This paper will compare and contrast the written form of Tennessee
Williams’ play $6WUHHWFDU1DPHG'HVLUH1 with the 1951 movie version.2 It
will explain and discuss the major differences between the two, focusing
on the issue of censorship as it was an important factor in the
development of the play from its Broadway form into a film. As this paper
will show this was due to the fact that during the 1940s and 50s the world
of theater in America was much more permissive than that of film. This
paper will also examine Williams’ concept of a ’plastic theater’, an
innovative approach by him which utilized music, sound effects, movement
and lighting to express abstract themes. His idea of a ’plastic theater’, was
closer to the world of film than to the traditional form of the stage and is
evident in $6WUHHWFDU1DPHG'HVLUH. It influenced the adaptation of the
play to the big screen.
[...]
Table of Contents
- 1.0 Introduction
- 2.0 Williams' 'Plastic Theater'
- 3.0 Censorship
- 4.0 Changes
- 4.1 Opening Scene
- 4.2 Female Sexuality
- 4.3 Homosexuality
- 4.4 Rape Scene
- 4.5 Closing Scene
- 5.0 Impact
Objectives and Key Themes
This paper aims to compare and contrast Tennessee Williams' play A Streetcar Named Desire with its 1951 film adaptation, highlighting the impact of censorship on the transition from stage to screen. It will also explore Williams' concept of "plastic theater" and its influence on the play's adaptation.
- Censorship and its effects on artistic expression
- The differences between theatrical and cinematic adaptations
- Williams' innovative "plastic theater" and its use of non-verbal elements
- The success and reception of both the play and the film
- Themes of female sexuality and homosexuality in the play and film
Chapter Summaries
1.0 Introduction: This introductory chapter sets the stage for a comparative analysis of Tennessee Williams' A Streetcar Named Desire in its original play form and its 1951 film adaptation. It emphasizes the significant role censorship played in shaping the film, noting the contrasting permissiveness of the theatrical world compared to the stricter standards of Hollywood in the 1940s and 50s. The chapter also introduces Williams' concept of "plastic theater," a method that integrated music, sound, movement, and lighting to convey abstract themes, a technique that bridged the gap between traditional stage productions and the possibilities of film. The chapter concludes by briefly outlining the remarkable success of the play on Broadway and the initial reluctance of Hollywood to adapt it, eventually leading to William Wyler’s and later Elia Kazan's involvement in the film production. The success of the stage production and the eventual commercial success of the movie adaptation are discussed.
2.0 Williams' 'Plastic Theater': This chapter delves into Tennessee Williams' innovative approach to theater, which he termed "plastic theater." It explains his dissatisfaction with theatrical realism and his desire to create a more dynamic and evocative experience for the audience. Williams aimed to use all elements of the production—music, sound, lighting, movement—to enhance the portrayal of his characters' inner lives and abstract themes. Influenced by poetry, he employed poetic language in his dialogue, moving away from traditional theatrical diction. The chapter explores how Williams' use of expressionistic techniques—sound effects (e.g., the blue piano, train noises), lighting, set design, and character appearances—contributed to the overall effect of his plays, exemplified in A Streetcar Named Desire. Specific examples are provided such as the Varsouviana polka, a key musical motif. The chapter lays out the groundwork for understanding the director’s choices during the film production.
Keywords
Tennessee Williams, A Streetcar Named Desire, Plastic Theater, Censorship, Film Adaptation, Theatrical Adaptation, Marlon Brando, Vivian Leigh, Elia Kazan, Stage Directions, Sound Effects, Music, Lighting, Female Sexuality, Homosexuality.
A Streetcar Named Desire: A Comparative Analysis of Stage and Film - FAQ
What is the main focus of this document?
This document provides a comprehensive overview of a comparative analysis of Tennessee Williams' A Streetcar Named Desire, examining the differences between the original stage play and its 1951 film adaptation. It specifically focuses on the impact of censorship and Williams' concept of "plastic theater" on the transition from stage to screen.
What topics are covered in the analysis?
The analysis covers several key areas: the influence of censorship on artistic expression; the differences between theatrical and cinematic adaptations; Williams' "plastic theater" and its use of non-verbal elements; the success and reception of both the play and the film; and themes of female sexuality and homosexuality in both versions.
What is "plastic theater," and how does it relate to A Streetcar Named Desire?
Tennessee Williams' "plastic theater" is an innovative approach that utilizes all aspects of theatrical production—music, sound, lighting, movement—to enhance the emotional impact and convey abstract themes. In A Streetcar Named Desire, this is evident through the use of the Varsouviana polka, sound effects, lighting, and set design to create a more immersive and evocative experience for the audience.
How did censorship impact the film adaptation?
The film adaptation faced significant censorship, resulting in changes to the portrayal of female sexuality, homosexuality, and the rape scene. These alterations highlight the contrasting permissiveness of the theater world versus the stricter standards of Hollywood during the 1940s and 50s. The document analyzes the effects of these changes on the overall narrative and themes.
What are the key chapters and their summaries?
The document is structured into chapters: an introduction setting the context; a detailed exploration of Williams' "plastic theater"; an analysis of censorship's impact; a chapter outlining specific changes made between the stage and screen versions (covering the opening and closing scenes, female sexuality, homosexuality, and the rape scene); and a final chapter discussing the impact of both the play and the film. Each chapter provides a detailed summary of its contents.
What are the key themes explored in the analysis?
Key themes include censorship and its effects on artistic expression; the differences between theatrical and cinematic adaptations; Williams' innovative "plastic theater"; the success and reception of both the play and film; and themes of female sexuality and homosexuality in the play and film.
What keywords are associated with this analysis?
Keywords include: Tennessee Williams, A Streetcar Named Desire, Plastic Theater, Censorship, Film Adaptation, Theatrical Adaptation, Marlon Brando, Vivian Leigh, Elia Kazan, Stage Directions, Sound Effects, Music, Lighting, Female Sexuality, Homosexuality.
What is the overall objective of this document?
The overall objective is to provide a comprehensive comparison and contrast of the stage play and film adaptation of A Streetcar Named Desire, focusing on the interplay between artistic vision, censorship, and the adaptation process.
- Quote paper
- Michael Grawe (Author), 1999, Tennessee Williams' "A Streetcar Named Desire" - Contrasting the play with the 1951 movie production, Munich, GRIN Verlag, https://www.grin.com/document/3437
