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Dramatic devices in Streetcar, Props, Costuming, staging and set design,…
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Props
Meat
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Primitive - putting meat on the table. What he lacks he wealth he makes up for in basic goods. 1950s - Big push on people working. Working class idealisation.
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Jewel Box
Filled with unnecessary items- flamboyant, like her. Closed and locked up = Conceals herself.
Coke drunk by blanche.
Capitalism embodyment.
Spilling of the coke - how little in means to her. Wasted? Ruining of clothes. Buying into capitalism is not
Alcoholism - lot of drinking, not a lot of discourse. Shared props = blanche shame surrounding them
Costuming
Stanley - white vest, bowling jacket.
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Stella - more sexual, less stereotypical
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staging and set design
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The stage directions describe the exterior surroundings as ‘poor’ and ‘raffish’ with white frame houses that are ‘weathered grey with rickety outside stairs and galleries’, and the references to L&N tracks and warehouses clearly establish the location as an urban industrial working-class area.
Such details as ‘the music of Negro entertainers at a bar-room around the corner’, the overlapping voices of people on the street, the quick exchange between the Negro woman and the sailor, and the background calls of the vendor serve to establish the multicultural vibrancy of the city.
Sense of the diversity of new orleans - workng class setting,
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Sense of inside the house and outside the street:
A lot of it takes place in the house - shows connection to outside world.
Encoraging link between plot action and outside world.
Realistic style - can tell from staging that it is everyday = cannot dismiss the problems staged in this setting as merely fictional.
Expressionism - light reflecting mood, music,
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Time Jumps
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No markers of any time - no seasonal changes [ check with text to confirm] , no time is going
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