Wednesday, February 20, 2019
Comparison of A DollÃ¢â¬â¢s House and A Streetcar Named Desire Essay
Prompt 14 Important characters in plays argon multi-dimensional. address to what extent this statement is true of master(prenominal) characters in plays you have examine and comment on the techniques of characterization employed by the playwright.Multidimensional characters derriere withal be defined as propulsive or perpetually changing and give waying characters. These participating characters are not simply important to a play, but are arguably the most important characters beca habituate what the playwright intends to communicate to his or her auditory sense is communicated through the changing emotions and behaviors of these characters.Additionally, playwrights use a variety of techniques to high smartnessing the changes an important character may go through. The dialogue, present and stage directions, setting, music, lighting, and even costumes can all be used to highlight a multifaceted characters emotional and physical changes. In A Dolls House, by Henrik Ibsen, and A cable tramway Named Desire, by Tennessee Williams, the playwrights primarily use costumes, which parallel the emotional and behavioral changes of important dynamic characters, and contrast in dialogue to amplify developments and changes in the characters relationships and behavior.Ibsens pick of costume design portrays Nora as a dynamic character in A Dolls House. Ibsen changes Noras costume to parallel her behavioral and emotional changes in the play. The Neapolitan fisher-girl costume, for example, represents Noras secrets and their preventt on her impropriety (Ibsen 29). Therefore, Noras want to tear the masquerade costume into a hundred gibibyte pieces represents her exit to be rid of her lies and to take off of the affect she puts on for Helmer (Ibsen 28). The costume facilitates this need throughout the second act of play. When Nora practices the Tarantella dance, she dances wildly and her bull comes down and falls over her shoulders (Ibsen 47).Wild and free hai r has connotations of independence and liberation. Therefore, the costume begins to show the audience her will to free herself from the mask she puts on for Helmer. However, she remains in the dress at this point in the play meaning that she is still restricted by the disguise she wears for Helmers satisfaction. Again, the dress highlights Noras development when it is removed in Act iii beforehand Nora gathers the courage to tell Helmer she must leave him to gain her independence. Noras masquerade wrap costume conveys how Noras lies and mask of happiness restrain her freedom and helps to illustrate her eventual escape from them. Therefore, the costume design amplifies the characteristics that touch Nora a dynamic character.Williams also uses his costume designs to characterize his dynamic characters in A Streetcar Named Desire. However, rather than connecting a specific costume with a feeling, he associates a general type of costume with specific emotions and actions. For exampl e, the lush costuming of Blanche represents the extent of her desire for, and delusion of, an extravagant biography. As the play opens and Blanche enters, her demeanor is separated as incongruous to the setting (Williams 15). She is introduced be dressed as if she believes she should be somewhere and someone else. Further more(prenominal), her beauty from the white suit with a fluffy bodice, necklace and earrings of pearl is described as delicate and sensitive to light (Williams 15).This description of Blanche suggests that her rich and royal appearance is purely superficial and does not represent the human beings of her life. This connection between costume design and Blanches fabricated reality is continued throughout the play. Before beginning to playact with the young paper boy in Scene Five, Blanche takes a large, aerial scarf from the trunk and drapes it about her shoulders, and then begins to pretend he is a young Prince and later makes Mitch bow to her (Williams 84). The playwright, Tennessee Williams, connects Blanches affluent adornment with her delusions of wealth and splendor that develop and grow stronger as the play progresses. In the final scene, Blanches illusions blend almost entirely with her reality as she asks Stella to gather a number of elaborate accessories, including a cool yellow silk boucle and a silver-tongued and turquoise pin in the shape of a seahorse, and dresses herself in a dress and jacket of a color that Madonna erstwhile wore (Williams 132/135). Williams uses this costume to amplify the absurdity of Blanches illusion of spending her life on the sea with a millionaire. Therefore, Blanches costume choices in A Streetcar Named Desire connect to her developing insanity, which makes her a complex and dynamic character.In A Dolls House, Ibsen also utilizes tension in dialogue, specifically the tension between Noras inward and outward smell of feelings surrounding worth, to portray Nora as a dynamic character. The play wright for the front time creates a contradiction between her internal and external feelings, only to lastly change her apparent expression to match her true feelings. In the commencement exercise cardinal acts of the play, Noras outward expression of a womans worth revolves around being a good wife and start by aiming to please Helmer, her husband. However, her inward feelings portray the opposite. Nora inwardly believes that worth involves being true to herself. Nora is outwardly submissive to her husband by allowing herself to be called by possessive pet name calling, such as his little spendthrift, his squirrel, or his extravagant little person (Ibsen 2-3).Furthermore, even Nora uses these labels for herself during the setoff two acts. These names put Nora in a submissive position because they define Nora as a possession of Helmers. Therefore, when Nora labels herself a skylark or squirrel, she outwardly submits to the will of her husband, proving her external idea of wort h revolves around his happiness. However, whenever Nora yields to Helmer, there are undertones of caustic remark within the dialogue portrayed both by the stage directions and the writing. When Nora first calls herself Helmers skylark and squirrel, she does so while smiling quietly and blithely, as if she aims to manipulate him with her words (Ibsen 4). This example of irony mixed with use of goods and services illustrates the contradiction between what Nora outwardly expresses and what she internally believes.Noras sarcasm is also present directly in her dialogue with Helmer. In the conclusion of the first act, Nora asks Helmer to take her in hand and decide how she should attend the masquerade ball (Ibsen 25). The sarcasm she speaks these lines with is evident when she utilizes hyperboles to appeal to Helmers ego, such as notification him no one has such good taste and that she cant get along a bit without his help (Ibsen 25). Therefore, Noras misinform submission to Helmer su ggests a dichotomy between her internal ideas of worth and her actions. Yet, as the play develops, Noras actions begin to match her interpretation of value. She begins to overtly become a subject of her life, rather than the subject of her husbands.In the final pages of Act III, Nora discards the view she externally portrayed in the first acts of A Dolls House by explicitly rejecting Helmers assurance that before all else, she is a wife and a mother (Ibsen 66). She explains to Helmer that she believes that before all else she is a reasonable human being who must speak out over things for herself and get to understand them (Ibsen 66). This rejection of blind obedience and assertion of familiarity supports the claim that Noras outward expression developed over the carry of the final act to match her opinion of worthiness. Because Noras expression of virtue changed over the course of the play, she is considered a dynamic, or multifaceted character. Therefore, Ibsens use of dialogu e in A Dolls House is implemental in portraying Nora as an important and multidimensional character.Tennessee Williams also uses tension in dialogue within his play, A Streetcar Named Desire, to portray his remarkable characters as multidimensional. However, rather than creating tension by using contradiction to develop a single characters dialogue, Williams creates tension by distinguish the dialogue of Stanley and Blanche. This distinction between the two characters, and the way they communicate in the play, causes behavioral changes suggesting that dialogue is responsible for dynamic transformations in the characters actions. Blanches lecturing is educated and full of literary illusions. She uses a reference to the gothic poet Edgar Allen Poe to describe her sisters life and situation by calling her area the ghoul-haunted woodland of Weir (Williams 20).This complexity present in Blanches dialogue portrays her as a representation of the old, aristocratic South. In contrast wi th Blanches more sophisticated way of speaking, Stanley uses simple societal based similes and commonplace clichs in his dialogue. Rather than using a literary based metaphor for Blanche, Stanley uses one based on politics. Stanley describes her fame in Laurel as if she were the prexy of the United States, only she is not respected by any ships company (Williams 99).Additionally, the clichs Stanley uses in his speech, such as no, siree, bob, boy, oh, boy, or the jig was all up portrays Stanley as the down-to-earth representation of the untestedfangled South (Williams 100-101). The contrast between the dialogue of the two characters and the connection it has with the cordial group they identify with highlights their dynamic characteristics by emphasizing Blanches approach and ultimate failure to integrate herself into the less aristocratic and educated rude(a) Orleans. Therefore, the playwrights effort to contrast the dialogues of Blanche and Stanley facilitates Blanches repr esentation as a multifaceted and changing character in A Streetcar Named Desire.Analyzing how a playwright portrays his or her dynamic characters gives insight into what the playwright intends to study through their development. For example, Henrik Ibsen uses a single costume to connect the audience with Noras progression into an autonomous woman in order to focus the audiences attention on a single facet of Noras life and desires, while Williams uses many costumes with varying degrees of lavishness, to highlight the degree to which Blanche blends reality with fantasy.Furthermore, Ibsen uses tension in dialogue of a single character to salvage the audiences focus on Nora, while Williams contrasts the speech of two characters to highlight the contrast between two different social worlds, the new and old South. Therefore, the most important characters in a play are always multidimensional characters because most of a playwrights interpretation is included in the development of thes e characters and analyzing the techniques a playwright employs to distinguish a dynamic character helps to convey meaning.BibliographyIbsen, Henrik. A Dolls House. Print.Williams, Tennessee. A Streetcar Named Desire. New York Signet, 1975. Print.