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paper 2 - drama > Streetcar 11 > Flashcards

Streetcar 11 Flashcards

1
Q

why is there increased tension?

A
  • due to the echoed poker scene (although Stanley wasn’t in control then but is now)
  • Eunice’s presence is unusual
  • the masculine-feminine divide
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2
Q

‘The atmosphere of the kitchen…’

A

‘The atmosphere of the kitchen is now the same raw, lurid one of the disastrous poker night.’ - SD
- jovial, masculine scene
- sense of impending explosion

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3
Q

‘Stella has been…’

A

‘Stella has been crying as she arranges the flowery dresses in the open trunk.’ - SD
- something is clearly happening

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4
Q

‘[prodigiously elated]: You know…’

A

‘[prodigiously elated]: You know what luck is? Luck is believing you’re lucky. Take at Salerno. I believed I was lucky. I figured that 4 out of 5 would not come through but I would… and I did.’ - Stanley
- very much in control at this point (unlike this point in scene 3 where he was losing control of the situation)
- ‘Salerno’ references a WW2 battle

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5
Q

‘I put that down as…’

A

‘I put that down as a rule. To hold front position in this rat-race you’ve got to be believe you are lucky.’ - Stanley

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6
Q

‘You… you… you…’

A

‘You… you… you… Brag… brag… bull… bull.’ - Mitch
- incoherent in grief and anger but trying to criticise Stanley

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7
Q

‘[walking past the table]: I always did…’

A

‘[walking past the table]: I always did say that men are callous things with no feelings, but this does beat anything. Making pigs of yourselves.’ - Eunice
- her presence balances the masculine-feminine, especially when she ‘comes through the portieres into the bedroom’
- ‘making pigs of yourselves’ echoes Stella’s comment, Stanley doesn’t react though which shows he already has control

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8
Q

‘I - just told her that…’

A

‘I - just told her that - we’d made arrangements for her to rest in the country. She’s got it mixed in her mind with Shep Huntleigh.’ - Stella
- treating Blanche like a child or older person (instability?) - makes her seem vulnerable

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9
Q

‘[Blanche opens the bathroom…’

A

‘[Blanche opens the bathroom door slightly.]’ - SD
- ‘slightly’ makes her seem vulnerable, very different to her previous boldness

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10
Q

‘If anyone calls while…’

A

‘If anyone calls while I’m bathing take the number and tell them I’ll call right back.’ - Blanche
- still holding onto the fantasy, following patterns she is used to

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11
Q

‘That cool yellow…’

A

‘That cool yellow silk - the boucle. See if it’s crushed. If it’s not too crushed I’ll wear it and on the lapel that silver and turquoise pin in the shape of a seahorse.’ - Blanche
- lost much of her independence?
- still a sense of luxury with a ‘silver and turquoise pin’ even though we know its faked

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12
Q

‘You will find them in the…’

A

‘You will find them in the heart-shaped box I keep my accessories in.’ - Blanche

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13
Q

‘Try and locate a bunch of…’

A

‘Try and locate a bunch of artificial violets in that box, too, to pin with the seahorse on the lapel of the jacket.’ - Blanche

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14
Q

‘I couldn’t believe her…’

A

‘I couldn’t believe her story and go on living with Stanley.’ - Stella
- ‘story’ implies fiction
- would she have been able to leave anyway?

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15
Q

‘Don’t ever believe…’

A

‘Don’t ever believe it. Life has got to go on. No matter what happens, you’ve got to keep on going.’ - Eunice
- could this suggest that they know its true but have to deny it?

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16
Q

‘[To Eunice]: Tell her…’

A

‘[To Eunice]: Tell her how well she’s looking.’ - Stella
- reminiscent of ‘admire her dress and tell her she’s looking wonderful’ in scene 2

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17
Q

‘Please close the…’

A

‘Please close the curtains before I come out.’ - Blanche
- privacy, avoiding attention
- complete contrast to how she stepped in to the light in the earlier poker scene

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18
Q

’- How many for…’
‘Two. -‘
‘- Three.’

A

’ - How many for you.’ - Stanley (in control)
‘Two. -‘ - Pablo
‘- Three.’ - Steve
- quiet controlled interruption of the girls’ conversation, reminds of their presence but isn’t like the shouting from before

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19
Q

‘[Blanche appears…’

A

‘[Blanche appears in the amber light of the door. She has a tragic radiance in her red satin robe following the sculptural lines of her body. The ‘Varsouviana’ rises audibly as Blanche enters the bedroom.]’
- the ‘red satin robe’ once again reflect the poker night, it should be sexual but just shows her vulnerability
- her past has consumed her, she is completely linked to it ‘

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20
Q

‘[with faintly hysterical…]: I have just…’

A

‘[with faintly hysterical vivacity]: I have just washed my hair.’ - Blanche

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21
Q

‘[At the sound of Blanche’s…’

A

‘[At the sound of Blanche’s voice Mitch’s arm supporting his cards has sagged and his gaze is dissolved into space. Stanley slaps him on the shoulder.]’ - SD
- still affected by her
- Stanley’s slap shows how he keeps Mitch moving and controls him, it does seem cruel that Mitch is here for this

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22
Q

‘The sound of this new…’

A

‘The sounds of this new voice shocks Blanche. She makes a shocked gesture, forming his name with her lips. Stella nods and looks quickly away.’ - SD
- she is equally affected as Mitch is

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23
Q

‘Blanche stands still for…’

A

‘Blanche stands quite still for some moments - the silver-backed mirror in her hand and a look of sorrowful perplexity as though all human experience shows on her face.’ - SD

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24
Q

‘Blanche finally speaks…’

A

‘Blanche finally speaks with sudden hysteria.’ - SD
‘What’s going on here?’ - Blanche
- exactly what we’re asking, we know as little as she does (this is her narrative)

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25
Q

‘Her rising voice…’

A

‘Her rising voice penetrates the concentration of the game, Mitch ducks his head lower but Stanley shoves back his chair as if about to rise. Steve places a restraining hand on his arm.’ - SD
- she breaks the quiet atmosphere
- he is ashamed - avoiding it in contrast to Stanley’s confrontation
- clear support from Steve

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26
Q

‘[continuing]: What’s happened…’

A

‘[continuing]: What’s happened here? I want an explanation of what’s happened here.’ - Blanche

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27
Q

‘Why are you looking…’

A

‘Why are you looking at me like that? Is something wrong with me?’ - Blanche
- they’re treating her like a child (‘Hush! Hush! Honey.’ - E)

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28
Q

‘You look wonderful…’

A

‘You look wonderful, Blanche. Don’t she look wonderful?’ - Blanche

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29
Q

‘I understand you…’
‘Yes, Blanche…’
‘I’m…’
‘Help me…’

A

‘I understand you are going on a trip.’ - E
‘Yes, Blanche /is/. She’s going on a vacation.’ - S
‘I’m green with envy.’ - E
‘Help me, help me get dressed!’ - B
- manipulation, treating her like a child or frail person
- she falls back into the fantasy, rushing to get dressed

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30
Q

‘Yes, it will… to get out of…’

A

‘Yes, it will do! I’m anxious to get out of here - this place is a trap!’ - Blanche
- her disregard for her appearance shows just how desperate she is to leave
- ‘this place is a trap’ is a recurring idea from the past few scenes and contributes to the rising tension
- the way Stella and Eunice ignore the comment and instead focus n the colour of Blanche’s ‘jacket’ shows their determination to distract her and their denial of Stanley’s true nature

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31
Q

‘You’re both mistaken…’

A

‘You’re both mistaken. It’s Della Robbia blue. The blue of the robe in the old Madonna pictures. Are these grapes washed?’ - Blanche
- ‘old Madonna pictures’ associates her with purity and religion (which leads into the cathedral bell comment)
- ‘washed’ links to her luxury and obsession with purity, reflecting her view of herself

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32
Q

‘Washed, I…’

A

‘Washed, I said. Are they washed?’ - Blanche
- she comes across as condescending here, reinforcing the class divide between her and the other characters
- ‘[Being from the ‘French Market’] doesn’t mean they’ve been washed.’

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33
Q

‘[The cathedral…] Those cathedral…’

A

‘[The cathedral bells chime.] Those cathedral bells - they’re the only clean thing in the Quarter.’ - Blanche
- new, religious, imagery (we’ve not heard these before - what do they symbolise? Perhaps they are funeral bells representing the end for Blanche?’)
- another insult on the area and its people

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34
Q

‘[whispering]: She’s going to…’

A

‘[whispering]: She’s going to walk out before they get here.’ - Eunice
- again we wonder who ‘they’ are

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35
Q

‘I don’t want to pass…’

A

‘I don’t want to pass in front of those men.’ - Blanche
- contrast to how she stepped into the light last time
- ‘those men’ perhaps shows she doesn’t see herself as part of this group

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36
Q

‘[Blanche turns weakly…’

A

‘[Blanche turns weakly, hesitantly about. She lets them push her into a chair.]’ - SD
- she seems incredibly frail

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37
Q

‘I can smell the…’

A

‘I can smell the see air. The rest of my time I’m going to spend on the sea. And when I die, I’m going to die on the sea.’ - Blanche
- completely retreated to fantasy (defence mechanism)
- the sea is where she thinks she’s going now

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38
Q

‘You know what I shall…’

A

‘You know what I shall die of? [She plucks a grape.’ I shall die of eating an unwashed grape one day out on the ocean. I will die - with my hand in the hand of some nice-looking ship’s doctor, a very young one with a small blonde moustache and a big silver watch.’ - Blanche
- fixation on the sea and death
- this quiet but out-of-the-ordinary death encompasses Blanche’s hopes for her end - her real one will be very different
- ‘very young’ doctor contrasts to death, she will still be holding onto her ideals of a man
- wants someone to be who she was for the dying

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39
Q

'’Poor lady,’ they’ll…’

A

'’Poor lady,’ they’ll say, ‘the quinine did her no good. That unwashed grape has transported her soul to heaven.’ [The cathedral chimes are heard.]’ - Blanche
- desire for sympathy

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40
Q

‘And I’ll be buried at sea…’

A

‘And I’ll be buried at sea sewn up in a clean white sack and dropped overboard - at noon - in the blaze of summer - and into an ocean as blue as [chimes again] my first lover’s eyes!’ - Blanche
- ‘clean white sack’ represents purity even in death
- ‘ocean’ perhaps links to bathing
- her burial is elegant and romanticised with links to her first husband

41
Q

‘A Doctor and a Matron have…’

A

‘A Doctor and a Matron have appeared around the corner of the building and climbed the steps to the porch. The gravity of their profession is exaggerated - the unmistakable aura of the state institution with its cynical detachment.’ - SD
- we now know what is going to happen to Blanche, she will not get what she is fantasising about
- slight link to the ‘young’ ‘ship’s doctor’ though
- the ‘state institution’ perhaps links to William’s sister and his experiences with such institutions

42
Q

‘[Stella presses…’

A

‘[Stella presses her fist to her lips.]’ - SD

43
Q

‘[tensely]: I…’

A

‘[tensely]: I wonder if it’s for me.’ - Blanche
- we know it is

44
Q

‘[A whispered…’

A

‘[A whispered colloquy takes place at the door.]’ - SD

45
Q

‘[returning, brightly]: Someone…’

A

‘[returning, brightly]: Someone is calling for Blanche.’ - Eunice
- we now know they are lying - perhaps hoping she’ll go quietly if they follow the fantasy/southern ideals

46
Q

‘It /is/ for… [She looks…] Is it the…’

A

‘It /is/ for me then! [She looks fearfully from one to the other and then to the portieres. The ‘Varsouviana’ faintly plays.] Is it the gentleman I was expecting from Dallas?’ - Blanche
- her hope makes this seem even more emotional and the actions of the others more cruel
- once again her past haunts her, she is emotional and mad

47
Q

‘They’re waiting in…’
‘They!..’
‘There’s a…’
‘I cannot imagine who this…’

A

‘They’re waiting in front of the house.’ - E
‘They! Who’s ‘they’?’ - B
‘There’s a lady with him.’ - E
‘I cannot imagine who this ‘lady’ could be! How is she dressed?’ - B

48
Q

‘Just - just a…’

A

‘Just - just a sort of a - plain-tailored outfit.’ - E
- the lie beings to fall apart

49
Q

‘Possibly she’s -…’

A

‘Possibly she’s - [Her voice dies out nervously.]’ - B;lanche
- it’s not following her ideas of how it would

50
Q

‘Must we…’
‘How do…’

A

‘Must we go through that room?’ - Blanche
‘How do I look?’ - B

51
Q

‘[Blanche moves fearfully…’

A

‘[Blanche moves fearfully to the portieres. Eunice draws them open for her. Blanche goes into the kitchen.]’ - SD

52
Q

‘[to the men]: Please…’

A

‘[to the men]: Please don’t get up. I’m only passing through.’ - Blanche
‘The poker players stand awkwardly at the table - all except Mitch who remains seared, looking at the table.’ - SD
- parallel to scene three where she says the same ‘Please don’t get up’ but they do get up this time
- is it a mark of respect or preparation to help force her? Perhaps fear of what is going to happen
- ‘all except Mitch’ distinguishes him from the other men - perhaps he doesn’t follow Stanley so blindly anymore, has a different type of masculinity?

53
Q

‘You are not the…’

A

‘You are not the gentleman I was expecting. [She suddenly gasps and starts back up the steps. She stops by Stella, who stands just outside the door, and speaks in a frightened whisper.] That man isn’t Shep Huntleigh.’ - Blanche
- realisation, seeking help

54
Q

‘The ‘Varsouviana’…’

A

‘The ‘Varsouviana’ is playing distantly.’ - SD

55
Q

‘Stella stares back at…’

A

‘Stella stares back at Blanche. Eunice is holding Stella’s arm. There is a moment of silence - no sound but that of Stanley steadily shuffling the cards.’ - SD
- no one knows what to do

56
Q

‘Blanche catches her…’

A

‘Blanche catches her breath again and slips back into the flat. She enters the flat with a peculiar smile, her eyes wide and brilliant.’ - SD
- possibly trying to process and work out what is happening

57
Q

‘As soon as her sister…’

A

‘As soon as her sister goes past her, Stella closes her eyes and clenches her hands. Eunice throws her arms comfortingly about her.’ - SD

58
Q

‘Blanche stops just inside…’

A

‘Blanche stops just inside the door. Mitch keeps staring down at his hands on the table, but the other men look at her curiously.’ - SD

59
Q

‘At last she starts around the…’

A

‘At last she starts around the table towards the bedroom. As she does, Stanley suddenly pushes back his chair and rises as if to block her way. The Matron follows her into the flat.’ - SD
- Stanley and the Matron are connected, the represent physical threat to Blanche and trigger the ‘lurid reflections’

60
Q

‘Lurid reflections appear on…’

A

‘Lurid reflections appear on the walls in odd, sinuous shapes. The ‘Varsouviana’ is filtered into weird distortion, accompanied by the cries and noises of the jungle. Blanche seizes the back of a chair as if to defend herself.’ - SD
- she feels threatened again so the reflections reappear, she is trapped

61
Q

‘[The matron advances on one…’

A

‘[The matron advances on one side, Stanley on the other. Divested of all the softer properties of womanhood, the Matron is a peculiarly sinister figure in her severe dress. Her voice is bold and toneless as a fire-bell.]’ - SD
- the matron is impersonal, with no womanly features (opposite of Blanche, represents her future perhaps)
- very different to the southern ideals of a woman

62
Q

‘[The greeting is echoed and…’

A

‘[The greeting is echoed and re-echoed by other mysterious voices behind the walls, as if reverberated through a canyon of rock.]’ - SD
- less and less realistic - continued insight into Blanche’s feelings
- inhuman, horror tone

63
Q

‘She says that she…’

A

‘She says that she forgot something.’ - Stanley
- comes across as mocking and infantilising but un-threatening - he isn’t the threat the matron is

64
Q

‘[The echo sounds in…’

A

‘[The echo sounds in threatening whispers.]’ - SD

65
Q

‘[retreating…]: I don’t know…’

A

‘[retreating in panic]: I don’t know you - I don’t know you. I want to be - left alone - please!’ - Blanche
- emotional

66
Q

‘You left nothing her but…’

A

‘You left nothing here but spilt talcum and the old empty perfume bottles - unless it’s the paper lantern you want to take with you. You want the lantern?’ - Stanley
- how you might talk to a child
- when the lantern is removed (‘tearing it off the light-bulb’), it is like Blanche was never there, her mark is removed
- ‘You saw it before I came. Well, look at it now! This room is almost - dainty! I want to keep it that way.’ - Blanche, 9

67
Q

‘He crosses to dressing…’

A

‘He crosses to the dressing-table and seizes the paper lantern, tearing it off the light-bulb, and extends it towards her. She cries out as if the lantern was herself.’ - SD
- no longer any mark of her in the flat, this is the end for blanche

68
Q

‘The Matron steps boldly towards…’

A

‘The Matron steps boldly towards her. She screams and tries to break past the Matron. All the men spring to their feet.’ - SD
- the men follow stanley’s lead (‘rises as if to block her’)

69
Q

‘Stella runs out to the porch, with…’

A

‘Stella runs out to the porch, with Eunice followins to comfort her, simultaneously with the confused voices of the men in the kitchen. Stella rushes into Eunice’s embrace on the porch.’ - SD

70
Q

‘Oh, my God, Eunice…’

A

‘Oh, my God, Eunice, help me! Don’t let them do that to her, don’t let them hurt her! Oh, God, oh, please God, don’t hurt her! What are they doing to her? What are they doing? [She tries to break from Eunice’s arms.]’ - Stella
- regret? guilt? - clearly cares about her sister
- parallels Blanche in the way she tries to break away from Eunice

71
Q

‘No, honey, no, no…’

A

‘No, honey, no, no, honey. Stay here. Don’t go back in there. Stay with me and don’t look.’ - Eunice

72
Q

‘What have I…’

A

‘What have I done to my sister? Oh, God, what have I done to my sister?’ - Stella
- regret, shame, caring

73
Q

‘You dont the right…’

A

‘You done the right thing, the only thing you could do. She couldn’t stay here; there wasn’t no other place for her to go.’ - Eunice

74
Q

‘This is a…’
‘This is no way…’
‘Madre de…’

A

‘This is a very bad thing.’ - Pablo
‘This is no way to do it. She should’ve been told.’ - Steve
‘Madre de Dios! Cosa mala, muy, muy, mala!’ - Pablo
- “mother of God, bad thing, very, very bad”
- they disagree with Stanley’s methods, recognise the cruelty at least

75
Q

‘[Mitch has started towards…’

A

‘[Mitch has started towards the bedroom. Stanley crosses to block him.]’ - SD

76
Q

‘[wildly]: You! You done…’

A

‘[wildly]: You! You done this, all o’ your God damn interfering with things you-‘ - Mitch
‘Quit the blubber! [He pushes him aside.]’ - Stanley
- Stanley is defensive, almost passive, is the real stanley when he doesn’t feel threatened?
- Mitch seconds the other men who disapprove of what is going on

77
Q

‘I’ll kill…’

A

‘I’ll kill you! [He lunges and strikes at Stanley.]’ - Mitch
- initiates the fight, offensive in contrast to Stanley’s passive defence
- he is clearly emotional and angry

78
Q

‘Mitch collapses at…’

A

‘Mitch collapses at the table, sobbing.’ - SD

79
Q

‘During the preceding scene, the Matron catches…’

A

‘During the preceding scene, the Matron catches hold of Blanche’s arm and prevents her flight. Blanche turns wildly and scratches at the Matron. The heavy woman pinions her arms. Blanche cries out hoarsely and slips to her knees.’ - SD
- Blanche has been reduced to nothing, she animalistically defends herself and seems desperate and submissive in the way she ‘slips to her knees’

80
Q

‘He takes off his…’

A

‘He takes off his hat and now becomes personalized. The inhuman quality goes. His voice is gentle and reassuring as he crosses to Blanche and crouches in front of her.’ - SD
- treats her like a person and she responds to it

81
Q

‘As he speaks her name….’

A

‘As he speaks her name, her terror subsides a little. The lurid reflections fade from the walls, the inhuman cries and noises die out and her own hoarse crying is calmed.’ - SD
- Blanche’s fantasies and ideals are not threatened by the doctor in the same way as they are by the matron, he is personal, respectful and a man - this is why the reflections fade when he takes over

82
Q

what does the doctor call Blanche?

A

‘Miss DuBois.’

83
Q

‘She turns her face to…’

A

‘She turns her face to him with desperate pleading. He smiles’ - SD

84
Q

‘[faintly]: Ask her…’

A

‘[faintly]: Ask her to let go of me.’ - Blanche
- stark change from the explosive noise and energy from a few moments ago

85
Q

‘[The Matron releases her. Blanche…’

A

‘The Matron releases her. Blanche extends her hands towards the Doctor. He draws her up gently and supports her with his arm and leads her through the portieres.]’ - SD
- fits the ideal, holding her as if they were going for a walk

86
Q

‘[holding tight to…]: Whoever you are…’

A

‘[holding tight to his arm]: Whoever you are - I have always depended on the kindness of strangers.’ - Blanche

87
Q

‘The poker players stand…’

A

‘The poker players stand back as Blanche and the Doctor cross the kitchen to the front door. She allows him to lead her as if she were blind.’ - SD
- mixture of respect and fear as if she is a wild animal
- put her trust in another man

88
Q

‘As they go out on the…’

A

‘As they go out on the porch, Stella cries out her sister’s name from where she is crouched a few steps upon the stairs.’ - SD

89
Q

‘Blanche walks on…’

A

‘Blanche walks on without turning, followed by the Doctor and the Matron. They go around the corner of the building.’ - SD
- composed, dignified, quiet exit - embraced her end
- she comes across as high status and humanised rather than animalised as she had been in this scene
- good lasting impression
- contrasts with Stella’s reactions

90
Q

Stella and Blanche at the end of the play

A
  • antithetical: Blanche ‘walks on without turning’ whilst Stella ‘cries out’ and ‘sobs with inhuman abandon’
  • they have almost switched places from the start of the play when blanche was emotional and dramatic and Stella was composed and emotionless
91
Q

‘Eunice descends to…’

A

‘Eunice descends to Stella and places the child in her arms. It is wrapped in a pale blue blanket. Stella accepts the child, sobbingly.’ - SD
- almost reinforcing to Stella why she had to do this
- ‘pale blue blanket’ seems to symbolise innocence and youth, this is the new generation of Stanleys and Mitches

92
Q

‘Eunice continues downstairs and enters the…’

A

‘Eunice continues downstairs and enters the kitchen where the men, except for Stanley, are returning silently to their places about the table. Stanley has gone out on the porch and stands at at the foot of the steps looking at Stella.’ - SD
- back to normal as if nothing happened

93
Q

‘[She sobs…’

A

‘[She sobs with inhuman abandon. There is something luxurious in her complete surrender to crying now that her sister is gone.]’

94
Q

‘[voluptuously…]: Now, honey. Now…’

A

‘[voluptuously, soothingly]: Now, honey. Now, love. Now, now Love. [He kneels beside her and his fingers find the opening of her blouse.] Now, now, love. Now, love…’ - Stanley
- the sexual pre-Blanche relationship
- almost insensitive, perhaps the only way he knows how to comfort

95
Q

‘[voluptuously…]: Now, honey. Now…’

A

‘[voluptuously, soothingly]: Now, honey. Now, love. Now, now Love. [He kneels beside her and his fingers find the opening of her blouse.] Now, now, love. Now, love…’ - Stanley
- the sexual pre-Blanche relationship
- almost insensitive, perhaps the only way he knows how to comfort

96
Q

‘[The luxurious sobbing, the sensual…’

A

‘[The luxurious sobbing, the sensual murmur fade away under the swelling music of the ‘blue piano’ and the muted trumpet.]’ - SD
- the blue piano overpowering everything else symbolises how Stanley has won

97
Q

last line of the play

A

‘This gave is a seven-card stud.’ - Steve
- life will go on
- we’re left with questions of what happens next (different to traditional tragedy)

98
Q

is the end of Streetcar fitting to Blanche?

A

For such a dramatic person, this ending is the biggest downfall possible - it’s more tragic than if she had just died. Death would have suited her, it would’ve been what she wanted for the end - like she described earlier in the scene. It is still elegant and quiet though (like she described).

paper 2 - drama (49 decks)

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