Expressionism was central to many of Williams' works, to the point that he coined the term "plastic theater". Throughout his plays, and particularly in A Streetcar Named Desire, Williams uses expressionism to show emotions or themes that may not be entirely apparent from dialogue alone. In particular, he uses expressionism (which includes the use of costumes, lighting, props, etc.) to connect his works with a sense of charged and edgy emotion. Without the purely physical elements that define its characters, A Streetcar Named Desire would be stripped of some of the expressive subtlety and power that makes Williams' work so memorable. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay One of the main ways Williams uses expressionism is with costume, which he uses to portray different characters and in particular to show the contrast between various characters. The "work clothes" that Stanley first appears in represent how stereotypically male he is, as the breadwinner of his family. Williams also uses the “bowling jacket” to emphasize his superiority as they symbolize the proficiency in sports typical of an alpha male character. The same idea continued with other male characters. When they gather they are dressed in “primary colors” to represent the fact that they are “rough, direct and powerful,” as shown in Scene III. This shows how dominant they should be and how the power is in their hands. While Stanley's work clothes demonstrate how comfortable he is in himself, Blanche's demonstrate the opposite. She wears a “white dress with a soft bodice” as if she were dressed for “a summer tea or cocktail party.” This immediately shows her to be out of place and almost delusional about what she is getting at, echoing the idea expressed through the street name "Elysian Fields" about her naive expectations. Her “white clothes” show how Blanche wants to be seen as innocent, when in reality she isn't at all – a technique often used by Williams. Once again this is an indication of attempting to hide his true character, as well as perhaps a deep desire to be innocent again and cleanse himself of his sins (more specifically, losing Belle Reve). The costume is also used to highlight other aspects of Blanche's personality. For example, the pieces of fox fur that Stanley finds in his suitcase in Scene II are representative of the animalistic aspects of his personality, and more specifically the cunning and flirtatious elements of his character; the "trinkets" she finds along with it symbolize how Blanche always tries to put on a facade and give an illusion of wealth that is far from reality. Later, some clothes will be used to show the desire and lust felt by Blanche. This is especially evident in the way Williams often uses the red costume, for example the “red satin robe”, to demonstrate the lust that a certain character – usually Blanche – is feeling. This is sometimes used to show the relationship between Stella and Blanche, such as when Stella is dressed in a "light blue satin kimono" to show her icy disapproval of Blanche's behavior at this point. Blue is also a fairly innocent and calm colour, in contrast to Blanche's red, suggesting that Stella has more control over herself and does not feel the need to assert her sexuality in the same way as her sister. the costumes themselves that can be used symbolically, but also what exactly is done withthese costumes. When Blanche “takes off her robe” in Scene II, it is part of her attempt to flirt with and seduce Stanley; he also expresses his sexuality, which he reveals metaphorically while revealing himself literally. This is repeated in Scene III: Blanche undresses while discussing Stanley, again exposing her sexuality and her attraction to him. Conversely, when she dresses in a "dark red satin wrap" in Scene III, this is also used to suggest her sexuality, and more specifically her sexual attraction to Mitch. In Scene IV, Stanley's “gaudy pajamas” lying in the doorway of Stella's room shows his commanding presence on both women, even when he is not actually there. This acts to reinforce his dominant personality and his power over his wife. This same idea is shown at the beginning of Scene II, when Blanche's dress is "lying on Stella's bed." This shows that Blanche is invading Stella's space, almost trying to take what is her, and also asserting her sexual dominance. This is reflected in the way Blanche treats her sister's husband – flirting with him – in an attempt to gain what is not hers. It is unclear whether she wants it simply because she is alone and has no one, or because she wants to take something from her sister in some sort of competition. The theme of Blanche's desperate attempts to assert herself is also shown through their mutual exchanges, such as when Stella says "I just got into the habit of being quiet around you", which Blanche completely dismisses by replying "a good habit to get in… ”Williams also uses lighting to show different aspects of the characters' personalities and also to show their emotions at different moments. This is introduced almost immediately, as in the scene I Williams describes how she "has to avoid strong light". and confirms this by comparing her to a “moth”. This shows how she is attracted to light – here meant to symbolize desire – but at the same time this light and this desire are harmful to her. This idea is used to reflect the idea of ​​desire and of the death of the streetcar and how one cannot be achieved without the other. However, Blanche's desire to avoid bright light, expressed so frequently ("Turn it off!", "I can't stand a naked light bulb"), is also representative of his obsession with appearance, reconnecting to the ideology of the 'Old South' so focused on appearance. This is supported by her apparent enjoyment of the light when she feels she is at her best or in her element, as in Scene III when Blanche “returns to the streak of light. He raises his arms and stretches, while he moves idly." This almost feline description shows Blanche in her element and her ready willingness to show off when she is. Her changing attitude towards the light also shows the internal struggle within her as she attempts to hold on to attitudes related to the Old South that no longer fit her: in reality she is desperate to give in to her sexuality but these ideals that she is holding on to to dictate that he cannot. This is shown again in Scene III when Blanche “stands in her pink silk bra and white skirt in the light,” showing her revealing and exposing her sexuality once again. The setting is another crucial element for this play – partly because New Orleans itself was so important to Williams because it is the only place where he feels accepted, but also because it creates an atmosphere in which Blanche cannot feel accepted , but instead feels totally out of place. Williams' initial description of New Orleans is very poetic and romantic: "a particularly soft blue, almost turquoise, which invests the scene with a kind of lyricism and gracefully attenuatesthe atmosphere of decadence”. He also describes a cheerful, lively atmosphere with “entertainers at a bar around the corner” and “refined charm.” However, despite all these things that made Williams feel so accepted and at home, New Orleans is a place where Blanche can't truly feel comfortable - an idea ironically represented by the street name "Elysian Fields" which is supposed to be a paradise but instead becomes its hell. . This is the result of a series of "flaws" in Williams's description that would have bothered Blanche even if they did not do the same for him: the “weathered gray” houses are such a clear representation of the kind of deterioration that Blanche could not stand and she tried so desperately to hide within herself. Furthermore, the “infatuated brown-fingered fluency,” which is rendered so poetic here, would likely have been much more uncomfortable for Blanche who, while perhaps not necessarily racist, would certainly have held certain racist attitudes due to her location in the South. All this description of a place that in many ways seems idyllic, but with flaws that compromise Blanche's character, reinforces the impression that she is totally out of place and does not belong. Williams continues this approach with the description of Stella's house. The impression that Blanche will not be happy here is immediately created by the "blue" shutters, which represent sadness, and also by the fact that the house is described as small - "two rooms" and "one narrow door". This is clearly at odds with Blanche's expectations and thus is part of the disappointment she feels upon entering the house. This disappointment is first introduced when he arrives in New Orleans – “They must not have – understood – what number I wanted” – and continues to grow throughout the play. Furthermore, the “folding bed” that Blanche uses suggests impermanence and also shows her as a guest or as someone who has imposed their presence on someone, rather than as someone who is totally prepared or welcome. The idea of ​​exposure that Blanche tries so hard to hide from is also shown in the setup of the house, as there is no door between Blanche's room and the room where Stella and Stanley sleep. However, in addition to the idea of ​​exposition, Blanche also uses it to imply that Stanley would behave inappropriately by wondering "will he be decent". Another important component of the plastic theater used in this play is sound, most prominent in the aspect of the “blue piano”, which is usually used to indicate the feeling of loss, particularly in Blanche. For example, this blue piano appears when Blanche tells Stella about the loss of Belle Reve in Scene I and when Blanche discovers that her sister is pregnant in Scene II, signifying her fear of losing her sister. In scene III the song “paper doll” is played. This song is about longing for a paper doll instead of a real woman so that the man can totally control her, and this corresponds to Stanley begging for Stella back right after he beat her. The implication is that Stanley wants to have total control over Stella, and really be something closer to an owner than a partner. In Williams' Streetcar, in fact, numerous objects, or props, are used to suggest the characters' emotions and the dynamics of relationships. The first notable example of this is in scene 1 when Stanley “throws the package” of meat at Stella, forcing her to catch it. This sexual act symbolizes the imposition of Stanley's sexuality on Stella and represents his crude and uncouth behavior, as well as his primitive nature. However, the fact that Stella receives this package, albeit reluctantly, represents)