Streetcar Named Desire- Scene 10
The impression of Blanche that is created in the opening stage directions.
Blanche has been ‘drinking fairly steadily since Mitch left’- clearly trying to drown out
reality- no longer has any hope for her future, and her dependence on alcohol is very clear at
this point. By scene ten struggling to hide her drinking and mental instability.
‘hysterical exhilaration’- unstable, uncontrolled. Descent into madness.
‘decked herself out in a somewhat soiled and crumpled white satin evening gown and a
pair of scuffed silver slippers’- pretence and fantasy at focus here (‘decked herself out’)- like
a costume. Decay/deterioration of items of clothing. Perhaps symbolising how she’s changed
or our view of her has changed.
‘Now she is placing the rhinestone tiara on her head before the mirror of the dressing-
table and murmuring excitedly as if to a group of spectral admirers.’ She dresses herself in
costume jewellery and gowns, but the only audience for her fantasy version of herself is
herself. She is trying to maintain her rose-tinted facade and elevated presentation of herself
but at this point her efforts are futile as she has gone past the point of no return.
‘rhinestones’- appearance of wealth.
She is now in a ‘white satin gown’ to contrast the earlier red- perhaps an attempt to restore
her purity, rejecting that sexual side of herself which is important when Stanley assaults her-
this is a complete violation against her will. She enters the play wearing white- attempting to
maintain this purity.
How her opening words and the further stage directions confirm this impression:
She’s imagining a conversation about taking a ‘moonlight swim’- shows her preoccupation
with water again but this are sinister elements to this monologue- reference to death. Her
speech here is also very disjointed, lots of dashes and exclamations.
Acting ‘tremblingly’- uncertain and nervous.
‘slams the mirror face down with such violence that the glass cracks’- forced to face reality,
unwilling to accept. The ‘glass cracks’ to demonstrate that she cannot cope with the reality,
perhaps her shattered hopes, indicating the failure of her illusory world and also her nervous
breakdown. Note: appears at the end of the scene in the film.
Already on edge even before Stanley’s arrival.
Stanley’s mood when he enters:
‘vivid green silk bowling shirt’- vibrant colour, boldness.
‘slamming the door’- clear disruption to her fantasy, and once again Stanley is asserting his
dominance through his forceful movements.
‘had a few drinks on the way home…’- celebration, lowered inhibitions. While Blanche has
been drinking to escape her real self and the consequences of her past, Stanley’s
drunkenness emphasizes his virility. This sort of contrast between Stanley and Blanche is
common in the play—they do the same things: drink, act physically and sexually, but in
The impression of Blanche that is created in the opening stage directions.
Blanche has been ‘drinking fairly steadily since Mitch left’- clearly trying to drown out
reality- no longer has any hope for her future, and her dependence on alcohol is very clear at
this point. By scene ten struggling to hide her drinking and mental instability.
‘hysterical exhilaration’- unstable, uncontrolled. Descent into madness.
‘decked herself out in a somewhat soiled and crumpled white satin evening gown and a
pair of scuffed silver slippers’- pretence and fantasy at focus here (‘decked herself out’)- like
a costume. Decay/deterioration of items of clothing. Perhaps symbolising how she’s changed
or our view of her has changed.
‘Now she is placing the rhinestone tiara on her head before the mirror of the dressing-
table and murmuring excitedly as if to a group of spectral admirers.’ She dresses herself in
costume jewellery and gowns, but the only audience for her fantasy version of herself is
herself. She is trying to maintain her rose-tinted facade and elevated presentation of herself
but at this point her efforts are futile as she has gone past the point of no return.
‘rhinestones’- appearance of wealth.
She is now in a ‘white satin gown’ to contrast the earlier red- perhaps an attempt to restore
her purity, rejecting that sexual side of herself which is important when Stanley assaults her-
this is a complete violation against her will. She enters the play wearing white- attempting to
maintain this purity.
How her opening words and the further stage directions confirm this impression:
She’s imagining a conversation about taking a ‘moonlight swim’- shows her preoccupation
with water again but this are sinister elements to this monologue- reference to death. Her
speech here is also very disjointed, lots of dashes and exclamations.
Acting ‘tremblingly’- uncertain and nervous.
‘slams the mirror face down with such violence that the glass cracks’- forced to face reality,
unwilling to accept. The ‘glass cracks’ to demonstrate that she cannot cope with the reality,
perhaps her shattered hopes, indicating the failure of her illusory world and also her nervous
breakdown. Note: appears at the end of the scene in the film.
Already on edge even before Stanley’s arrival.
Stanley’s mood when he enters:
‘vivid green silk bowling shirt’- vibrant colour, boldness.
‘slamming the door’- clear disruption to her fantasy, and once again Stanley is asserting his
dominance through his forceful movements.
‘had a few drinks on the way home…’- celebration, lowered inhibitions. While Blanche has
been drinking to escape her real self and the consequences of her past, Stanley’s
drunkenness emphasizes his virility. This sort of contrast between Stanley and Blanche is
common in the play—they do the same things: drink, act physically and sexually, but in
