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Journal articles on the topic 'A streetcar named Desire (play)'

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Published: 7 June 2025

Last updated: 2 August 2025

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1

Rodriguez, Kaitlyn Farrell. "The Kindness of Strangers: Eugenics and Tennessee Williams’s A Streetcar Named Desire." Modern Drama 66, no. 1 (2023): 1–25. http://dx.doi.org/10.3138/md-66-1-1249.

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This article argues that Tennessee Williams’s A Streetcar Named Desire offers a broad critique of eugenic ideology, epitomized in Williams’s choice to end the play with Blanche DuBois’s forced institutionalization. By comparing the published 1947 play with eight distinct draft Streetcar scenes archived at the Harry Ransom Center at the University of Texas at Austin, I recover Williams’s dramatic critiques of the cruelty of twentieth-century American eugenic social policy. Over the course of Streetcar’s drafts, Williams accentuates Blanche’s increasing loss of reproductive and bodily control, e

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Silva, Leonardo Medeiros da, André Carrico, and (tradução) Angiuli Copetti de Aguiar. "Dramaturgy and space in A streetcar named Desire." Dramaturgia em foco 8, no. 2 (2024): 122–37. https://doi.org/10.5281/zenodo.13800867.

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This paper results from an analysis of the representation of space and its possible relationships with dramaturgy. In this regard, this paper aims to analyze the play <em>A streetcar named Desire </em>(Tennessee Williams, 1947), considering the relation between space and dramaturgy, just as the discursive matrices present in the space narrative of the theatrical play. The study has a qualitative approach, constituted as a case study based on a bibliographical review. The study concluded that the stage directions reveal meanings and discourses in the space and the action of the characters in th

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Kolin, Philip C. "“Cruelty … and Sweaty Intimacy”: The Reception of the Spanish Premiere of A Streetcar Named Desire." Theatre Survey 35, no. 2 (1994): 45–56. http://dx.doi.org/10.1017/s0040557400002787.

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The circumstances surrounding the national premieres of Tennessee Williams's A Streetcar Named Desire reflect not only the play's vibrant theatre life but also the particular culture that responded to it, validating past or anticipating future critical interpretations. Within two years of the Broadway (and world) premiere of Streetcar in December 1947, the play had been staged in Austria, Belgium, Holland, France (adapted by Jean Cocteau), Italy (with sets by Franco Zeffirelli), England (directed by Sir Laurence Olivier), Switzerland (with a translation by poet Berthold Viertel), and Sweden (d

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Pei, GAO. "Stella’s Choice - Re-read A Streetcar Named Desire." Studies in English Language Teaching 8, no. 4 (2020): p10. http://dx.doi.org/10.22158/selt.v8n4p10.

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Tennessee Williams’ A Streetcar Named Desire reveals Blanche’s tragic fate in the period of social change from the perspective of sexual conflict, and reveals the contest between the declining traditional civilization of the South and the emerging industrial civilization in American history. The play renders symbolism to show incisively and vividly the collision between the industrial civilization of the north and the planting civilization of the south, as well as the collision between personal fantasy and the reality of that time. In order to highlight the theme better, the writer skillfully

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Eisler, Garrett. "When Blanche Met Brando: The Scandalous Story of “A Streetcar Named Desire”." Theatre Survey 47, no. 1 (2006): 118–19. http://dx.doi.org/10.1017/s0040557406240092.

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Sam Staggs's When Blanche Met Brando may not be the most scholarly commentary on Tennessee Williams, but it is certainly informative. Aiming “to synthesize, as no previous writer has, the first-hand accounts of those who were there” (xii) for both the 1947 Broadway premiere of A Streetcar Named Desire and its 1951 film, as well as subsequent revivals, Staggs succeeds at revealing the gulf between myth and fact, between play and production. By illuminating its twisted path of accidents from genesis to premiere to “classic,” Staggs reminds us that Streetcar by no means was destined to take on th

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Al-Khalili, Raja Khaleel. "The Application of Bakhtin’s “Heteroglossia” to Tennessee Williams’s A Streetcar Named Desire." Advances in Language and Literary Studies 9, no. 6 (2018): 223. http://dx.doi.org/10.7575/aiac.alls.v.9n.6p.223.

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Tennessee William in A Streetcar Named Desire shows the struggles of middle class Americans as they undergo socio-ideological contradictions. The research applies Bakhtin’s theory that is defined in his book The Dialogic Imagination and specifically applies heteroglossia on A Streetcar Named Desire. Edward Said’s concept of “orientalism” is useful because Said’s concept explains the link between the problems of American society and its heterogeneous structure. Theplay explores the effects of diversity on American society. The characters in the play perceive their lives as a reflection of their

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Jassim, Aseel Ahmed, and Ansam Riyadh Abdullah Almaaroof. "Using Soft Power in Constructing Attitudes of Gender in “A Streetcar Named Desire”." Journal of Ecohumanism 3, no. 4 (2024): 1896–903. http://dx.doi.org/10.62754/joe.v3i4.3724.

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This essay looks at how Tennessee Williams's beloved drama "A Streetcar Named Desire" uses the idea of soft power to limit and mold society perceptions of gender identity and performance. Based on Judith Butler's seminal theory—which holds that gender is a socially created and performative act rather than an underlying essence—this analysis shows how the play uses soft power to enforce standards of acceptable gender expression.. The protagonist, Blanche DuBois, embodies the typical Southern belle, yet her brother-in-law Stanley Kowalski's blatantly masculine instincts conflict with her attempt

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Khalil, Dr Haider Ibrahim. "Unveiling Societal Discord: An Analysis of Contemporary American Drama through "A Streetcar Named Desire"." Thi Qar Arts Journal 2, no. 45 (2024): 139. http://dx.doi.org/10.32792/tqartj.v2i45.555.

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This research aims to explore and dissect the intricate layers of societal discord depicted in the iconic American play, "A Streetcar Named Desire." Focused on understanding the socio-cultural landscape of mid-20th century America as reflected in the characters and their interactions, the study seeks to unravel the underlying tensions, conflicts, and societal shifts that resonate with the contemporary audience. The overarching objectives of this study revolve around a comprehensive exploration of the societal elements intricately woven into the fabric of the play shedding light on their reflec

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Rahadiyanti, Iga. "Women Language Features in Tennessee Williams’ A Streetcar Named Desire." Vivid: Journal of Language and Literature 9, no. 2 (2020): 86. http://dx.doi.org/10.25077/vj.9.2.86-92.2020.

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The purpose of this study is to observe the types of women language features and the most frequent women language feature used by the main women characters in the dialogue of Tennessee Williams’ A Streetcar Named Desire play. Ten women language features proposed by Robin Lakoff is used to analyze the data. This study only observes eight out of ten women language features proposed by Robin Lakoff, namely tag question, intensifier, hypercorrect grammar, hedges or fillers, empty adjectives, precise color terms, super polite form, and avoidance of strong swear words. This study excludes emphatic s

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Rahadiyanti, Iga. "Women Language Features in Tennessee Williams’ A Streetcar Named Desire." Vivid: Journal of Language and Literature 9, no. 2 (2020): 86. http://dx.doi.org/10.25077/vj.9.2.86-92.2020.

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The purpose of this study is to observe the types of women language features and the most frequent women language feature used by the main women characters in the dialogue of Tennessee Williams’ A Streetcar Named Desire play. Ten women language features proposed by Robin Lakoff is used to analyze the data. This study only observes eight out of ten women language features proposed by Robin Lakoff, namely tag question, intensifier, hypercorrect grammar, hedges or fillers, empty adjectives, precise color terms, super polite form, and avoidance of strong swear words. This study excludes emphatic s

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Elias, Camelia. "Mellow Mélange : Marge and Blanche - The Simpsons vs Tennessee Williams." Recherches anglaises et nord-américaines 43, no. 1 (2010): 103–10. http://dx.doi.org/10.3406/ranam.2010.1393.

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Following Tennessee Williams’s successful play, A Streetcar Named Desire (1947), Elia Kazan’s filmatization of the story of the southern belle gone insane invites the viewer to consider on what grounds Williams’s play constitutes itself as a melodrama. Is this story a story about mental degradation, culture clashes, or queer time ? My paper will juxtapose this drama with a pastiche of it and look at how The Simpsons version of the play, the episode A Streetcar Named Marge (1992), appropriates, recycles, and reprises some of the tensions explored by Williams. The Simpsons, while paying tribute

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Johri, Manjari. "Examining Masculinities and Femininity in Tennessee William’s A Streetcar Named Desire." Journal of Feminism and Gender Studies 4, no. 1 (2024): 9. http://dx.doi.org/10.19184/jfgs.v4i1.43202.

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Examining A Streetcar Named Desire through the lens of Gender and Masculinity Studies is an academically enriching and intriguing pursuit. The play, first performed on Broadway in 1947, continues to captivate with its portrayal of the characters of Stanley and Blanche. Stanley’s aggressive masculinity is pitted against the frailty of Blanche, leading to her breakdown and her ultimate escape into the unreal world of fantasy. This study aims to identify different types of masculinities; from Allan Grey’s closeted identity to Stanley Kowalsky's toxic masculinity, and how each affects Blanche Du B

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ÖZBIRINCI, PÜRNUR UÇAR. "Intercultural Theatre? A Streetcar Named Desire on the Turkish Stage." Theatre Research International 33, no. 1 (2008): 70–83. http://dx.doi.org/10.1017/s0307883307003409.

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The controversial theory of intercultural performance covers a wide range of theatrical practices, which intend to adapt subject matter and situations from one culture to another. This intention mainly involves a transportation and translation of elements and perspectives across cultures. The translator, the audience or reader, and the director fill in the gaps that are formed during this transportation and translation with their own interpretations, in accordance with the culture they inhabit. However, intercultural performance requires conscious attempts to merge two different cultures. Such

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Priyanshu. "I HAVE ALWAYS DEPENDED ON THE KINDNESS OF STRANGERS': AMERICAN WOMEN IN TENNESSEE WILLIAMS' A STREETCAR NAMED DESIRE." International Journal of Advance and Applied Research 2, no. 20 (2022): 334–35. https://doi.org/10.5281/zenodo.7050502.

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<strong><em>Abstract-</em></strong> <em>Tennessee Williams’ play <strong>“A Streetcar Named Desire” </strong>is an intense family drama that put on stage the life of women of America of 1930’s and 40’s decade. This was a time when society vehemently forced women to survive only after they are existentially dependent to men and patriarchy. Thus women were left with no individual freedom of their own and ultimately had to vigorously search for male dependant for ‘sophisticated’ survival in the male dominated culture. Such plight of American women was add

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Dr. Kother Mahdi. "The Tragic Image of Blanche Du Bois in Tennessee Williams' Play A Streetcar Named Desire." Journal of the College of Basic Education 18, no. 75 (2023): 237–48. http://dx.doi.org/10.35950/cbej.v18i75.9277.

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نشأ الكاتب المسرحي الأمريكي تينيسي ويليامز (1911-1983) على يد أب عنيف وشاق يشرب الكحول ، لكنها كانت أم حنونة ومحبة ، وجدة حنونة ، وأخت كبيرة مخلصة. هذا الموقف جعل ويليامز يتعاطف مع الشخصيات الأنثوية في عائلته.أثرت مأساة أخته الكبرى ، التي انتهت بوفاتها المفاجئة ، على حياته وانعكست في معظم كتاباته المستقبلية بما في ذلك مسرحيته A Streetcar Named Desire.تتتبع هذه الورقة سقوط امرأة حديثة تُدعى بلانش دو بوا (بطلة فيلم A Streetcar Named Desire) ، في محاولة لتحديد ما إذا كان الكاتب قصد تصوير هذه الشخصية على أنها "بطلة مأساوية كلاسيكية" أم لا.تبدأ أزمات بلانش بوفاة زوجها وتسارع ظروف الحياة السيئة ، با

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Nazermi, Zahra, Hossein Aliakbari Harehdasht, and Abdolmohammad Movahhed. "Trans-Mediation of Gender in Elia Kazan’s Adaptation of A Streetcar Named Desire." Littera Aperta. International Journal of Literary and Cultural Studies 6 (December 9, 2021): 63–77. http://dx.doi.org/10.21071/ltap.v6i6.14044.

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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

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Afshan, Syed. "A Streetcar Named Desire as a Brilliant Implacable Play about the Disintegration of Women." International Journal of English Literature and Social Sciences 3, no. 6 (2018): 1258–60. http://dx.doi.org/10.22161/ijels.3.6.47.

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Sánchez Gómez, María Soledad. "«¿Qué es ser una mujer?» : histeria y posmodernidad en A streetcar named desire." Epos : Revista de filología, no. 27 (January 1, 2011): 225. http://dx.doi.org/10.5944/epos.27.2011.10679.

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Frente al planteamiento de género, dicotómico e invariable, basado en la tradición humanista y destacado por gran parte de la crítica teatral y literaria como algo esencial a la hora de analizar A Streetcar Named Desire, mi intención es demostrar que la obra, de manera compleja y sutil, rompe esta dicotomía por medio de la figura de Blanche, la histérica que desestabiliza el sistema de sexo/género normativo preestablecido por la sociedad patriarcal. En esta línea, la ya mítica representación realizada por el grupo teatral norteamericano Split Britches en 1991, basada en una relectura libre de

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Onič, Tomaž. "Music Becomes Emotions: The Musical Score in Two Productions of A Streetcar Named Desire." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 59–68. http://dx.doi.org/10.4312/elope.13.1.59-68.

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From today’s perspective, Alex North’s score for the 1951 film A Streetcar Named Desire, which was considered remarkable even at the time, can claim legendary status. The titles of the 16-track score suggest that the music focuses on the characters, the setting, main motifs, crucial events and states of mind. The film soundtrack could thus be denoted as integral to and harmonized with the dramatic action. This is not the case in the 2008 staging at the Slovene National Theatre in Maribor, where the music composed and selected by Hrvoje Crnić Boxer seems to focus on the protagonist only. The pe

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Bobin, Joanna. "Blanche and Stanley, polar opposites. A pragmastylistic analysis of interactions from Tennessee Williams’ A Streetcar Named Desire." Język. Religia. Tożsamość. 1, no. 23 (2021): 7–20. http://dx.doi.org/10.5604/01.3001.0015.6123.

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The paper is an attempt at demonstrating how the language used by fictional dramatic characters contributes to their characterization, that is, how the readers (audiences) perceive them based on inferences drawn from a variety of textual cues. These cues include explicit selfand other-presentation as well as implicit hints retrieved from conversation structure, aspects of turn-taking or features of the language used by the character. In this paper, Blanche DuBois and Stanley Kowalski from Tennessee Williams’ play The Streetcar Named Desire are analyzed and characterized as being polar opposite

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Lund, Marie. "Harold (Mitch) Mitchell’s role in the demise of Blanche Dubois in A Streetcar Named Desire." Leviathan: Interdisciplinary Journal in English, no. 2 (March 15, 2018): 46–53. http://dx.doi.org/10.7146/lev.v0i2.104695.

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In Tennessee Williams’ play A Streetcar Named Desire, Stanley Kowalski has often been seen as the main reason why Blanche DuBois mentally falls apart at the end of the play. This is emphasized by the fact that he rapes her and that she subsequently is committed to a mental institution. However, I find that the role of Harold (Mitch) Mitchell thereby is downplayed and underestimated. This article argues that he in fact is the real cause of Blanche’s psychological downfall. Critics such as Judith J. Thompson refer to Mitch as elevated to the romanticized ideal of Allan Grey, Blanche's late husba

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HUANG, Yan. "Tennessee Williams’ Awareness of Feminist Issues in A Streetcar Named Desire —From Readers to Ideal Readers." Journal of Social Science Studies 5, no. 2 (2018): 106. http://dx.doi.org/10.5296/jsss.v5i2.13127.

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On the one side, as a male, Tennessee Williams showed a strong awareness on feminist issues because of his special personal experience, which can be proved by his many plays portraying women. On the other side, he expressed admiration to the muscular beauty of men. A Streetcar Named Desire can be seen as a play to display the conflict in Williams’ mind and to demonstrate his deep sympathy to women. By constructing the confrontation between hero and heroine, Tennessee succeeded guiding readers to the ideal readers to share what in his mind. In this thesis, the author will use the theory of Read

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Alnamer, Abdul Salam Mohamad. "THE SIGNIFICANCE OF THE IMAGES OF LIGHT, DARKNESS AND THE MOTH IN TENNESSEE WILLIAMS' A STREETCAR NAMED DESIRE." Humanities & Social Sciences Reviews 8, no. 3 (2020): 1405–14. http://dx.doi.org/10.18510/hssr.2020.83141.

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Objectives of the study: This study aims to present a critical analysis of the significance of the images of light and darkness in association with the image of the moth in Tennessee Williams' most famous play: A Streetcar Named Desire. It also showcases the tremendous contribution of these images to the vigour and depth of many aspects of the play. Methodology: The article presents a close analysis of textual evidence from the play, following a comparative approach in the study of these images, and is constructed around discussions of their contribution to the thematic and structural as

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Ahmad, M; Zainurrahman Z. "Direct and Indirect Speech Acts in the Drama "A Streetcar named Desire" written by Tennessee William." Langua - Journal of Linguistics, Literature, and Language Education 4, no. 2 (2021): 28–38. https://doi.org/10.5281/zenodo.5540276.

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A drama is a work filled with figurative languages that are full of implied meanings. The purpose of writing a drama, of course, is to entertain the reader. However, a drama text can also be a source of pragmatic learning that is rich in expression. This research is one of pragmatic research on drama texts. Using content analysis techniques, the researchers attempted to portray the use of speech acts, both direct and indirect, used by Tennessee William in her play "A Streetcar named Desire". There are at least ten data collected by the researchers and interpreted briefly based on the

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Bortnikov, Vladislav I., and Ekaterina N. Shishkina. "The Categories of Chronotope and Tonality in a Literary Translation: Homothematic Aspect." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 28, no. 1 (2022): 78–91. http://dx.doi.org/10.15826/izv1.2022.28.1.008.

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The article is focused on homothemy term development, suggested by V. N. Marov in his works of 2015–2020 referring to the linguotextual aspect. In the philosophical sense, homothemy is the agreement of different epistemic levels in the text; within text linguistics, it is the ability of one category to be expressed by means of different language levels. On the example of grid structures “topostheme” (chronotope as a theme) and «troposthemes» (tonality as a theme) in the play “A Streetcar Named Desire” by T. Williams, the homothemy of the surroundings description is shown, and the main specif

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Mandal, Ananya. "“I saw! I know! You disgust me…”: Manifestation of Homophobia and Patriarchal Oppression in Tennessee Williams’s Play, A Streetcar Named Desire." International Journal of English Literature and Social Sciences 9, no. 1 (2024): 301–4. http://dx.doi.org/10.22161/ijels.91.41.

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A Western heteronormative society hints at its homophobia in diverse manners, but one of the most ubiquitous internalized notions is that of disgust and rejection. This sort of biased sexism fuels the gradual accretion of suicidal rates among LGBTQ youths. Generating homophobic discourses is one of the ways through which a hetero-patriarchal society demonstrates and maintains its power and oppression against sexual minorities and gender subalterns. Hetero-gender-based violence against women and homosexuals is also not uncommon in any society. The present paper aims to explore the manifestation

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Huang, Xiuqin. "Self-Destruction of Blanche: Failure of Ego’s Mediation between ID and Superego in A Streetcar Named Desire." Economic Society and Humanities 1, no. 10 (2024): 66–70. https://doi.org/10.62381/e244a11.

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This paper is to explore the psychological turmoil of Blanche DuBois, a central character in A Streetcar Named Desire written by Tennessee Williams. The breakdown of Blanche's psychological state is analyzed from the perspective of Sigmund Freud's tripartite model of the psyche, specifically focusing on Blanche's failure of ego’s mediation between id and superego. By a critical analysis of the text, the research method involves a close reading of the play, examining Blanche's interactions with other characters, particularly her husband, Stanley and Mitch, to reveal her internal struggle to unc

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Нечай Н. В. "ПРАГМАТИКО-СТИЛІСТИЧНІ ОСОБЛИВОСТІ ПЕРЕКЛАДУ ДРАМАТИЧНОГО ТЕКСТУ (НА МАТЕРІАЛІ ТВОРУ Т. ВІЛЬЯМСА «A STREETCAR NAMED DESIRE» ТА ЙОГО УКРАЇНСЬКОМОВНОГО ТА РОСІЙСЬКОМОВНОГО ВАРІАНТІВ)". Science Review, № 4(21) (31 травня 2019): 60–64. http://dx.doi.org/10.31435/rsglobal_sr/31052019/6497.

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This study attempts to provide some insight into the relevance of cultural factors in the translation of dramatic texts. The present research aims at determining the ways of adequate reproduction of national and cultural identity of the play of Tennessee Williams “A Streetcar Named Desire”. The article deals with the most effective ways of translation of phraseological units and proper names in drama. The main problem during the translation of phraseological units and proper names is determined; it lies in the fact that they have a certain stylistic feature, expressiveness that are depended on

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Lemos, Adriana Falqueto, and Johnny César dos Santos. "Absent presence: homosexuality in three plays by Tennessee Williams." Dramaturgia em foco 8, no. 2 (2024): 279–95. https://doi.org/10.5281/zenodo.13958677.

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Having as a corpus three plays by Tennessee Williams, <em>A streetcar named Desire</em>, <em>Suddenly, last summer</em>, and <em>Cat on a hot tin roof</em>, this text seeks to observe, using historical-social analysis and literature review, how the absent homosexual characters become present and how, even absent, they constitute breaking points in the works. The analysis is undertaken aiming to understand Williams’ discourse when dealing with homosexuality in the plays. We concluded that, even with absent homosexual characters, Williams manages to make them present through the characters

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Robinson, Valleri. "Degradation in Hypermasculine Cultures of Disposability and Forgetfulness: Nikolai Kolyada’s Ekaterinburg Theatre." Theatre and Performance Notes and Counternotes 1, no. 1 (2024): 33–47. http://dx.doi.org/10.5325/tpnc.1.1.0033.

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Abstract Humiliation is a basic fact of life for many of the characters who populate the plays and adaptations of Nikolai Kolyada. The central figures in his plays, often middle-aged women, endure shame, humiliation, and tremendous loss at the hands of unrelenting perpetrators. Looking briefly at Kolyada’s representations of Liubov from Cherry Orchard, Blanche from Streetcar Named Desire, and SHE from Kolyada’s original play Nezhnost’ (Tenderness), this article examines the director’s depiction of the downtrodden and brutalized woman in modern cultures of disposability and waste. While the vio

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Farahdina, Tamanna. "A New Woman in an Old World: Discovering the Traumatic Psyche of Blanche DuBois in the play A Streetcar Named Desire." IOSR Journal of Humanities and Social Science 22, no. 02 (2017): 47–51. http://dx.doi.org/10.9790/0837-2202034751.

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Nogueira, Marta. "The Actor as Author of the Text he Acts." HUMAN Review. International Humanities Review / Revista Internacional de Humanidades 9, no. 2 (2020): 101–11. http://dx.doi.org/10.37467/gka-revhuman.v9.2642.

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We aim to demonstrate how the acting technique and skills of an actor may influence the intentions of a text’s author, showing him new paths through the human and emotional factors. We also aim to demonstrate that what is usually considered a “text” may not always be a fixed entity produced by a single isolated individual. The analysis of the staging and film adaptation of Tennessee Williams’ A Streetcar Named Desire and the development of the character Stanley Kowalski by Marlon Brando, shows how he changed the written version of the play, shifting its core, interfering with the balance

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Nogueira, Marta. "The Actor as Author of the Text he Acts." HUMAN REVIEW. International Humanities Review / Revista Internacional De Humanidades 9, no. 2 (2020): 101–11. https://doi.org/10.37819/humanrev.v9i2.862.

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We aim to demonstrate how the acting technique and skills of an actor may influence the intentions of a text’s author, showing him new paths through the human and emotional factors. We also aim to demonstrate that what is usually considered a “text” may not always be a fixed entity produced by a single isolated individual. The analysis of the staging and film adaptation of Tennessee Williams’ A Streetcar Named Desire and the development of the character Stanley Kowalski by Marlon Brando, shows how he changed the written version of the play, shifting its core, interfering with the balance betwe

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Nogueira, Marta. "The Actor as Author of the Text he Acts." HUMAN REVIEW. International Humanities Review / Revista Internacional De Humanidades 9, no. 2 (2020): 101–11. https://doi.org/10.37819/revhuman.v9i2.862.

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We aim to demonstrate how the acting technique and skills of an actor may influence the intentions of a text’s author, showing him new paths through the human and emotional factors. We also aim to demonstrate that what is usually considered a “text” may not always be a fixed entity produced by a single isolated individual. The analysis of the staging and film adaptation of Tennessee Williams’ A Streetcar Named Desire and the development of the character Stanley Kowalski by Marlon Brando, shows how he changed the written version of the play, shifting its core, interfering with the balance betwe

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Мusabekov, К., G. Koshikbayeva, and Sh Altynbekov. "The motif of alienation in D. Isabekov's play «transit passenger» (a comparative analysis)." Iasaýı ýnıversıtetіnіń habarshysy 134, no. 4 (2024): 224–32. https://doi.org/10.47526/2024-4/2664-0686.116.

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This article examines the motif of alienation in Dulat Isabekov's play “Transit Passenger” (1989) within the context of the cultural and historical shifts characteristic of the transitional period from the Soviet to the post-Soviet era in Kazakhstan. The motif of alienation is analyzed as a universal category reflecting fundamental changes in both collective and individual identity amid social and cultural instability. Through a comparative analysis with the works of Samuel Beckett (“Waiting for Godot”) and Tennessee Williams (“A Streetcar Named Desire”), the article explores the typological a

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Hyseni, Merita. "Realism and Illusion in Tennessee Williams’ Plays." International Journal of Research and Scientific Innovation X, no. VII (2023): 140–46. http://dx.doi.org/10.51244/ijrsi.2023.10718.

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This diploma paper examines realism and illusion in modern drama, particularly in Tennessee Williams’ plays, A Streetcar Named Desire and The Glass Menagerie. It explores the influence and importance of these themes in shaping modern literature, evolving from traditional dramatic structures to enrich storytelling. The paper provides an overview of Williams’ life and his distinctive style. Through a close analysis of the selected plays, it delves into the complexities of the characters, their desires, fears, and struggles in navigating truth and illusion. Additionally, the study explores the sy

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Williams, Tennessee. "“Mending Sails by Candlelight”: A Preface to Clothes for a Summer Hotel." F. Scott Fitzgerald Review 13, no. 1 (2015): 15–28. http://dx.doi.org/10.5325/fscotfitzrevi.13.1.15.

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Abstract On 26 March 1980, Tennessee Williams premiered his final play on Broadway, Clothes for a Summer Hotel, a biodrama based loosely on the lives and final days of F. Scott and Zelda Fitzgerald. As was his tradition, Williams wrote a pre-opening piece to accompany the opening that was intended for the theater section of the New York Times. On this occasion, the Times refused to publish the essay. Williams had been battling the newspaper's drama critics for over a decade, and the essay, embittered and oozing with self-pity, bears the wounds he had received from their repeated confrontations

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Suliman, Amer Hamed. "Staging Urbanism: A Study of City Life in Selected American Plays." JOURNAL OF LANGUAGE STUDIES 6, no. 1 (2022): 337–48. http://dx.doi.org/10.25130/jls.6.1.20.

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The mid-20th century saw many American playwrights explore the realities of city life to powerful effect. Plays that emerged during this time paint an interesting picture of urban America as a paradoxical place of endless opportunity and limited resources. The characters of this setting have the dramatic potential to be uniquely tragic, often attracted to cities by promises of economic freedom only to be destroyed by the tough and competitive nature of urban life. The study aims at constructing a contextual reference framework within which Tennessee Williams’ A Streetcar Named Desire, Arthur L

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Soares, Marcos C. P. "Elective affinities: Tennessee Williams and Woody Allen." Dramaturgia em foco 8, no. 2 (2024): 568–79. https://doi.org/10.5281/zenodo.14472984.

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This essay proposes an exercise in comparative dramaturgy by bringing together the works of Tennessee Williams and of the filmmaker Woody Allen. In order to do this, we will start from comments made by the two artists regarding themes in common in both works, as well as a brief analysis of the film <em>Blue Jasmine</em> (2017), which takes up themes and forms from the play <em>A </em><em>s</em><em>treetcar </em><em>n</em><em>amed Desire</em> (1947) and updates them to deal with contemporary historical materials.

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RICHARDS, GARY. "Queering Katrina: Gay Discourses of the Disaster in New Orleans." Journal of American Studies 44, no. 3 (2010): 519–34. http://dx.doi.org/10.1017/s0021875810001210.

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Within certain conservative narratives imposed upon the events of 2005, New Orleans has been demonized as a site promoting gay licentiousness and therefore meriting divine retribution. In queer narratives, New Orleans has been valorized as promoting that same licentiousness but lamented for having those hedonistic excesses tempered by the widespread destruction of the city. Especially in the latter scenario, there is a significant degree of nostalgia, an element that also marks other queer understandings of the city that focus not so much on the hedonism as on the day-to-day warp and woof of p

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Soares, Marcos C. P. "Afinidades eletivas: Tennessee Williams e Woody Allen." Dramaturgia em foco 7, no. 2 (2025): 404–15. https://doi.org/10.5281/zenodo.14883266.

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Este ensaio propõe um exercício de dramaturgia comparada a partir da aproximação dos trabalhos de Tennessee Williams e do cineasta Woody Allen. Para isso, partiremos tanto de comentários feitos pelos dois artistas a respeito de temas em comum nas duas obras, quanto de uma análise breve do filme <em>Blue Jasmine </em>(2017), que retoma temas e formas da peça <em>A </em><em>s</em><em>treetcar </em><em>n</em><em>amed Desire </em>(1947) para atualizá-los no confronto com a matéria histórica contemporânea.  

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Rowen, Bess. ""Isn´t it funny what tricks your memory plays?": dramaturgical structures of traumatic memory in the plays of Tennessee Williams." Dramaturgia em foco 7, no. 2 (2025): 95–111. https://doi.org/10.5281/zenodo.14870778.

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Tom Wingfield begins <em>The glass menagerie</em> by standing in a uniform that denotes his participation in WWII. The story Tom tells the audience is not about the trauma of war, but of a different traumatic moment in his past: his abandonment of his sister, Laura, and his mother, Amanda. When scholars and theatre makers talk about trauma in Williams plays like <em>Menagerie</em>, they tend to focus on Tennessee Williams’s trauma and memory instead of Tom Wingfield’s. This ignores the powerful dramaturgical ways that traumatic memory forms the internal logic of plays like <em>Mena

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Kolaković, Ivana R. "TRAPPED BETWEEN TRADITIONAL AND MODERN: GENDER ROLES IN TENNESSEE WILLIAMS’ PLAYS A STREETCAR NAMED DESIRE AND CAT ON A HOT TIN ROOF." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 7, no. 7 (2018): 275. http://dx.doi.org/10.19090/zjik.2017.7.275-288.

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Drame Tenesija Vilijamsa odražavaju specifičan vremenski period kada su u pitanju razumevanje i razvoj rodnih uloga. Ipak, njegovi likovi povremeno uspevaju da prevaziđu granice tradicionalnog, čime Vilijams preispituje položaj žena u Americi sredinom 20. veka. Ovaj rad se bavi dvema od njegovih najpoznatijih drama, Tramvaj zvani želja (1947), i Mačka na usijanom limenom krovu (1955), odnosno glavnim ženskim likovima ovih drama – Blanš Diboa i Megi Polit, iliti Megi „Mačka“. Postupci ta dva lika ističu performativnu prirodu roda i preispituju tradicionalne rodne uloge tipične za Ameriku pedese

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Dasgupta, Archisha. "MENDACITY - A COMPARATIVE STUDY OF THE ANGUISH OF SUBTERFUGE AND SELF-DECEPTION IN THREE PLAYS OF TENNESSEE WILLIAMS." International Journal of Advanced Research 11, no. 06 (2023): 1121–29. http://dx.doi.org/10.21474/ijar01/17172.

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Tennessee Williams is often referred to as one of 20th century Americas greatest playwrights, alongside the likes of Arthur Miller and Eugene ONeill. A staunch proponent of the realism movement, Williams is known for his enduring characters and their tragic stories. His contribution to the tumultuous literary climate of the 1940s with his distinctive, brutally honest, and emotionally complex voice, makes his work a riveting basis for research and analysis. This thesis explores the moral vision of Williams through the deceptive practices of his dramatic characters. Though illusion may be effect

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Grecco, Stephen, and Philip C. Kolin. "Williams: A Streetcar Named Desire." World Literature Today 74, no. 4 (2000): 823. http://dx.doi.org/10.2307/40156150.

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Dorff, Linda. "A Streetcar Named Desire (review)." Theatre Journal 49, no. 2 (1997): 227–28. http://dx.doi.org/10.1353/tj.1997.0052.

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Schultz, Ray. "A Streetcar Named Desire (review)." Theatre Journal 57, no. 1 (2005): 122–25. http://dx.doi.org/10.1353/tj.2005.0032.

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Cardullo, Bert. "Williams’ a Streetcar Named Desire." Explicator 43, no. 2 (1985): 44–45. http://dx.doi.org/10.1080/00144940.1985.11483873.

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Kolin, Philip C., and Jürgen Wolter. "Williams’s a Streetcar Named Desire." Explicator 49, no. 4 (1991): 241–44. http://dx.doi.org/10.1080/00144940.1991.11484088.

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Brooks, Daniel. "Williams's A Streetcar Named Desire." Explicator 65, no. 3 (2007): 177–80. http://dx.doi.org/10.3200/expl.65.3.177-180.

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