A Streetcar Named
Desire: Adaptation Personal Response
Throughout the play A Streetcar
Named Desire, many theatrical elements were used to show the director’s
theatrical style of directing. Elia Kazan, the director, applied things such as
lighting, sound and music to help the viewers understand her style of filming.
Lighting, music and sound contribute to the scene in a grand way. Their
contribution not only helps the audience comprehend what the director wants to
portray but also it makes the scene come to life. The director demonstrates the
change in the plot by using appropriate lighting techniques as well as music
and sound. The scene is awoken through these useful elements.
Lighting and tone was indeed a key element in the make up of this production.
Considering that the play was made in 1951 the play was shown in black and
white. However, by the play being shown in black and white it almost allows the
audience to really apprehend and witness the shadows themselves. At the
beginning of the scene the lights are turned on and are bright. This sets the
mood of the scene. The mood of this scene starts off with being bubbly and
simple, hence the properly chosen lighting. Once Stanley changes the mood and
begins to interrogate Blanche the lighting does indeed change. Stanley’s last
line to Blanche in this scene is, “Shaw
must’ve got you mixed up. He goes in and out of Laurel all the time so he can
check on it and clear up any mistake,” (90). The lighting in the scene
automatically changes when Stanley leaves the room and Blanche realizes that
they might know her secret. The director cuts out the lights in the scene and
lighting immediately shoots through the window. It allows the views to see this
scene as more dramatic now.
Music and sound also contributes
to the drama in this specific scene. Music can change the feeling and mood of
the scene and how the characters act. This director introduced emotional
classical music in the scene when the problem arose. The music picks up after
Blanche says, “You’ve got to be soft and attractive. And I – I’m fading now! I
don’t know how much longer I can turn the trick,” (92). What this quote
states is how the characters are feeling and are trying to demonstrate to the
audience. The music helps this along and allows everything to be more
interesting. I think this is exactly what the director was trying to do with
the dramatic soft classical music. When the mood of the scene changes slightly
the music stops but starts back up again when the dramatic tone reenters.
Overall the director ultimately tried and succeeded with the lighting
and sound. I found it fit the scene and was indeed extremely appropriate. The
mood of the characters was shown through the music and sound in this scene. The
lighting truly was affective in this scene as well. The techniques that the
director used were very fitting and useful in this play. These techniques are
appealing and exciting to the audience. This is what makes the play come to
life.
