A Streetcar Named Desire

It is a very short list of 20th-century American plays that continue to have the same power and impact as when they first appeared—57 years after its Broadway premiere, Tennessee Williams' A Streetcar Named Desire is one of those plays. The story famously recounts how the faded and promiscuous Blanche DuBois is pushed over the edge by her sexy and brutal brother-in-law, Stanley Kowalski. Streetcar launched the careers of Marlon Brando, Jessica Tandy, Kim Hunter and Karl Malden, and solidified the position of Tennessee Williams as one of the most important young playwrights of his generation, as well as that of Elia Kazan as the greatest American stage director of the '40s and '50s.

Who better than America's elder statesman of the theater, Williams' contemporary Arthur Miller, to write as a witness to the lightning that struck American culture in the form of A Streetcar Named Desire? Miller's rich perspective on Williams' singular style of poetic dialogue, sensitive characters, and dramatic violence makes this a unique and valuable new edition of A Streetcar Named Desire. This definitive new edition will also include Williams' essay "The World I Live In," and a brief chronology of the author's life.

Taking place in New Orleans, "Streetcar" tells the painful story of aging southern belle Blanche DuBois, her sister Stella, Stella's brutish husband Stanley, and the circle of people who frequent Stella's home. Williams creates an incisive examination of human sexuality and socioeconomic difference. His characters come to life with powerful dialogue; this play is a heartbreaking read.

A compelling companion text for "Streetcar" would be Eugene O'Neill's classic play "Anna Christie," which won the Pulitzer for the 1921-22 theater season. Like "Streetcar," "Anna" deals with male expectations of female sexuality in a powerful way.

Willams' Blanche is truly one of the most memorable female characters in United States literature. "Streetcar" is an unforgettable tapestry of desire, shame, and disturbing revelations. An essential text for anybody with an interest in 20th century drama.


An eternal tragedy in our modern world   May 28, 2003
Jacques COULARDEAU (OLLIERGUES France)
13 out of 15 found this review helpful

Tennessee Williams probably signed there his best play, at least the one that is best-known. It is entirely centered on a woman who flees from Mississippi to New Orleans to live, for a while, with her married sister. The two sisters were born in the Southern aristocracy that got bankrupt by not being able, or even refusing, to get into the new flow of time. One went away and married a working class immigrant who is in many ways uncultured and rough, even violent at times. But desire is stronger than that violence and love survives a row from time to time, provided truthfulness and some sensual sincerity exist. But that is only the secondary theme to which Blanche, the other sister, is confronted and this brings back her real drama that is burried in her memory. She married very young. Her husband was also very young and a poet. But she discovered that he also was gay and she could not accept it due to her southern aristocratic principles. He was an abomination and she told him so one night and he went out and killed himself. She never overcame her guilt and she delved into a more and more dissolute life with any man that could come along, till she went back to a substitute of her dead husband, a 17 year old boy. The family protested and she was expelled from the school system (she was a teacher) and from the city. Confronted to the life of her sister and husband, she regresses into southern sophistication. She comes across a man, Mitch, who could and even would like to marry her. But her sister's husband, wanting to get rid of her, exposes her lies about her past to his friend Mitch and his wife. He destroys the dream and Blanche sinks into some psychotic nightmare that becomes a complete breakdown when her brother in law, on the very night when his son was born, rapes her. The end is a lesson about the savage and wild world in which we live and in which life must go on, or, as actors say, the show must go on. Her sister has to come to terms with this sad event, accept it or rather negate it not to be broken up by the event, and sister and husband have to get rid of Blanche. Only one solution : to have her institutionalized. The play is an extremely strong exposure of that simple fact that one has to follow the trend and change along with the world, no matter how hard it may be to adapt, to survive and remain balanced and sane in an insane and completely incomprehensible world. It also exposes that one is in a way one's own victim when one is not able to accept the world the way it is and imposes rules from the past onto it. This is probably the worst crime because it leads other people into suffering or even death, and you into guilt. So what is the desire that is at stake on such a play ? Sexual desire ? Maybe. Sentimental desire ? Maybe. But first of all the desire to survive by paying the price you have to pay for it. It thus becomes the exposure of a society in which feelings, sentiments, sexual impulses are nothing but secondary emotions and pleasures that can gratify your life if you are able to adapt to the world and survive in it. This world is inhumane, dehumanized, extremely savage. Men and women are like animals who can only aim at surviving or satisfying their animal impulses. Culture, civilization, principles, ethics, everything really human becomes a trauma in such a world. At the time of the play the only outcome could be the sacrifice of those who cannot adapt. Has it really changed ?

Dr Jacques COULARDEAU, University of Perpignan


A Humble Literary Criticism of A Streetcar Named Desire   May 9, 2001
Richard O Frazier II (Arlington, TX USA)
7 out of 7 found this review helpful

Tennessee Williams utilizes sounds and music throughout A Streetcar Named Desire to change the mood, to foreshadow the future events, and to reveal the inner workings of the character's minds. The use of music, especially the use of polka music, dictates the mood of the play. The rushed, pounding polka inspires a sense of insanity in the reader, and even more so from a person watching the play. The reader can tell that Blanche is slowly going insane just because of the powerful polka music. The music even shows what could have been, such as when, in the beginning of scene nine, Mitch saves Blanche from the tortuous polka. This symbolizes that Mitch could have saved Blanche from her ultimate insanity. The other major music in the book is the "Blue Piano." This music is often in the background when Stanley and Stella are acting like they are in love. This music almost seems to entice the two lovers into an even deeper state of loving each other. In the first scene, the "Blue piano" plays, and the married couple are flirting and having a good time with each other. This musical symbol is very powerful and important, enough so to be the subject of the final stage direction in the play. The play's "happily ever after" ending is characterized by "the swelling of the 'blue piano' and the muted trumpet." Without this symbolism, Stanley and Stella's love for each other would not be as evident, and scenes like the end of scene three would be much more confusing if the music was not being played. These two major pieces of music serve as translators for the reader and film patron; the music foreshadows, interprets character's thoughts and emotions, and changes the mood of the play.