An interpretation of illusion in the play, "A Streetcar Named Desire"

            Typically, people are put into situations in which they must decide whom, between multiple people, they care about the most and what the best course of action is to take care of them. A most definitive example of this situation is present in the play, written by Tennessee Williams, A Streetcar Named Desire. The interactions between Blanche DuBois and her sister Stella Kowalski, married to Stanley Kowalski, display serious issues on how one must choose what is best for the ones they love. Stella Kowalski displays utter distress in this situation at the end of the play following the events involving her verbally and physically abusive husband and her mentally unstable sister. Having to be the center of responsibility, essentially, is a heavy load to hold and should not be taken lightly. Throughout the play, Stella displays a somewhat level head and constantly tries to keep the peace, however her efforts in keeping everybody sane, so to speak, are in vain.

            Stella’s emotional stability toward the end of the play was undoubtedly worn thin due to the impulsive actions of both her sister and husband. As events within the play progress, the true emotions and deceiving demeanor of Blanche Dubois become vivid to Stanley and Stella, along with the reader or viewer. Blanche, from beginning to end, exhibits what traumatic events can truly do to a truly emotional person such as herself and how her actions affect other people. However, trauma can affect people in a multitude of different ways. With Blanche and her traumatic experience, for example, rather than focusing on what left her in her traumatized state in the first place, she concocts falsified situations like losing Belle Reve overnight or proclaiming to dump Mitch rather than him leaving her, in addition to leaving out devastating truths such as being fired as a teacher for improper conduct with a former student and participating in activities that would label her as a prostitute. For the most part, these lies and problems remain hidden until Stanley discovers the truth, followed by Blanche admitting said truths to Mitch in a moment of strife. “Yes, a big spider that's where I brought my victims. Yes, I had many intimacies with strangers. After the death of Allan-intimacies with strangers was all I seemed able to fill my empty heart with... I think it was panic, just panic, that drove me from one to another, hunting for some protection-here and there, in the most—unlikely places-even, at last, in a seventeen-year-old boy but--somebody wrote the superintendent about it-This woman is morally unfit for her position’,” (Williams 1224).  A Streetcar Named Desire presents instances, in which people are adamantly willing to display their true selves, in addition to characters who will undoubtedly hide who they truly are to save face. The act of displaying different behaviors for different groups of people is a terrific display of Erving Goffman’s sociological theory labeled as, the Dramaturgical Approach.

            Throughout the play, the perception of appearance and self-presentation is a key factor in how conflict arises, more often than not, drastically. The core idea to Goffman’s social theory of the Dramaturgical Approach involves putting up a different personality while being involved in different situations or different groups of people similarly to how actors portray themselves as multiple characters while on stage. Most characters presented in the story unknowingly portray themselves differently when in distinctive company, where as others will be aware of who they are talking to and adjust accordingly. Blanche, more than anyone, portrays herself in many different lights, so much so that she will avidly lie to preserve her reputation with people she cares about. Within Erving Goffman’s writing, The Presentation of Self in Everyday Life, he addresses that people will always try to keep their reputation pristine and concurrent with their attitude. “I have suggested that a performer tends to conceal or underplay those activities, facts, and motives, which are incompatible with an idealized version of him and his products,”(Goffman 30). Blanche is an excellent example of Goffman’s theory displaying specific points in which she not only conceals her past, but also lies about other aspects of her past to seem superior in her more than upsetting situation. As a result of Blanche’s seeming sincerity, the manipulation of her own sister, Stella, remains a prominent point of contention. The conflicted emotion of Stella ultimately leaves Blanche in a particularly unfavorable position.

            Stella Kowalski leads a struggling home life with an aggressive husband and, in this point in time, her mentally unstable sister. " I couldn't go on believing her story and live with Stanley," (Williams 1232).  A Streetcar Named Desire presents an undeniable theme of people having to struggle both internally and externally with what one must do to help the one’s they love. With Stella being put in a situation in which her constantly lying sister is imposing on her life, making claims of Stanley, it is no wonder why she partakes in putting Blanche in a mental institution. Multiple characters throughout the play display numerous examples of portraying themselves as untruthful and leave devastating repercussions, most notably leaving Stella in a state of depression.

Goffman, Erving. "Front." The Presentation of Self in Everyday Life. Garden City, NY:  Doubleday, 1959. 30. Print.      

Williams, Tennessee. "Scene 9." A Streetcar Named Desire: A Play. New York: New Directions, 1947. 1224. Print.

Williams, Tennessee. "Scene 11." A Streetcar Named Desire: A Play. New York: New Directions, 1947. 1232. Print.