāneh) (2014). The results of the study show that while in both works the female characters' traditional female roles have been highlighted, in the Iranian movie the main female character economically enjoys a relatively higher independence and can have a voice of her own to act against the patriarchal traditions. Besides, whereas in the source text women’s identity is solely associated with their being the Other of men, women in The Stranger stand on a par with their ...

espanolLa pelicula irani La forastera (Bigāneh, 2014) dirigida por Bahram Tavakoli, es una adaptacion libre de A Streetcar Named Desire, de Tennessee Williams. Tanto la obra como su adaptacion versan sobre la condicion de las mujeres. Pretendemos explorar comparativamente los roles de genero de las mujeres, representados en el drama y en su adaptacion. Tras examinar los roles genericos de las mujeres como esposas, madres y hermanas, se concluye que el director irani ha adaptado exitosamente el personaje de Stella a la cultura irani, como Sepideh. Manteniendo el argumento del texto fuente, ha creado un nuevo personaje que se imbrica en la cultura irani-islamica. En cambio, ha incorporado el personaje de Blanche-Nasrin para contrastar con una mujer ideal en el contexto irani. Nasrin perteneceria mas al mundo de Williams, debido a sus pautas de comportamiento, ajenas a los codigos culturales de Iran, de raiz islamica EnglishThe Iranian movie The Stranger (Bigāneh, 2014), directed by Ba...

Project Title College Course Feedback-Winter 2022 Number Enrolled 20 Number of Responses 12 Report CommentsOpinions expressed in these evaluations are those of students enrolled in the specific course and do not represent the University. Creation Date Monday, April 4, 2022 Download PDF What are the most important things that you learned in this course? Please reflect on the knowledge and skills you gained.

This paper analyzes Woody Allen's 2013 movie Blue Jasmine as a pastiche of the famous 1951 movie A Streetcar Named Desire, directed by Elia Kazan. The paper points out the similarities between the two films in terms of plot and relationships between female and male characters, as well as the differences between them in terms of genre and film techniques. The main emphasis in the comparative analysis of these movies is placed on the character and destiny of the female protagonist – Blanche DuBois and Jasmine French. At the end of the paper, the author draws attention to the name of Woody Allen’s protagonist as proof that Blue Jasmine should be interpreted not as a parody but rather a pastiche of A Streetcar Named Desire.

: In Lacan’s clinical study, the Borromean Knot represents the balance in the psychological frame of mind. These are represented by the three interlinked rings that have been established in the formative years of the development of mind. Before one builds a communicative link with the outside world by employing language.
However in some cases the influence of the external factors affects the balance thereby disrupting the Borromean Knots. This disruption being complex and unsystematic was not well justified by Lacan. This shortcoming can be justified through the incorporation of Indian Aesthetics Approach of Dhvani. That helps to analyze language at a deeper level and also identify the detailed disruption while justifying it. This concept can be analyzed on the literary perspective through the character analysis of Blanche, from A Streetcar Named Desire by Tennessee Williams.

Elia Kazan is among the first directors who adapted Tennessee Williams’s A Streetcar Named Desire (1951) for the cinema. Kazan’s film adaptation was almost faithful to the original manuscript by sticking to Williams’s words and sentences. However, even if one ignores the cultural and historical contexts, the alterations that take place in the process of trans-mediation cannot be disregarded, since the telling mode in the text changes to the showing mode in the media. With this hypothetical basis, the present study aims to detect the possible alterations in the adaptation of the play to examine gender roles in both texts. Using the ideas of Linda Hutcheon in A Theory of Adaptation (2013), the authors have studied the verbal signs in the play together with the verbal and visual codes in the movie to assess how the film adaptation has incorporated the ideas of femininity, which are the main concerns of the play, too. The results of the study suggest that the alterations from the literary text to film have contributed to the development of female identity.