A Streetcar Named Desire and Top Girl; How Is the Past a Limiting Factor for the Charachters?
Luna Bitencourt
“Man…cannot learn to forget, but hangs on to the past: however far or fast he runs that chain runs with him.”- Friedrich Nietzsche (German-Swiss philosopher and writer).
In the light of Nietzsche’s opinion, compare and contrast the presentation of the past as a limiting factor to the identities of the female protagonists in ‘A Streetcar named Desire’ and ‘Top Girls’
Williams and Churchill present the past as a haunting spectre that threatens the characters progress in their future life. Both playwrights construct the past as an emerging chain that, parasitic like, has clinged onto the protagonists’ present and immobilised the characters ability to function and progress. The retroactive structure of Top Girls reinforces this. Marlene attempts to escape her working class roots in the city office, but the chain of her past, her daughter Angie, imprisons her in this very environment she seeks to flee. Blanche Dubois seeks refuge in her sister’s world in an attempt to release herself from the chains of her past; presenting herself as a ‘Southern Belle’ in search of a gentleman and holding on to Old Southern traditional values: she is always incongruous to New Orleans and the future America.
Initially, both playwrights present the past as a route of future imprisonment for the characters. The initial exposition of Blanche’s marriage and widowing is demonstrated through the constant symbolic sound of the traditional polish Polka; also revealing Blanche’s extreme sensitivity as a woman, to her past and vulnerability as how ‘man cannot forget’. Blanche is glued to her past suffering, and deliberately forces herself to believe that her previous experiences no longer intimidates her, but deep down, her remembrances haunt her, infiltrating in her present and future through the subtle sound of the disruptive Polka music, slowly becoming more and more frequent, leading up to the climax point towards the end, where Blanche reaches her tragic
“Man…cannot learn to forget, but hangs on to the past: however far or fast he runs that chain runs with him.”- Friedrich Nietzsche (German-Swiss philosopher and writer).
In the light of Nietzsche’s opinion, compare and contrast the presentation of the past as a limiting factor to the identities of the female protagonists in ‘A Streetcar named Desire’ and ‘Top Girls’
Williams and Churchill present the past as a haunting spectre that threatens the characters progress in their future life. Both playwrights construct the past as an emerging chain that, parasitic like, has clinged onto the protagonists’ present and immobilised the characters ability to function and progress. The retroactive structure of Top Girls reinforces this. Marlene attempts to escape her working class roots in the city office, but the chain of her past, her daughter Angie, imprisons her in this very environment she seeks to flee. Blanche Dubois seeks refuge in her sister’s world in an attempt to release herself from the chains of her past; presenting herself as a ‘Southern Belle’ in search of a gentleman and holding on to Old Southern traditional values: she is always incongruous to New Orleans and the future America.
Initially, both playwrights present the past as a route of future imprisonment for the characters. The initial exposition of Blanche’s marriage and widowing is demonstrated through the constant symbolic sound of the traditional polish Polka; also revealing Blanche’s extreme sensitivity as a woman, to her past and vulnerability as how ‘man cannot forget’. Blanche is glued to her past suffering, and deliberately forces herself to believe that her previous experiences no longer intimidates her, but deep down, her remembrances haunt her, infiltrating in her present and future through the subtle sound of the disruptive Polka music, slowly becoming more and more frequent, leading up to the climax point towards the end, where Blanche reaches her tragic