1456770
Description
Mind Map by bethanashman, updated more than 1 year ago
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Created by bethanashman
about 10 years ago
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Themes
- ILLUSION VS REALITY
- Central message = human beings must learn to live
without illusion. Throughout the plays, the characters do
battle to protect their own versions of reality whilst
simultaneously tearing down each other's lives
- Edward Albee has said that the song
"Who's Afraid of Virginia Woolf?" means
"who is afraid to live without illusion".
- Illusion of the son sustains George
and Martha's tempestuous
marriage. Ultimately, George seeks
to 'kill' that illusion when it begins
to get too close to reality.
- Nick and Honey's lives are based on illusion.
Nick married Honey for money, not
love.Though he looks strong and forceful, he
is impotent. Honey has been deceiving him
by using birth control to prevent pregnancy
- Illusion of the son sustains George
and Martha's tempestuous
marriage. Ultimately, George seeks
to 'kill' that illusion when it begins
to get too close to reality.
- STREETCAR = a gradual descent into madness, brought about by
loss, depression, financial ruin, and the cruelty of others. At first, this
so-called "madness" is just an attempted escape from reality – an
altered self-image and a polished persona that doesn’t accurately
reflect the character below. As the play progresses, however, this
self-deception intensifies and deviates further and further from
reality. By the play’s conclusion, the main character can no longer
distinguish between her fantasies and the world around her.
- Blanche dwells in illusion;
fantasy is her primary means
of self-defense, both against
outside threats and against
her own demons. But her
deceits carry no trace of
malice, but rather they come
from her weakness and
inability to confront the truth
head-on. She is a quixotic
figure, seeing the world not
as it is but as it ought to be.
Fantasy has a liberating
magic that protects her from
the tragedies she has had to
endure. Throughout the play,
Blanche's dependence on
illusion is contrasted with
Stanley's steadfast realism,
and in the end it is Stanley
and his worldview that win.
- Blanche dwells in illusion;
fantasy is her primary means
of self-defense, both against
outside threats and against
her own demons. But her
deceits carry no trace of
malice, but rather they come
from her weakness and
inability to confront the truth
head-on. She is a quixotic
figure, seeing the world not
as it is but as it ought to be.
Fantasy has a liberating
magic that protects her from
the tragedies she has had to
endure. Throughout the play,
Blanche's dependence on
illusion is contrasted with
Stanley's steadfast realism,
and in the end it is Stanley
and his worldview that win.
- Central message = human beings must learn to live
without illusion. Throughout the plays, the characters do
battle to protect their own versions of reality whilst
simultaneously tearing down each other's lives
- VERSIONS OF AMERICA
&THE AMERICAN DREAM
- WHO'S AFRAID= The early 1960s. The impersonal characters of
the play reflect the Cold War tensions that plagued America. It
touches on everything from the death of the American Dream to
fear of nuclear holocaust. George and Martha = patriotic
namesakes "George Washington and the First Lady". Albee uses
their problems as a microcosm for the imperfect state of
America. Nick's name is a direct reference to Nikita Krushchev,
his threat to George and Martha's marriage references the Cold
War turmoil America.
- The loss of “Belle Reve” seems to establish how the
American Dream has become dulled during this
period, especially after two world wars, therefore
functioning as one of Williams’ central themes in A
Streetcar Named Desire. Some people see Blanche
DuBois as a conventional symbol for the loss of that
dream: as an unmarried, aging belle, she worries about
her clothes, her appearance, and her ability to attract
men
- WHO'S AFRAID= The early 1960s. The impersonal characters of
the play reflect the Cold War tensions that plagued America. It
touches on everything from the death of the American Dream to
fear of nuclear holocaust. George and Martha = patriotic
namesakes "George Washington and the First Lady". Albee uses
their problems as a microcosm for the imperfect state of
America. Nick's name is a direct reference to Nikita Krushchev,
his threat to George and Martha's marriage references the Cold
War turmoil America.
- MARRIAGE
- WHO'S AFRAID = The play tells the story of two couples who come
together for a late-night drink. Before long, they are all desperately
trying to destroy one another. By the end of the play, the deep
flaws of both marriages have been revealed. The play ultimately
shows how tenuous the line can be between love and hate.
- Love and hate = 2 parts of a single whole. Their vitriolic banter = George and Martha hate each other -
they even pledge to destroy one another. Moments of tenderness that contradict this hatred. Some of
George and Martha's arguments are for show, others are for the challenge of arguing, while still others
are indeed meant to hurt each other. However, Martha's declaration that George is really the only one
who can satisfy her suggests that there are or have been positive aspects to their marriage. Clearly, as
much as they fight, they also need each, even if it is just to maintain the illusions that keep them going.
- At the end of the night of debauchery, however, Honey and Nick go home together
and George and Martha remain, each to resume their married lives. The suggestion is
that all marriages are marked with some conflict and turmoil, but that, when all is
said and done, they continue on. Given that the play premiered in the early 60s, it
can be read as a reaction to the fifties, when unrealistic images and advertisements
of the 'perfect American family' and home life abounded.
- This can be equated to the fax that Stanley
seems to go unpunished at the end of
'STREETCAR' = life continues after the rape
is committed with litter or no consequences
for the protagonist = Stanley.
- The rape scene goes heavily against American ideals in 1960s. So much so that in
order for Elia Kanzan's 1951 adaption to not get a 'C' rating = the CLD and MPAA
tried to get the rape removed. Compromised (gauzy curtains). MPAA = overriding
condition that STANLEY MUSY BE PUNISHED = moral viewpoint within the drama.
Stanley is judged and condemned. But Willams wanted the unsettling insight that
the revered institution of matrimony continues, despite evasions, buried secrets
and self-receipt. (Stella: 'I couldn't believe her story and go on living with Stanley"
= not her faith in Stanley, but the cost of belieing it that drives her. Jackie Shead
argues that the 1951 = we miss the sense of life resuming.
- The rape scene goes heavily against American ideals in 1960s. So much so that in
order for Elia Kanzan's 1951 adaption to not get a 'C' rating = the CLD and MPAA
tried to get the rape removed. Compromised (gauzy curtains). MPAA = overriding
condition that STANLEY MUSY BE PUNISHED = moral viewpoint within the drama.
Stanley is judged and condemned. But Willams wanted the unsettling insight that
the revered institution of matrimony continues, despite evasions, buried secrets
and self-receipt. (Stella: 'I couldn't believe her story and go on living with Stanley"
= not her faith in Stanley, but the cost of belieing it that drives her. Jackie Shead
argues that the 1951 = we miss the sense of life resuming.
- This can be equated to the fax that Stanley
seems to go unpunished at the end of
'STREETCAR' = life continues after the rape
is committed with litter or no consequences
for the protagonist = Stanley.
- At the end of the night of debauchery, however, Honey and Nick go home together
and George and Martha remain, each to resume their married lives. The suggestion is
that all marriages are marked with some conflict and turmoil, but that, when all is
said and done, they continue on. Given that the play premiered in the early 60s, it
can be read as a reaction to the fifties, when unrealistic images and advertisements
of the 'perfect American family' and home life abounded.
- Love and hate = 2 parts of a single whole. Their vitriolic banter = George and Martha hate each other -
they even pledge to destroy one another. Moments of tenderness that contradict this hatred. Some of
George and Martha's arguments are for show, others are for the challenge of arguing, while still others
are indeed meant to hurt each other. However, Martha's declaration that George is really the only one
who can satisfy her suggests that there are or have been positive aspects to their marriage. Clearly, as
much as they fight, they also need each, even if it is just to maintain the illusions that keep them going.
- Central marriage in STREETCAR = tumultuous
combination of hero-worship, aggression, sexual
attraction and class difference. Yet, there is without
doubt still an intensity of love between Stella and
Stanley. Something primitive/bestial in the ferocity of
their interactions - both fighting and love-making. In
this marriage, we definitely see traditional gender
roles of dominant husband who brings home the
money and pays the bills; and the doting housewife
who is responsible for making dinner, cleaning up and
raising a child. Perhaps, Williams is commenting on
the flaws of the marriage even though it embodies
the 'American Dream'. The difference between public
perception of their marriage and reality (private vs.
public).
- WHO'S AFRAID = The play tells the story of two couples who come
together for a late-night drink. Before long, they are all desperately
trying to destroy one another. By the end of the play, the deep
flaws of both marriages have been revealed. The play ultimately
shows how tenuous the line can be between love and hate.
- THE ABSURD
- WHO'S AFRAID = Cited as one of the chief examples of American absurdism It strips the illusions and identifies
the meaninglessness of life.
- As an Absurdist, Albee believed that a life of illusion was wrong because it created a false
content for life, just as George and Martha's marriage evolves around an imaginary son. In
Albee's view, reality lacks any deeper meaning and George and Martha must come to face that by abandoning illusion.
- As an Absurdist, Albee believed that a life of illusion was wrong because it created a false
content for life, just as George and Martha's marriage evolves around an imaginary son. In
Albee's view, reality lacks any deeper meaning and George and Martha must come to face that by abandoning illusion.
- It is because Williams believes that reality is
ultimately absurd that he created characters who
need illusions in order to live. Blanche insists on
believing in her beautiful dream, Belle Reve,
because to face reality or the truth of an absurd
world is too painful. As Lear says, "That way
madness lies".
- QUOTE FROM WILLIAMS: "There is a horror in
things, a horror at the heart of the
meaninglessness of existence. Some people cling
to a certain philosophy that is handed down and
which they accept. Life has meaning if you're
bucking for heaven. But if heaven is a fantasy,
we are in this jungle with whatever we can work
out for ourselves. It seems to me the cards are
stacked against us. The only victory is how we
take it".
- WHO'S AFRAID = Cited as one of the chief examples of American absurdism It strips the illusions and identifies
the meaninglessness of life.
- DISSATISFACTION/LONELINESS
- WHO'S AFRIAD = Characters are eventually revealed as being dissatisfied, particularly with their
marriages and their careers. Their disappointments and failures tend to make
them bitter and drives many of their actions. The state of the characters is perhaps
a comment on the growing dissatisfactions of American society in 1960s.
- In contrast to this, in STREETCAR NAMED DESIRE, Stanley seems to be almost overly
satisfied with his life which is ironic as he is a factory parts salesmen - perhaps
Williams is parodying the American dream by showing the flaws in its mentality.
Further reinforced at the conclusion of the play when Williams dresses Stanley to
almost be a mockery of a king in "brilliant silk pyjamas" and "the tasseled sash"
- The companion theme to desire
is loneliness, and between these
two extremes, Blanche is lost.
She desperately seeks
companionship and protection
in the arms of strangers. And
she has never recovered from
her tragic and consuming love
for her first husband.
- The companion theme to desire
is loneliness, and between these
two extremes, Blanche is lost.
She desperately seeks
companionship and protection
in the arms of strangers. And
she has never recovered from
her tragic and consuming love
for her first husband.
- In contrast to this, in STREETCAR NAMED DESIRE, Stanley seems to be almost overly
satisfied with his life which is ironic as he is a factory parts salesmen - perhaps
Williams is parodying the American dream by showing the flaws in its mentality.
Further reinforced at the conclusion of the play when Williams dresses Stanley to
almost be a mockery of a king in "brilliant silk pyjamas" and "the tasseled sash"
- WHO'S AFRIAD = Characters are eventually revealed as being dissatisfied, particularly with their
marriages and their careers. Their disappointments and failures tend to make
them bitter and drives many of their actions. The state of the characters is perhaps
a comment on the growing dissatisfactions of American society in 1960s.
- SEX
- WHO'S AFRAID = Sex and infidelity are
mostly used as weapons. The characters
commit sexual acts or threaten them as a
way of gaining power over one another. In
a few instances, characters try to become
intimate in order to connect with one
another. These attempts at true intimacy
are short lived. For the most part, like
almost everything else in the play, sex is
used as a tool for battle.
- Sex = destructive in STREETCAR. This
destruction takes a variety of forms =
literal death (Alan), physical violence
(rape), mental degradation (Blanche),
the sullying of a good reputation
(Blanche, perhaps Stanley and Mitch
to the audience) and even financial
ruin. Sex in this play is very much tied
to physical aggression, both in the
sexual relations between husband
and wife, but also in the rape scene.
- In Stanley, Williams creates a 'macho-male' world
whose central values are bound up with sex,
bowling and poker. As a vision of life Stanley's is no
more real than Blanche's Southern myth and in
many ways it is an ugly one. Blanche uses the
paper lantern to make the world less harsh to live
in. It artificially softens the surroundings, making
them "almost - dainty!" It is, however, no more
artificial than the naked light-bulb that symbolises
Stanley's cruel way of seeing the world.
- In Stanley, Williams creates a 'macho-male' world
whose central values are bound up with sex,
bowling and poker. As a vision of life Stanley's is no
more real than Blanche's Southern myth and in
many ways it is an ugly one. Blanche uses the
paper lantern to make the world less harsh to live
in. It artificially softens the surroundings, making
them "almost - dainty!" It is, however, no more
artificial than the naked light-bulb that symbolises
Stanley's cruel way of seeing the world.
- WHO'S AFRAID = Sex and infidelity are
mostly used as weapons. The characters
commit sexual acts or threaten them as a
way of gaining power over one another. In
a few instances, characters try to become
intimate in order to connect with one
another. These attempts at true intimacy
are short lived. For the most part, like
almost everything else in the play, sex is
used as a tool for battle.
- DRUGS AND ALCOHOL
- WHO'S AFRAID = The characters begin the play a little tipsy
and keep drinking until dawn. Some (Honey) seem to have
alcohol problems, whilst others merely drink to drown out the
tensions of the evening. The ever-present theme of alcohol
seems to be another example of how people hide from the
world. For the characters, being drunk is just another illusion.
For the characters, being drunk is just another illusion,
another way to avoid the uncomfortable truths of their lives.
- STREETCAR = Alcohol is used as a means
of escape. Blanche uses alcohol to distract
herself from really and retreat further into
a world of fantasy and cleverly contrived
artifice. For the male gender, alcohol is
tied to physical aggression and plays a
part in the play's worst violence.
- In 1940s and 1960s =
Habitual drinking is terrible
for a women's reputation,
both STREETCAR and WHO'S
AFRAID feature women who
are strongly linked to
alcohol (Honey and
Blanche) - both are
attempting to shield
themselves from pressures
of society = Honey - the
expectation for children;
Blanche - running from
reality.
- WHO'S AFRAID = The characters begin the play a little tipsy
and keep drinking until dawn. Some (Honey) seem to have
alcohol problems, whilst others merely drink to drown out the
tensions of the evening. The ever-present theme of alcohol
seems to be another example of how people hide from the
world. For the characters, being drunk is just another illusion.
For the characters, being drunk is just another illusion,
another way to avoid the uncomfortable truths of their lives.
- GAMES AND WAR
- The title of the first act is 'Fun and Games' =
deceptive, for the games involve the character's
deepest emotions (Hump the Hostess, Get the
Guests, Humiliate the Host). George's
characterisation of these emotionally destructive
activities as games and his assumption of the role
of the ring master reveals that the events of the
evening are all a part of a power struggle between
George and Martha. Their verbal repartee is
characteristic of their on-gong game-playing. By
characterising these activities as games, Albee
does not suggest that they are frivolous or
meaningless, Rather, he likens game-playing to
war and demonstrates the degree to which George
and Martha are committed to destroying each
other. What begins as a game and a diversion
escalates over the course of the play until the
characters try to destroy each other and
themselves.
- The title of the first act is 'Fun and Games' =
deceptive, for the games involve the character's
deepest emotions (Hump the Hostess, Get the
Guests, Humiliate the Host). George's
characterisation of these emotionally destructive
activities as games and his assumption of the role
of the ring master reveals that the events of the
evening are all a part of a power struggle between
George and Martha. Their verbal repartee is
characteristic of their on-gong game-playing. By
characterising these activities as games, Albee
does not suggest that they are frivolous or
meaningless, Rather, he likens game-playing to
war and demonstrates the degree to which George
and Martha are committed to destroying each
other. What begins as a game and a diversion
escalates over the course of the play until the
characters try to destroy each other and
themselves.
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