Exploration into A Streetcar Named Desire
‘A Streetcar Named Desire’ – Exploration Notes
Our exploration into ‘Streetcar’ began with a focus on vocal awareness. Through developing the opening of the play through non-naturalism, I discovered how the use of voice and movement was key into creating the atmosphere of a multi-cultural and rundown area of New Orleans. I found that accent was a main factor in conveying the vibrant racial mix in the Quarter. The use of crescendos allowed us to create eerie atmosphere within Blanche’s living nightmare. This was helpful in showing the central antithesis used throughout this play - desire and death. The use of whisper and echo repeats added to the tensions created as well as creating a creepy presence amongst the characters especially Blanche and her uneasiness.
Through the use of Stanislavskian methods and Non-verbal Communication, I began a deeper understanding of the Blanche. I discovered that there was a parallel link between my exploration into childhood insecurities and Blanche DuBois. Thinking back to my own experiences as a child, sharpened my insight into feeling isolated and being ‘out of my comfort zone’, just like Blanche. She is delicate like a moth, and this hints at her fragility but it also implies how she needs her ‘security blanket’ – her liquor. The presence of other characters created a strong effect on Blanche’s feelings towards them and I tried to capture all the features non-verbally. Stanley is highlighted as dominating and demanding as well as making Blanche feel uncomfortable. With the use of gestures I began to communicate a response to the undertone of threat Stanley poses and in contrast to his underlying attraction to her. I found this to be useful when comparing him to a cockerel. His strong persona and force to put Blanche down with her own insecurities. I portrayed him to be forceful, as losing your ‘cool’ meant losing your power, in Stanley’s case.
During our exploration of visual, aural and spatial elements, I discovered the
Our exploration into ‘Streetcar’ began with a focus on vocal awareness. Through developing the opening of the play through non-naturalism, I discovered how the use of voice and movement was key into creating the atmosphere of a multi-cultural and rundown area of New Orleans. I found that accent was a main factor in conveying the vibrant racial mix in the Quarter. The use of crescendos allowed us to create eerie atmosphere within Blanche’s living nightmare. This was helpful in showing the central antithesis used throughout this play - desire and death. The use of whisper and echo repeats added to the tensions created as well as creating a creepy presence amongst the characters especially Blanche and her uneasiness.
Through the use of Stanislavskian methods and Non-verbal Communication, I began a deeper understanding of the Blanche. I discovered that there was a parallel link between my exploration into childhood insecurities and Blanche DuBois. Thinking back to my own experiences as a child, sharpened my insight into feeling isolated and being ‘out of my comfort zone’, just like Blanche. She is delicate like a moth, and this hints at her fragility but it also implies how she needs her ‘security blanket’ – her liquor. The presence of other characters created a strong effect on Blanche’s feelings towards them and I tried to capture all the features non-verbally. Stanley is highlighted as dominating and demanding as well as making Blanche feel uncomfortable. With the use of gestures I began to communicate a response to the undertone of threat Stanley poses and in contrast to his underlying attraction to her. I found this to be useful when comparing him to a cockerel. His strong persona and force to put Blanche down with her own insecurities. I portrayed him to be forceful, as losing your ‘cool’ meant losing your power, in Stanley’s case.
During our exploration of visual, aural and spatial elements, I discovered the