Scene Three underscores the primal nature of Stella and Stanley’s union, and it cements Stanley’s identity as a villain. After Stanley’s drunken radio-hurling episode, Stella yells at him and calls him an “animal thing,” inciting Stanley’s attack. Later that night, Stanley bellows “STELL-LAHHHHH!” into the night like a wounded beast calling for the return of his mate, this effect of specific expression, creates a dramatic effect in the sense of urgency and control, and also emphasises the space between the two, literally and metaphorically. This space, indicates an possible implication of predatory mannerisms on Stanley’s behalf, as he calls for his mate, and also dominance that he can get her back. To express this further their reunion is also described in terms of animal noises.
Stanley’s cruel abuse of his wife convinces the audience that genteel Blanche has her sister’s best interests in mind more than Stanley does. Yet Stella sides with Stanley and his base instincts, infusing the play with an ominous sense of gloom. This is created by the effect of the juxtaposition earlier provided within the scene, as to begin with, even though as rowdy as they were, the poker game was a pleasant affair, both for Stanley, as he could be with his ‘mates’, drink and have fun. Stella can spend time with Blanche, relax and get away from Stanley.
Audience sympathy may establish itself in Blanche’s favor, but nothing about Blanche suggests that she will emerge as a heroine. The dramatic sense of mystery surrounding Blanche’s peculiar arrival in New Orleans takes on a sinister taint, and Blanche’s reluctance to be in bright light calls attention to this mysterious nature. Both metaphorically and literally, bright light threatens to undo Blanche’s many deceptions. While conversing with Mitch, she asks him to place a Chinese lampshade on the bare lightbulb in the bedroom, claiming that the naked bulb is “rude” and