Gender Expression in Streetcar Named Desire

 

The two forces that replicate the polarisation of masculinity and femininity are represented by Stanley and Blanche, respectively. Masculinity is associated with power and dominance, which is performed through violence and anger. Reflecting this, Stanley is a working-class man from the boroughs of New Orleans; he is depicted as aggressive and beastly, both physically and sexually. Despite symbolising femininity which is connoted with a sense of demure and passivity, Blanche tries to oppose masculinity. Antonymous of modest, Blanche prizes her beauty and her use of sensual and sophisticated language, a clear contrast to Stanley. She is confident in her femininity, as an aristocrat from the Old and Luxurious south. Throughout the play, a consistent presentation of masculinity and femininity is prevalent, with Williams’ portraying the divisions between the genders. He does this through genre, characterisation and language, which serves to highlight the animosity and hostility between these two spheres.

Williams utilises genre to present the two gendered spheres of masculinity and femininity, specifically the juxtaposition between expressionism and realism. Both of these are used to express emotions that are associated, possibly even encouraged, by each gender. Sometimes dubbed ‘plastic theatre,’ expressionism employs stagecraft, lighting and music in order to provide a visual and auditory emulation of a character’s emotions. This openness and intense depth of emotions is associated with the female sphere. Thus, the playwright uses expressionism to express Blanche’s mindset, bringing her internal psychomachias to life. For example, music is dominantly used to reflect Blanche’s emotions, such as the iconic “blue piano.” Echoing the “spirit of life which goes on,” it is assoicated with panic and a subtle sense of fear, despite it’s positive intention. It is always heard when the conflict between real world and Blanche’s fantasy world seems to increase, such as when Blanche tells Stella the loss of Belle Reve. Her aristocratic demeanour, shadowed by her incongruity to the setting, “daintily dressed in a white suit,” and “delicate beauty,” that she clings onto is harshly juxtaposed with the phatamagoria of death and decay. She vociferates about the horrors of death, stating “they even cry out ‘don’t let me go!” and personifies the “grim reaper,” which had “put a tent outside our doorstep!” The derelict and decaying presentation of Belle Reve, which is now associated strongly with Blanche, is a prevelant feature of the Southern Gothic genre. The fact that Williams intertwines the Southern Gothic, known for exposing the flaws of the Old South, and Blanche’s idealisation of her old aristocratic South replicates Blanche’s conflicting emotions. Similarly, intense emotions are also depicted through the expressionistic use of lighting, such as when “lurid reflections appear on the wall around Blanche. The shadows are of a grotesque and menacing form.” Emphasised by the sinisterness connoted with “menacing,” darkness is invading the stage and threatening the light that Blanche relies on. This is a direct parralell to how Blanche’s emotional instability within her false reality threatens her happiness and strength. As well as emphasising the feminine sphere of emotions, it’s worth noting that this invasion of ‘darkness,’ is caused by Stanley’s aggression, bullying and violence. Therefore, expressionism also subtly contributes to the depiction of Stanley’s masculinity, as well as Blanche’s femininity.

Instead of using expressionism, Williams’ manipulates realism to express the anger connoted with masculinity. Realism is a genre that presents the everyday situation, doing so through an emphasis on behaviour and decisions. Unlike Blanche, who submerges herself in fantasies and an unstable whimsicality, Stanley is only ever seen in motion. Hence, there is no reflection of his mindset. This connotes a lack of emotion of specifically discouraged emotions like fear, panic and sadness. The emotions that are expected- encouraged- of men are anger, which manifests itself into Stanley’s violence. Dissmilar to Blanche, who contemplates in the bathtub and exaggerates her physicality, every action of Stanley is born out of anger. For example, he “hurls a plate to the floor,” “kicks the trunk,” “tosses the instrument out of the window.” These expressions of violence and destruction are a on a minuscule scale, compared to Stanley’s abuse. He “charges after Stella,” and a “sound of a blow is heard.” From this, the only emotion that Stanley feels and indulges in is pure anger. From a psychoanalytic lens, this constant fury could be manifested from Stanley’s traumatic experience at war. Conscription was also expected to be accepted, or else a man would face humiliation and ostracisation from society, highlighting how enforced masculinity is. The use of realism highlights masculinity because this physical dominance and power, as well the connotation of anger, is affiliated with men. Considering the utilisation of realism and the ‘every-day situation,’ Williams’ could be exposing the normalisation and forced acceptance of abuse, suggested by how, apart from Blanche, no one is shocked at the abuse. Williams creates a parallel between Stanley and his own father that was known to be violent and hostile to the playwrights’ effiminity. This highlights the animistic dynamic between Blanche, who now reflects Williams’ own feminine nature, and Stanley further. Thus, through the use of expressionism and realism, Williams portrays the two gendered spheres by exploring two, intense but dissimilar, emotions: instability through vulnerability and anger through dominance.

Additionally, Williams’ manipulates language, specifically animalistic imagery, to emblemise the vulnerability associated with femininity and the dominance connoted with masculinity. He further underscores the division between the two genders, and thus their animosity. Blanche is akinned to a ‘moth,’ and the consequent description of her follows suit, portraying her as ‘flight,’ and ‘delicate.’ A sense of softness and demure is suggested from this. Through this, Williams cements Blanche’s vulnerability. This vulnerable depiction of Blanche is harshly juxtaposed with Stanley’s masculine description of power, through “the power and pride of a richly feathered male bird among hens,” “apes,” “charges after her.” Therefore, Stanley’s dominance and power is affirmed through animalistic imagery, supporting his symbolism of masculinity. From this comparison to an ape or powerful bird, we get the impression that Stanley is the apex of his group- he exudes power, authority and superiority. This notion embodies the patriarchy and the ascendancy of masculinity. The dichotomy of imagery associated with Blanche and Stanley highlights the powerlessness of Blanche. This is underscored further by how animalistic imagery is used when Stanley physically overtakes and rapes Blanche. He acknowledges this difference in power as he mocks Blanche’s status as a “moth,” yelling out “tiger-tiger! Drop the bottle!” It’s interesting to note that if Stanley is superior, then that means that Blanche is inferior. This treatment of Blanche could replicate Williams’ own experiences of homophobia and ostracisation, as society would have thought of him as a ‘degenerate.’ Therefore, despite being a man, Williams’ sympathises with women and their struggles, reflected by how the visceral and shocking downfall of Blanche. From a feminist lens, the presentation of masculinity and femininity is a representation of the animosity towards the two genders, with men continuously attacking and oppressing women, who attempt and fail to fight back. Thus, Williams’ constructs a one-sided battle of power between masculinity and femininity and highlights its’ internal division, which his utilisation of animalistic imagery supports. Williams’ further develops his presentation of masculinity and femininity through characterisation. Visceral and sinister themes like violence and transgression are divided by gender. Masculinity is echoed through Stanley’s physical and social violence, powered by anger and power, which has been explained prior. To briefly reiterate, his physical violence of abuse and rape, as well as his social violence of his bullying and harassment of Stanley echo the dominance associated with masculinity.

On the other hand, Blanche’s wrongdoings also embody femininity- but in a very dissimilar way. Physically violence is shown by how she harasses younger men, going as far as manipulating her position of power as a teacher by raping a student. This event is paralleled closely by the scene with the younger man. A sensual and seductive atmosphere is present, despite the uncomfort and wrongness of the act. Already, a predatory tone is established, despite Blanche’s ‘delicate,’ demeanour, through “she regards him with interest.” Blanche continues to compliment and target the young man, such as “you make my mouth water,” “Arabian prince,” “I want to kiss you.” The imagery associated with “Arabian Prince,” and the subsequent dialogue of Blanche seem initially romantic. Sensuality is further underscored by the illustration of setting; “don't you just love these long rainy afternoons in New Orleans,” and “a little piece of eternity dropped into your hands.” Even though the intentions might have been comedic, the sensual atmosphere is juxtaposed but how Blanche is clearly predatory and exploitative.Although the play is third-person omniscient, Williams favours the emotions and interpretations of Blanche. The disturbed feeling at the start of this encounter is intensified by how Blanche is aware and repeats “young man! Young, young, young man!” Additionally, the fact that the stage directions call the young man a “bashful kid,” and Blanche acknowledges how she should “keep her hands off children” cements this disturbing side of Blanche. Even though this behaviour is manifested from her husband’s death that destroyed her teenage bliss, Blanche still transgresses in the eyes of a modern audience. Parallels are created between Stanley, who overtly sexually harasses women, and Blanche, who subtly exploits young men- possibly even boys. She remains in her delusions and is obtuse to the consequences of her actions, because of that. Whilst Stanley’s violence is shocking and barbaric, Blanche’s transgressions are presented as sensual and romantic, emphasising the division between masculinity and femininity.Therefore, through characterisation, Williams reflects how the division between masculinity and femininity operate even under the presence of sinister topics.

In conclusion, Williams presents femininity and masculinity, both superficially and critically. He portrays the gendered spheres through its’ associations of emotions and actions- emotions that signpost vulnerability, like panic and fear, are connoted with Blanche, and anger, which is socially encouraged, is correlated with Stanley. Even the actions of their transgressions are divided, with Stanley’s abuse being portrayed as violent and shocking, and Blanche’s predatory behaviour, highlighted by her past rape of a student, as sensual and romantic. Furthermore, Williams’ utilisation of animalistic language further emphasises these gendered divides. Ultimately, these divisions culminate into the hostile ending of Stanley’s rape and disregard of Blanche, as she mentally deteriorates. Thus, the play explores the animosity and partition between the two spheres of masculinity and femininity.