A Streetcar Named Desire: Scene 4
The opening stage directions
"There is a confusion of street cries like a choral chant." Williams' opening
soundscape is a foreboding one suggesting oncoming chaos. His reference to a
'choral chant' cannot be ignored here. Perhaps an overt nod to the tradition in Greek
tragedies where a Greek chorus comment on the dramatic action on stage, making it
clear to the audience what they should take from each scene and how they should
feel. Usually, a collective voice of clarity and wisdom, here, Williams' chorus is a
'confusion of street cries. He therefore subverts the function of a traditional Greek
chorus making the collective voice unnerving and ambiguous.
What we see on stage contrasts this ominous soundscape: "Stella...lying down...Her
face serene in the early morning sunlight." Her hand "rests" on her pregnant stomach
and the other "dangles" a comic book. The language used here suggests she is
unfazed by the violence of the previous scene. It's worth noting the reference to the
"book of coloured comics" here — a clear contrast to Blanche's highbrow literature
she references throughout the play. This foreshadows the sisters' differences in their
response to the previous events: Blanche analyses it and is frightened by it; Stella is
flippant and causal. This is confirmed later in the stage directions where, after a
"sleepless night", Blanche's "appearance entirely contrasts with Stella's". As Stella
"stirs lazily", Blanche "utters a moaning cry" and "throws herself down...in a rush of
hysterical tenderness" — the hugely hyperbolic actions of Blanche contrasting with
Stella's relaxed attitude.
Stella's eyes and lips are described as having "that almost narcotized tranquillity that is in
the faces of Eastern idols." This perhaps echoes the description in the previous scene of
Stella being "blind" with "tenderness". It seems her love for Stanley possesses her, like
she is under the influence of it. However, the description of her has positive connotations
by using the metaphor of the "Eastern idols"- does this suggest something holy has taken
place between them? It certainly suggests her desire for him as spiritual and all
encompassing.
Last night's violence cannot be ignored by the audience though as the table remains
"sloppy" with the "debris of the preceding night" with Stanley's "gaudy" (repetition)
pyjamas lying on the floor.
The relationship between Stella and Blanche: Stella and Blanche's characterisation
• Stella, like Mitch, blames the poker and drinking for Stanley's behaviour saying how it's
always a "powder-keg" and that "he didn't know what he was doing…". She's quite
pragmatic and casual about his behaviour and it's interesting to consider how an audience
might respond to this. We witnessed their conflict in the previous scene and Williams
makes it hugely dramatic through his staging. Do we therefore see things from Blanche's
point of view? It's also worth considering our response as a modern audience here.
• Stella's dialogue reveals that Stanley's passionate outburst is the norm in their
relationship and that she actually gains pleasure from his behaviour. After him "smashing
the light-bulbs" (symbolic?) on their wedding night, Stella describes herself as "sort Of —
thrilled by it." The suggestion is that she is drawn in by his violence and that it heightens
her desire for him.
• As we would expect, Blanche's response to this is hugely emotive ("You're married to a
madman!) and she can't understand why Stella is so "indifferent" and "matter of fact"
about Stanley's violence. This, again, contrasts to Stella casual language "Oh, well" and "l
guess"
• Blanche reveals a lot about herself through her action plan to 'save' herself and her sister. She
states how they've "got to get hold of some money" and speaks of Shep Huntleigh whose
"pin" she "wore...for a while." This initially seems typical of Blanche: romanticising and
The opening stage directions
"There is a confusion of street cries like a choral chant." Williams' opening
soundscape is a foreboding one suggesting oncoming chaos. His reference to a
'choral chant' cannot be ignored here. Perhaps an overt nod to the tradition in Greek
tragedies where a Greek chorus comment on the dramatic action on stage, making it
clear to the audience what they should take from each scene and how they should
feel. Usually, a collective voice of clarity and wisdom, here, Williams' chorus is a
'confusion of street cries. He therefore subverts the function of a traditional Greek
chorus making the collective voice unnerving and ambiguous.
What we see on stage contrasts this ominous soundscape: "Stella...lying down...Her
face serene in the early morning sunlight." Her hand "rests" on her pregnant stomach
and the other "dangles" a comic book. The language used here suggests she is
unfazed by the violence of the previous scene. It's worth noting the reference to the
"book of coloured comics" here — a clear contrast to Blanche's highbrow literature
she references throughout the play. This foreshadows the sisters' differences in their
response to the previous events: Blanche analyses it and is frightened by it; Stella is
flippant and causal. This is confirmed later in the stage directions where, after a
"sleepless night", Blanche's "appearance entirely contrasts with Stella's". As Stella
"stirs lazily", Blanche "utters a moaning cry" and "throws herself down...in a rush of
hysterical tenderness" — the hugely hyperbolic actions of Blanche contrasting with
Stella's relaxed attitude.
Stella's eyes and lips are described as having "that almost narcotized tranquillity that is in
the faces of Eastern idols." This perhaps echoes the description in the previous scene of
Stella being "blind" with "tenderness". It seems her love for Stanley possesses her, like
she is under the influence of it. However, the description of her has positive connotations
by using the metaphor of the "Eastern idols"- does this suggest something holy has taken
place between them? It certainly suggests her desire for him as spiritual and all
encompassing.
Last night's violence cannot be ignored by the audience though as the table remains
"sloppy" with the "debris of the preceding night" with Stanley's "gaudy" (repetition)
pyjamas lying on the floor.
The relationship between Stella and Blanche: Stella and Blanche's characterisation
• Stella, like Mitch, blames the poker and drinking for Stanley's behaviour saying how it's
always a "powder-keg" and that "he didn't know what he was doing…". She's quite
pragmatic and casual about his behaviour and it's interesting to consider how an audience
might respond to this. We witnessed their conflict in the previous scene and Williams
makes it hugely dramatic through his staging. Do we therefore see things from Blanche's
point of view? It's also worth considering our response as a modern audience here.
• Stella's dialogue reveals that Stanley's passionate outburst is the norm in their
relationship and that she actually gains pleasure from his behaviour. After him "smashing
the light-bulbs" (symbolic?) on their wedding night, Stella describes herself as "sort Of —
thrilled by it." The suggestion is that she is drawn in by his violence and that it heightens
her desire for him.
• As we would expect, Blanche's response to this is hugely emotive ("You're married to a
madman!) and she can't understand why Stella is so "indifferent" and "matter of fact"
about Stanley's violence. This, again, contrasts to Stella casual language "Oh, well" and "l
guess"
• Blanche reveals a lot about herself through her action plan to 'save' herself and her sister. She
states how they've "got to get hold of some money" and speaks of Shep Huntleigh whose
"pin" she "wore...for a while." This initially seems typical of Blanche: romanticising and
