comparison

[|comparative grid]Albee saw the title written in soap on a mirror in the bathroom of a college establishment called ‘The College of Complexes’ in Greenwich Village. He thought that this was a witty college joke, and this inspired him to write the play.

The title Who is afraid of Virginia Woolf is a play on the children’s song ‘Who is afraid of the big bad wolf?’, from the Three Little Pigs. Throughout the play Albee also uses child like language which is similar to the title.

The title refers to Virginia Woolf, a famous female novelist during the interwar period. The title suggests the academic setting of the play. Virgina Woolf wrote with great honesty and a stream-of-consciousness. Through this Albee probably wants bring out how characters such as Martha and George are linving under an illusion and hence are afraid of the truth exposed by Virgina Woolf. Albee said that its meaning was ‘who’s afraid of the big, bad wolf, which means who’s afraid of living life without delusions?’. Virgina Woolf’s writing was also very complex, hence the title could also refer to the way George feels undermined as a history professor in the college. · Advocated rights of women: Bernarda advocated stereotypical gender roles, just like in Franco’s rule, ‘woman’s place is in the house’ · The house as a microcosm for Spain under the dictatorship of Franco || · “At the age of fourteen I discovered writing as an escape from a world of reality in which I felt acutely uncomfortable · Was homosexual: Blanche’s husband: New Orleans: accepting Felt guilty when his sister Rose was taken away for lobotomy · The subject matter of Williams play was influenced by his image of the South, but he looked to the playwrights of Europe for models of the form. The South seemed to stand for cultural values ignored by the money-grabbing north. · Success de scandal (play which owes success due to its scandalous content…homosexuality): when 1st staged, but now a somber serious drama || · || · Lorca detested the callousness of the land owners and manifests that into B’s character: owns home, autocratic, has people working for her · Photographic documentary of women in rural Spain · reveals the fatal consequences of repression — social, sexual, and, by implication, political || · Puritan: had censorious moral beliefs esp. about sex and pleasure · Elia Kazan: “Everything in his life is in his plays and everything in his plays is in his life” · For the greater part of Williams’ life, homosexuality was still illegal, but tolerated in areas like New Orleans. This explains his reluctance to give prominence to the issue. All homosexual relationships in his plays end in disaster. Perhaps this is his dislike of his sexual inclinations or an intention to placate morality. It was also added for a dramatic effect (choosing a guy not girl, otherwise would just be a man cheating on wife). This issue of homosexuality finds its way into all of his plays (though a minor part here) · Title – desire leading to death, moral aspect of the title is quite clear · || · || · Commentary on particular aspects of contemporary Spanish rural life: realism · Social tragedy || · Realism (in the settings and the characters); contrasts with the unexpected lyricism in dialogue and high drama of the end · Plastic theatre || · || Unity of place maintained Unity of action mainted || May to September (duration of play covers 5 months); therefore he disregards the unity of time; 1st 6 scenes are set in May, and set the calamities that will follow 2nd section: scenes 7 to 10 – all take place in 1 day; calamities take place 3rd part: scene 11 = a few weeks later, shows the outcome of the events Unity of place maintained Unity of action maintained ||  || · With a constant reference to heat through out act 2, a claustrophobic atmosphere is built, the heat connoting suppression. · There are also the high levels of tension, concealment and secrecy, which are created with the presence of gossip. · The fact that everyone even feels the need to gossip also suggests that this is an environment where nothing can be easily said and there is less freedom of speech, building the atmosphere of an uncomfortable, uneasy, hostile home. · Opening stage directions: white walls, · Symbplism of the white thick walls – secrecy and suppression · Fields – freedom offered in contrast to the claustrophobic environment to the house || · “In New Orleans I found the kind of freedom that I always wanted” · Williams chose the location of Stella’s house in the Elysian fields primarily because of the ironic mythological associations of its name: the tiny, dingy Kowalski apartment seems the antithesis of the Greek paradise of heroes · Williams stayed in New Orleans and hence, included the places he used to frequent like the Galatoire’s. Last scene: “those bells are the only clean thing in this quarter” (+suggests knell of funeral bell, and foreshadows the end of Blanche || · || · The possessive preposition ‘of’ relates the house to Bernarda and signifies her importance as the matriarch · Microcosm for Spain under Franco’s rule o Claustrophobia o Tyranny o Spies || · The Moth · Blanche’s Chair on the Moon · The Poker Night · The Primary Colours · Streetcar Named Desire: “They told me to take a streetcar named desire then transfer to one called Cemetries to get off at the Elysian fields” Desire is what causes her downfall and hence the title is highly relevant. Desire leads to death (cemeteries), like light draws a moth. Ironic that paradise comes next, because after death we go to heaven, however, B’s state in the end is far from paradise. (implied moral message: fate – helplessness of its riders, but also, like fate, there is choice – they have chosen to board the streetcar. It is her choices that has led her to where she is, though there is an element of fate + Stella chose her fate, and abandon her sister [therefore end of play also symbolizes this imp of choice); no admission of sin or guilt in the play, yet downward movement towards catastrophe (scene 11 eventually) – B ends in mental hospital, and Stella and Stanley have to live with guilt of betray and rape respectively. Therefore like Williams, they had live with guilt – did not openly confess to homosexuality and promiscuity but spoke through his plays. Hence the morality of his stance is quite hyprocitical, since he chose to take the same path as them. || · Albee saw the title written in soap on a mirror in the bathroom of a college establishment called ‘The College of Complexes’ in Greenwich Village. He thought that this was a witty college joke, and this inspired him to write the play.
 * || ** Text 1 – House of Bernarda Alba ** || ** Text 2 – A Streetcar Named Desire ** || ** Text 3- Who’s afraid of Virginia Woolf ** ||
 * 1 line summary || // The House of Bernarda Alba // is the story of a woman whose tyrannical oppression of her daughters, to protect the family’s honour, transforms her house into a powder keg of tension, jealousy, anger, and fear. ||  ||   ||
 * **Author Background** || · In 1907, the Lorca family moved to a village close to Granada, where their neighbour was a widow ‘Dona Bernarda’s’ house. Some of the characters are inspired by her large family and even the house was similar to the one Lorca lived in. The culture has been replicated; long period of mourning; gender roles; gossip
 * **Purpose of writing (social/political didactic/propagandist etc)** || · Lorca resisted attempts to be recruited by communists and was quite outspoken against them. Went into hiding in Granada, where there were many coup sympathizers. Was betrayed and executed. Franco never accepted responsibility.
 * Genre & Type || · Lorca constructs a house, group of characters and community
 * Original Language || Spanish || English || English ||
 * Time & Place written || Completed in July 1936 in Madrid || Finished in 1947 ||  ||
 * Setting (Time) || In the 1930’s
 * Setting (Place) || · Located in a remote Spanish village, the setting of ‘The house of bernarda Abla’ builds the reflection that Lorca is trying to create of Spain in the 1930’s.
 * **Relevance of Title(s)** || · House is a symbol of the suppression during Spanish Civil war

The title Who is afraid of Virginia Woolf is a play on the children’s song ‘Who is afraid of the big bad wolf?’, from the Three Little Pigs. Throughout the play Albee also uses child like language which is similar to the title.

The title refers to Virginia Woolf, a famous female novelist during the interwar period. The title suggests the academic setting of the play. Virgina Woolf wrote with great honesty and a stream-of-consciousness. Through this Albee probably wants bring out how characters such as Martha and George are linving under an illusion and hence are afraid of the truth exposed by Virgina Woolf. Albee said that its meaning was ‘who’s afraid of the big, bad wolf, which means who’s afraid of living life without delusions?’. Virgina Woolf’s writing was also very complex, hence the title could also refer to the way George feels undermined as a history professor in the college. || Antagonist Adela Other characters: Poncia Angustias, Martirio Magdelena Amelia Maria Josefa: Servant and Antonio Benavides: included to show exploitation || Protagonist: Blanche (remains centre of attention through course of play = unity of action is maintained…she is hardly ever offstage, or atleast heard signing of stage; at no point of the play is her presence not felt…when she is on stage she monopolies everyones attention….every scene ends with her centre stage, commanding her attention, with a arresting phrase or dramatic gesture) Foils: Stella Stanley Mitch Minor characters: Pablo and Negro Woman: To highlight multi-ethnic society of N. O. Eunice and Steve: Violence is normal in Elysian Fields; crudeness + when E doesn’t call the police, Stella says “that’s much more practical’ = shows her over adaptability ||  || · Bernarda: keeps trying to believe that she is in control of her family…but in fact her daughters have gone astray: ‘not seeing the ‘something serious’’ · Appearance of respectability (Bernarda) · Poncia appears to be docile and obedient but talks behind Bernardas back · Servant appears to be devastated by masters death but is actually rejoicing · Maria Josefa appears to be insane but is actually the voice of sanity · Motif of cleaning || · Blanche is sufficiently self-aware to know that she cannot survive in the world as it is. Reality is too harsh, so she must somehow create illusions that will allow her to maintain her delicate, fragile hold on life. · “A woman’s charm is fifty percent illusion” · she does not want realism, she wants magic. · This means that she seeks to manipulate reality until it appears to be what Blanche thinks it ought to be. · Alcohol is a means of escapism: no1 knows how much she drinks · White clothes: appears to be pure but is actually lil more than a whore · The magnificent aura of Belle Reve creates a sense of sophistication · B’s vanity “I want you too look at my figure” (physical manifestation of this theme); lies about age to Mitch; her constant bathing and powdering is contrasted by Stanley who says “be comfortable is my motto” · B’s hypocrisy about alcoholism and other stuff; “you know how indifferent I (Blanche) am to money”; alcoholism also shows need to escape reality (“she is drinking to escape it and the sense of disaster closing in on her”; social comment on alcoholism) · She cant except reality and stays out of the light : · B stays out of the light “I cant stand a naked light bulb” · “I like it dark, the dark is comforting to me” · She pretends to not be a seductress; B to M: ‘I guess you are used to girls who like to be lost’; shows true colors to audience thoh, when M cant understand french · B constantly wants to escape into her illusionary word ‘we are going to pretend we are sitting in a little artist’s café on the left bank in paris’; “je suis la dame aux Camellias (resorts to play acting as she cant face reality) · Stan sees through B’s games “not once did you pull the wool over this boy’s eyes!...cover the light with a paper lantern and beyold, you’re the queen of the nile!” · Last line of play: ‘the game is 7 card stud” = symbolic of deception and bullying that went on. Being the last line, it emphasizes that it’s the most imp. theme · Stella is an intermediate to Stan and B · “No woman can aim a gun”: irony: she uses violence just like men: hypocrisy · “It’s not all Pepe el Romano’s fault. It is true that last year he was after Adela and she was mad about him. __But it is not her place to lead him on__. A man is a man.” · The consequences of being born a woman in this society are discovered as the women express their desire to join the men on the fields. · Pepe to Angustia (how he asked her to marry her) “I need a good, well-behaved women, and you are the one, if you agree”, the last words ‘if you agree’ is ironic because the daughters, and women of the constructed society in general, do not have much free will. · Female Dichotomy: o Paca la Roseta: “she is the only loose woman in the village” o The straw on Adela’s skirt: “bed of whores!” o According to Bernarda, sex is only meant for procreation…not pleasure o On the other hand, the daughters are occupied with things like sewing…considered feminine activities o Men are allowed to have sexual desire as it is part of their nature – double standards in society o Bernarda challenges the male patriarchy in her household and uses violence to survive || · Stanley sees himself as superior coz he’s a man “every man is a king. And I am the king around here, so don’t you fogret it” [also a reminder that he is of working class + shows women are expected to be submissive] · Women not allowed to join poker game + “poker should not be played in a house with women” · Blanche: ‘they say the lady must entertain the gentleman – or no dice’ · Female dichotomy: o Stella is dutiful wife who cooks for him (“what about my supper”, cleans his messes…) o Blanche is the whore || · || · “//The poor are like animals”// · // “My blood will never mix with that of the Humanas family- not as long as I live! His father was a field hand.” // · Angustius has a suitor because she is rich · Poncia: “//Are we old friends or not//” Bernarda: “//You serve me and I pay you”// · //“Would you have me offer them to some farmhand”// · //“Is it proper for a women of your class to be throwing a man the bait on the day of her father’s funeral”// || · In scene 1, Blanches offhand manner in which she accepts the negro woman and eunice’s acts of kindness show her awareness of the social distinctions between them. to her, these are acts of service expected of her social inferiors. (foreshadows her condemnation of Stella’s way of life and husband) · “//I take it for granted that you have sufficient memory of Belle Reve to find this place and these poker players impossible to live with//’ · “//He’s common” “he acts like an animal, has an animal’s habits’//; ’there’s even something sub-human and ape-like about him’ (note: in the end, Stanley proves her description to be true · Stella acts differently with Stanley around B · Stanley: “The Kowalskis and DuBois have different notions”, S: indeed they have, thank havens!”; “B and I grew up under very different circumstances that you did (Stan gets angry at this)’ · Blanche expects a certain kind of behavior from men “please don’t get up” “nobody’s going to get up, so don’t be worried.” || · || · Cleaning Imagery: Everything has to be clean and orderly. Her obsession with cleanliness metaphorically depicts her obsession with keeping her reputation clean · //“…the neighbors can see her from their window.”// · No action is taken before considering the reaction of society and when an action is taken before considering the result of it, the consequences are evident in act two, when Librada’s daughter compels herself to her death by giving birth before marriage. “She should pay for what she did” · Bernarda’s desperation to keep her family name clean and live up to expectations is what causes her to suppress and confine her daughters; we learn in this act that she is excessively concerned with marinating her level in society, amassing money and portraying an image of “family harmony”, never considering the suppression of her daughters. ‘ · Bernarda locks up Maria Josepha, as she is concerned that the neighbours will gossip about her lunacy · Adela defies that the society’s concept of reputation by fulfilling her desires · Pepe chooses Angustias over Adela: Suggesting that in this society is only expected to choose money over passion. || · Blanche’s need to hide the truth about her past · Association with Hotel Flamingo · Keeps trying to portray herself as a very sophisticated and cultured woman. She is ashamed of herself, but is trying hard to prove that she is ‘clean’ (link to bathing) to herself · Stanley had a conflict with Blanche since the start of the play (Belle Reve papers…). Stanley was further annoyed by Blanche’s interference in his life, Stella’s changing attitude, vanishing alcohol and Blanche’s derogatory remarks about him. Hence, he uses Blanche’s poor reputation in Laurel in order to try and turn Stella against Blanche. We can see that reputaion becomes Stanley’s means of resolving his conflict with Blanche. When that doesn’t work…he rapes her to break her spirit. || · **__ Reputation/Ambition: __** 1. George: ‘Martha tells me often I am //in// the History Department…as opposed to //being// the History Department…in the sense of //running// the History Department. I do not run the History Department.
 * Characters (Protagonist, Antagonist, foil, minor characters etc) || Protagonist: Bernarda: Bossy, Domineering creature (Poncia, A1)
 * Appearance vs. Reality || · Adela: Appears to be celibate. But in reality she is having an affair
 * “I tried to gloss things over in my letter
 * Justifies Stan’s behavior to self (‘people have to tolerate each other’s habits, I guess” || · ||
 * Gender Roles || · //“A thread and a needle for women. A whip and mule for men”//
 * Class Conflict || · Exploitation: “//Never again can you lift my skirt behind the stable door!//”- A1
 * Reputation || · //“My daughter has died a virgin”//

George and Nick's academic departments at New Carthage College set up a dialectic in which Albee presents a warning about the future of life. George is an associate professor in the History Department, while Nick is a new member of the Biology Department. Old, tired, and ineffectual, **George exemplifies the subject that he teaches. What's more, he notes that no one pays attention to the lessons of history ­ just as Nick ignores George's sincere advice, responding contemptuously, "Up your!" Nick, as a representative of science, is young and vital. In the words of George, he is the "wave of the future." Through Nick and George's argument about Biology and History, Albee demonstrates two clashing worldviews. George's lack of success in the History Department and inability to rise to power as successor to the president of the college contrasts with Nick's plans and seeming ability to move ahead ­ first taking over the Biology Department, then the college.**

2. Nick is very ambitious but George’s character foreshadows probably what is Nick’s future. [Martha (to Nick and Honey): Hey, you must be quite a boy, getting your Master’s when you were…what?…twelve ? You hear that, George?]

3. George mocks Nick for being a biologist. He mocks the idea of chromosomes. (pg. 70-71) [George: Everyone will tend to be rather the same…Alike]. Albee is probably hinting that with the American Dream and the drive for ambition and the importance given to getting a good reputation everyone will turn out to be the same, and there will be a loss of individuality. Through George’s mockery of Nick Albee points of flaws of the American Dream.

Albee clearly intends for us to perceive Nick's (half-joking) plan as a threat. George's criticism of Biology's ability to create a race of identical test tube babies all like Nick and Nick's ruthless willingness to take any means necessary (including sleeping with factory wives) to get ahead reveals the absence of morality and frightening uniformity in a future determined by science. What's more, in exposing seemingly virile Nick's impotence, Albee demonstrates the underlying powerlessness of science and in George's perseverance, the unexpected staying power of history.

4.Martha is fed up with George because he does not live up to her father’s reputation, therefore she continuously compares George to ‘Daddy’ and pokes fun at George’s academic and career related failures (his book). This shows that one of the aspects of the American Dream was a successful career and one’s reputation was based on that. || · Tolling of bells · Begins and ends with death (cyclic structure ) · Adela’s death · metaphorical death of the daughter’s desire – freedom and love || · Roses for the dead · Polka and gun shot || · **Death of the American Dream:** · Decay of the perfect American family, George and Martha do not have any children, indicates the sterility of their marriage and · Death of values as Nick attempts to improve his position at the university by sleeping with Martha. à He uses sexual and corrupt means to further his position instead of intelligence and capability. Therefore, this degradation of the purity and moralistic nature of the American Dream. · Therefore, through this decay, Albee tries to indicate the flaws and the shallow nature of the American Dream.
 * Death || · Black clothes:

· There is a hint towards the fact that George killed his parents, however this is always left ambiguous. George appears to be uneasy and hesitant to talk about his parents (pg 106) Act2: Nick: “what happened…the boy who shot his mother?” George: “I won’t tell you” · In Act 3, (pg 212): George, “maybe”, Martha, “Yeah, Maybe not, too.” · This continuous conflict between truth and illusion.
 * George and his Parents:**

· George ‘kills’ the baby in the end in the exorcism. · Baby itself never really existed, so, this ‘death’ is metaphorical. · It symbolizes the ‘death’ and end of all their illusion and games.
 * Death of the Baby:**

· He says: As revenge (cross ref end of act 2: “You’re going to regret this Martha (pg 192)”, he wants Martha to feel the same pain that he did by taking away what is so important to her (the baby) · However as an audience we understand that he realizes the importance to end the illusions and games as Martha seems to be unable to differentiate between the truth and illusion.
 * Why does George kill the baby?**

Death their illusions and games Role reversal: Martha appears submissive (the pauses and ellipses shows her hesitation and her reflective mood) while George is firm and assertive and provides answers to all her questions. (pg254) Martha: “did you…did you…have to?” George “yes” Martha: “it was…? You had to? George: “Yes” Therefore, a new relationship has begun to develop between Martha and George. It is time for them to confront reality and see if they can work things out as a married couple. It indicates therefore the birth of a new phase in their marriage, one which Martha is scared of.
 * Effect of killing the baby:**

“Pouf” à the killing of every illusion ||

· Therefore her daughters, unable to accept this suppression, strive to find ways to escape the captivity. · However, in order to fulfill their desires, these women distort the concept of a female domination, as they prove that they paradoxically struggle to escape a matriarchal domestic fascism, only to come under a patriarchal one. · Bernarda uses violence when cannot use words to sufficiently oppress her daughters. Corporal punishment – cane as a symbol of violence. (generally symbol for law and order??) It’s a means of assertion of authority (Franco). · Violence of the language Poncia uses || * Throwing the radio out of the window These two acts of violence shock Blanche, who is not used to violence…she reacts by calling Stanley an animal Shows how violence is normal in the EF Result of building tension and Stanley’s annoyance at Blanche’s influence on Stella Climax…final act of violence that breaks Blanche’s spirit and also puts an end to stay at the EF
 * Violence || · Typically most oppression is done by men. However, this play proves that women also do exercise their power when given a chance.
 * Striking Stella
 * Eunice-Steve fight
 * Clearing the table
 * Blanche’s rape
 * Violence taking place in the background offstage – lurid reflections that appear in scenes 10 and 11 are violent as well || * ||
 * Suppression || Is a combination of other themes (most important theme)
 * Suppression of women
 * Suppression of daughters to live up to social expectations/reputation
 * Violence is used to intimidate and suppress
 * Marriage is a form of confinement
 * Magdelena is not allowed to marry man of lower class (suppression as a result of class conflict
 * Suppression due to religion: B embody what Lorca feels to be wrong about traditional Catholicism: it imprisons the individual instead of liberating him, it corrupts his life instead of perfecting it
 * It is brought on by conflict (B and daughters; society and self) as well as a cause of conflict (between daughters) || * || ** Suppression: **


 * George and Martha’s relationship is founded on this continuous battle of wits and struggle for power over one another. They have been married for quite a few years now, and know exactly how to tackle one another.


 * Martha is ‘loud and vulgar’, dominating the conversation at the beginning of the play with her aggression, ‘YOU CUT THAT OUT’. Most of her dialogues and repartee are capitalized, indicating that Albee intended them to be yelled out. Her use of expletives such as ‘FUCK YOU’, threats like ‘I’ll fix you, you….’ And her constant cutting-off of George’s remarks depict that she uses the violence in her language to dominate George – which ultimately, however, is unsuccessful as George too retaliates, refusing to be suppressed by Martha alone.


 * George comes across to the audience as passive-aggressive. He may not be one overtly dominant but he does know how to offend her, especially with reference to her age as seen in Act 1, ‘I’m six years younger than you are…I always have been and I always will be’.

BETWEEN BERNARDA AND DAUGHTERS (to protect her image) highlights conflict between freedom and reputation || Between Blanche and Stanley · Stanley views her as the reason why things haven’t been going so smoothly with Stella (reason he gives for wanting to get rid of B) · He exposes truth about her, and is the reason for her undoing · emphasizes both class conflict (Blanche feels Stanley is common) · and gender stereotypes (Stanley’s feels he is superior to Blanche, and when he cannot dominate her verbally, he does so physically) · B to S: “your simple, straightforward and honest, a little bit on the primitive side I should think” ||  || · gender roles: manner in which Stanley orders Stella, and refuses to take orders from her (“Since when did you give me orders”) · She is accepting of his ways (eg: he assaults her and yet she goes back to him · class conflict: around Blanche, Stella criticizes Stanley (eg: he is “a different species”; “this is my house and I will talk as much as I want to (to stanley, in scene 3); ‘Mr.K is to busy making a pig of himself to think of anything else’ · ‘Pig – polack – disgusting – vulgar – greasy!” – them kind of words have been on your tongue….” (stan’s annoyance) · When Stan hands ticket to B, stella “turns her back” (fact that she doesn’t step in shows she is submissive) · Rape: highlights all important themes Stan stamps his authority on her (gender role…he being a man allows him to overpower her free will), acts in primitive and violent manner B had come to expect of him (violence; class conflict), Stella chooses not to believe it happened and Stan lies it never happened (app. Vs. reality) · “shall we bury the hatchet and make it a loving-cup” “No, thank you” (S’s friendly gesture is declined, restoring animosity) · In the end, he tears the lattern of and hands it to her (metaphoric rape) ||  || Adela and Librada’s daughter rebel; both die in the end (L’s draughter’s death emphasizes consequence of giving birth before marriage) || Between Blanche and Stella · (stella is a foil to both B and Stanley) · Blanche is critical of Stella’s way of life · After pokwer night: B ”your fix is worse than mine! Only you’re not being sensible about it” (ironic cos B is living in dream world) · On seeing how Stella lives, B feels superior (eg: mock surprise that the house has a bathroom in scene 1) ||  ||
 * Towards the end of the play, however, this power struggle ceases as they come together in mutual reconciliation. They realize that it’s only each other who can satisfy each other, as Martha says ‘There is only one man in my life who has ever…made me happy….George, my husband.’ Despite the outwardly bitterness and cutting remarks, they share a deep understanding of each other’s personalities, and a need for one another that eventually brings them together in the end. ||
 * Conflict 1 || (a lot of conflict mirrors conflict in the Spain); society’s expectations is a major source of conflict
 * Conflict 2 || Between B and Poncia - B cannot accept truth about whats happening inside her house (appearance vs. reality) || Between Stella and Stanley
 * Conflict 3 || Individual vs. society
 * social expectations, which B severely conforms to (suppression)
 * Conflict 4 || Between sisters

Tense relationship is due to their lack of freedom, emphasized by fact that 3 of them have fallen for same man do to sexual suppression (therefore conflict is B’s fault) || Between Blanche and Mitch (in last few scenes) · There is rising tension in each of the acts, which reaches a peak at the point when Adela’s death is exposed (Adela’s death is a coup de theatre) || Poker night : shows Stan’s dominance B’s birthday supper sets the personalities of main characters through course of play; Stan looks sullen (realism), Stella is embarrassed and sad (midway between 2), B has artificial smile on her drawn face, M’s seat is vacant (he can never fill B’s void) [note: also shows imp of didascalia Stella’s going into labour (deus ex machina): leaves B alone on stage for next 2 scenes, with disastrous consequences Scene 11 is a downbeat coda to the melodrama of the rape, 11 scenes with no break – for an interval indicated – talent for writing short 1 act plays, and could not sustain dramatic tension for 3 acts of conventional length. Here every scene ends with a punch line or a dramatic gesture. The effect in each case is that of the ending of a playlet (a tiny play), with the players motionless in a tableau vivant (living picture). This concept of a series of 1 act playlets is reinforced by the element of repetition in the play (action, dialogue, poker scene twice, lurid scenes in the background, use of symbols, motifs ...repitition binds the play together) ||  || Ends on a dramatic note ( || · In scene 10: when Stan rapes B. note: here, prostitute is mugged by a drunkard (ugly scenes of violence is street shadows rape, and later negro women steals purse (each of the 3 emphasize part of B’s character) · Going against dramatic conventions, the climax takes place in the close of the last scene of the 2nd group (scene 10…a little late…ends just before falling action) || * In the second act of the play, Martha attempts to seduce Nick in front of her husband. His compliance with her behavior prompts George to wake up to his reality and deal with the illusions he and Martha have created. The war between Martha and George is heating up. She insults him more and more personally, honing in on his work and its connection to his personal life. Plus, the fact that he could not publish his book without her father's approval reveals his reliance on her and her family for his life and livelihood. * Up till the climactic moment George is more passive then aggressive.
 * Class difference is too vast for them to be compatible: “it was foolish of me to think that we could ever adapt ourselves to each other. Our attitudes and backgrounds are incompatible.”
 * Mitch is her last chance of salvation. He represents safety
 * His absence at her bday shows, and leaves 4th seat vacant = reminder of her constant need for protection, and inability to find it
 * ‘I want to deceive him enough to make him want me’ = appearance vs. reality;
 * When he begins to confront her, she ‘pretends’ nothing is wrong = scared to confront reality
 * One is a dreamer (“I don’t want realism. I’ll tell you what I want. Magic” while he is “realistic” ||  ||
 * Structure (Freytag’s pyramid + coda + coup de theatre + Deux ex Machina) || · Each act moves further into the house, which symbolizes that the audience is getting to know about more of the secrets of ppl
 * Climax || Act 3: Although the ending scene (the death) was foreshadowed many times in the previous chapters and scenes, it was still a big shock to all the characters in the play as well as the audience. We see how all the characters in the play were flawed in one way or another, and how nothing could be done in order to save Adela from her fate as she had gone too far. We also see how a character with a lower status (the maid and/or Poncia) knew what was going on, and how even though they knew, they could do nothing to stop it.
 * Cyclic structure: starts and ends with death, B’s first and last word is ‘silence’; cyclic nature of human tradition, lack of hope of escape from this cycle for daughters (B plunges family into deeper mourning), lack of hope for Spain???
 * Martha’s behaviour builds up to the climax.

**Outcome** George exposes the emptiness of their marriage and "kills" their imaginary son. He also exposes Nick and Honey's hollow relationship. At the end of the play, George, Martha, and the guests must face the harsh reality of the future without delusions. The play, therefore, ends in tragic comedy. The illusions have been confronted, so in a sense George has defeated his antagonist; but the tragedy of the characters' lives is not solved. || The first 6 scenes follow slowly, outlining the possibility of potential conflict 7-10: move at greater speed (action takes place in one day) = creates tension of a violent and tragic climax 11: (lapse of time slows pace) maintains the illusion of humdrum everyday activities, which is shattered by B’s trouble to escape, follows by the restored illusion of calm. ||  || Didascalia consists of directions for the director, including the setting. Are quite objective “thick walls” – confinement and secrecy of B’s and Franco’s rule “A great shady silence”: tension in the air + secrecy “Pictures of nymphs”: romanticized family: nymphomaniac “pointedly” to show the insidious nature of the sisters and the sense of disloyalty Violent verbs to describe B’s action (eg: Hurling the fan) “church bells are tolling” – highlights significance of religion (symbolic of death, or rather decay, of society; play and B embody what Lorca feels to be wrong about traditional Catholicism: it imprisons the individual instead of liberating him, it corrupts his life instead of perfecting it) || Williams never intended his plays to be closet drama; yet they go far beyond practical instructions and can only be appreciated while readingd – unusually detailed, beautifully written, evocative, accurate, employs poetic images to convey their meanings (each quote below relates to atleast 1 of these points) “the blue piano expresses the spirit of the life which goes on here” “there is a relatively warm and easy intermingling of races in the old part of town” “her (B) appearance is incongruous to this settings…as if she were arriving at a summer tea or cocktail party in the garden district. There is something about her uncertain manner, as well as her white clothes, that suggest a moth Describes Stanley as a hyperbolic stereotypic man “animal joy in his being implicit in all his movements and attitude”; “richly feathered male bird among hens” Characterizes men as animals (Steve ‘roars’ when E hits him) “the utter exhaustion only a neurasthenic personality can know is evident in B’s voice an manners (after she returns from date with Mitch); casts doubt on her sanity “she is drinking to escape it and the sense of disaster closinger in on her” Atmosphere created using didascalia: “lurid reflections in scene 10 and 11” ||  || Cleaning: “This crystal has spots on it” Colour: White walls, black clothes, green dress, green and red fan || Moth imagery (just as moth is killed by light, Blanche is destroyed by her desire Stella spills coke on B’s white skirt: symbolic of lost innocence and reputation. ||  || · Doors and windows: Freedom and Reputation: The windows and doors are portrayed as a border between confinement and freedom. o Windows shut: darkness symbolizes emotional darkness of hopeless daughters (Bernarda tells them to shut the windows) o Windows open: keyhole to the exterior world where sexual desires are not repressed (daughters and Poncio look at men from the window o Linked with marriage: window is traditional place for viewing (highlights this fine line between freedom and confinement of this symbol, as marriage is viewed as both of form of the same duality) · Gossip: in the absence of an official narrator, we rely on it to inform us of the unobvious. Re-enforces B’s suppression as it creates a hostile atmosphere (In Franco’s time: spying) · Heat: When Anguistias discovers that her pic is stolen, she is burning with anger. Bernarda: “In the silence of this heavy heat”. However to the audience this can be interpreted as a subtle acknowledgement to the actual heat between her daughters, created by the friction of their need for sexuality, which in this case is Pepe. “//I’d fight my mother, to put out this fire that rises from my legs and mouth.”+ ‘the heat makes me ill” (//suggests a claustrophobic atmosphere which the daughters cannot escape) · Bernarda’s Stick: symbol of her suppression. Adela breaks it: “You aren’t my jailor anymore” · Adela’s green and red fan+ green dress: Green symbolizes virility, fertility and Nature, while red represents passion · Cleaning – pretence of purity for society’s sake (appearance vs. reality) · The word ‘Alba’ – means dawn and also white (relates to white walls and the pretence of purity) · Marriage – men marry to obtain wealth and land; symbolic of recent decay in society “A wedding lasted ten days and wagging tongues were not the fashion. Today, there is more finesse, brides wear white veils like in the big cities and we drink bottled wine.” · Gaps and uncertainties/silence: There are pauses and gaps through this novel to show tension, uncertainty or even to hide secrets; Bernarda keeps demanding silence (symbolic of her authoritative nature) · Silence as a motif || o __Belle Reve__: symbol of class superiority (imp: B’s transition from B.R. to the cheap hotel Tarantula and finally to Stan’s small apartment symbolic of her descent in the social ladder [imp quotes: ‘I pulled you down from those columns and how you loved it’; ‘Maybe he’s what we need to mix with our blood now that we have lost B.R. and have to go without BR to protect us’] o __Bathing__: cleanse her of her guilt (husband’s death), dirty past and rape (in scene 10) o __Spilt coke of B__’s skirt = stained reputation or spilt blood of husband o __Blanche’s red satin robe__ = biblical allusion to scarlet woman o Alcoholism: B’s hypocrisy; emphasizes difference between B and Stan (B drinks alone, Stan drinks in groups), brings out Stan’s primal behavior) o __Rhinestone tiara__ = shows appearance vs reality o __Paper Lattern__ = B’s refusal to face reality, B deceives others and wants ‘magic’ + moth being attracted to the light. When Mitch rips of the lantern (with the same sort of violence that foreshadows rape) + she is exposed. o Scene 10 uses expressionistic menacing shapes inside the apartment and scenes of violence outside reflects B’s terror. o __Comic books__ = reminder to B that she has entered a world where comic books and not literature is red o __Flowers__ (the ones the blind Mexican women was selling) = reminder of death o __Pic of Van Goghs of a billiard-parlor at night__ (primal colors matched by primal colors worn by men) = highlights their primitive nature; “as coarse and direct and powerful as the primary colours”(this + red watermelon rinds set scene for poker night and have same connotations) o __Alcoholism:__ B’s hypocrisy (‘One is my limit’; ‘I barely touch it’); everything about her is shrouded in mystery + characterizes her as a liar (doesn’t want any1 to know truth, and we never know truth about Belle Reve) o __Street Car –__ highly symbolic for desire (as mentioned in title)…desire = sin; cymetries = death….didactic message is clear o Using as a form of euphemism (scene 4: riding the street care) o Symbols used in a play must be easy to understand in a play, since the audience does not have the leisure to consider hidden meanings in midst of the action (therefore || o || B: “I was on the verge of – lunacy almost” (is thot to be 1 later) B: “oh, you do have a bathroom”: nasty joke. Ironic that she is criticizing Stellas house (and sees her as lower in social order) when B is homeless (and has become a call girl for soldiers) S: “liquor goes fast in hot weather (actually B had it) B: ‘you must have lots of banging around in the army’ (ironic cos she bangs soldiers B’s sign is Virgo the Virgin Stellas disbelief of rape proves an ironic coda; she, rather than B, is the one in need of support Twist at the end: B is forced to confront reality (quiet dignity in her final exit), Stan is a liar (lies he never raped her), Stella chooses to believe his lies (lives in an illusion) ||  || “Liberada’s daughter (anecdote); ambiguity – is adela pregnant?? “now you have spilled the salt” – omen of bad lack, foreshadows Adela’s death
 * Mood & Tone/Pace & Rhythm || * Stage directions: “They sit. There is a pause”: tension. Play starts with a tone of mourning and this is amplified as it progresses
 * Sense of stagnation and slow passage of time in act 2, where the daughters are forbidden from leaving the house
 * Acceleration in pace when Martirio confronts Adela about her illicit affair || Mood varies depending on the action (eg: poker party is lively, rape scene is tense)
 * Importance of didascalia (stage directions) || Didascalia is used to describe the colour of objects, which symbolize significant aspects of the play.
 * Imagery || Animal: numerous references to animals [refer to wiki space]
 * Symbolism / Motifs || · Water: symbolizes freedom: //“…this damn town without a river, this town of wells!”; B’s mom wants to get married by the sea:// In the same way as water is confined and cannot flow in the well, unlike a river, Bernarda’s house confines her daughters (+ society)
 * Irony || * Bernarda hits Angustias for trying to listen in on the men’s conversation, when she herself is equally curious.
 * Daughters want to marry to be free (Magdalena: “you will be free soon”; A: “not soon enough”; ironic because marriage is another form of confinement, as describe in play
 * B: “In this house there is nothing going which my watchfulness cannot cope with”
 * B: “nothing is happening here” + “tonight I am going to sleep well” (Adela kills herself that night) = when P tries to warn her that she has to pay a price for her tyranny
 * Inconsistencies in society: L’s daughter is killed due to giving birth before marriage; ironic because the man, who is equally responsible as he probably was aware of her pregnancy, faces no consequences for his acts. Also, no one even mentions him. Also ironic because men are permitted to be infidel, which is far worse than sex before marriage
 * B keeps reminding Poncia that she is of a higher status than Poncia; ironic because Poncia knows truth of what is going on in the house, giving her power over B (needs to be rephrased)
 * “Fortunately my daughters respect me. They have never gone against my wishers” (ironic cos they fear her + adela is rebelling in secret)
 * “I was born with my eyes open” (she is blind to daughters)
 * “in my old age, you are making me, you mother, drink the bitterest poison (emphasis on mother is a reminder how B’s treatment of her own mom is way worse) || B: “I am not going to be hypocritical (Scene 1, when expressing shock at Stella’s condition)”
 * Foreshadowing || Tolling bells: foreshadow Adela’s death

“a good night for thieves, for someone who needs to hide” (Adela’s affair with Pepe) || Flirting between B and Stan in scene 2 foreshadows rape “if I didn’t know you were my wife’s sister I’d get ideas about you” Stan’s dislike for B seem to be out of perverse desire (“I have to ask him to close the bathroom door. Such commonness is unnecessary.’) In scene 10, Stan “peers in at B, and gives a low whistlte. All of this is emphasized by “we’ve had this date from the beginning (his last lines before raping her) B’s hysteria casts a doubt on her sanity later on B: ‘I won’t hang around until he thros me out’: foreshadows stan gets rid of her B: ‘I have got to be good and keep my hands of children’ (after kissing young man/paper boy): foreshadows dirty secret of her having seduced 17year old being revealed S: “you think I will interfere with you?” ||  || · Scene 10 and 11: lurid reflections appear on the wall around Blanche (her terror takes a visible form + we see her in the light now that her pretences are destroyed + builds tension) + “night is filled with inhuman voices likes cries in a jungle” (represent confusion and terror in her mind). · Note: lurid reflections appear again in last scene, when B hears Stan’s voice (remind of nightmarish rape || · || · Hot trumpet and drums (eg: end of rape scene) · Polka music/varsouviana: before B’s flash backs; heard only by Blanche; signals crucial moments of the plot; was playing when husband shot himself; it fades out, as described in didascalia when she believes there is a chance with Mitch (whe he kisses her in scene 6, when he comes to see her in scene 9: “you’ve stopped the polka tune that I had caugh in my head’); rises up again when she knows there is no hope with him. + distant revolver shot that silences it – guilty memories of her husband B’s singing in bathtub in scene 7: sentimental love songs contrasts shocking truth revealed onstage + builds tension Roar of locomotives: scenes 4,6 and 10 = atmosphere + enables Stan to eves drop in scene 4 (dramatic purpose) Use of music and sound effects – a technique learnt from cinema (he grew up in the 20s and 30s, the goldgen age of Hollywood cinema and was the film critic of his highschool magazine, paying close attention to the flim he was viewing and consciously or unconsciously absorbing the techniques used. · The musical symbols appreciated more keenly by the theatre audience – readers at a disadvantage as stage directions can never have the same dramatic impact as the music starting up on stage (can talk about this point while taking about musical symbols or didascalia) || · Albee uses the sound of clinking ice, at the beginning of act 3, to convey the hollowness that Martha feel. Through this sound the audience is able to empathies with Martha. ||
 * Light & Sound || * As the play progresses, the action moves further into the interior of the House.
 * By the end of the play, most action takes place at night
 * Night is the time there is some freedom in the House as the neighbours aren’t watching…so Bernarda does not interfere as much as during the day
 * Sound effects like the stallion thumping against the walls have a symbolic meaning (they cannot be caged and tamed
 * Silence is oppressive
 * || · During poker night, blanche stands “in the __light__ through the portieres – such behavior is instinctive around men (light/desire leads to moth/her downfall) + her last attempt for salvation by enticing Mitch
 * Songs/ Music || * Songs of the reapers
 * Maria Josepha’s song and its significance || · Blue piano: suggests raw emotions, unrestrained physical pleasure, animal strength and virility (appears at significant parts of the play) [plays near start; at end of scene 2 and 3, before she kisses young man, goes into ‘hectic breakdown’ when Stan reveals B’s secrets to Stella, before rape – indomitable pleasure loving spirit of the quarter.