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This paper investigates the ways in which A Streetcar Named Desire was received by its contemporary audiences. The question of critical sympathy towards its characters has been one of the most complicated issues in the literary criticism of the play. In most cases, critics have acclaimed Blanche Dubois and, if not herself, the values that she represents. However, contemporary evidences indicate the reverse was true. Theatre reviews of the play and the memoir of Elia Kazan--who directed it for both stage and screen--testify to the “Triumph of Stanley Kowalski” played by the actor Marlon Brando. Focusing on Brando’s Stanley, this paper explores the aesthetic and the political contexts, in which a historically specific meaning of the play was produced.
The popular and critical acclaim over Brando/Stanley lies in part in the aesthetics of acting Brando embodied. Trained in Actors Studio and directed by Kazan, Brando achieved the “spontaneity-on-stage”--a Stanislavskian principle--by which an illusion of freedom from material constraints is created. Besides, the actor’s highly sensitive nature and idiosyncratic view of Stanley--evidenced by interviews and memoirs--added to the character a psychological depth in which the ‘masculine’ role was colored with a ‘feminine’ touch, or its violent behavior was regarded as a distorted reflection of “a suffering sensitive soul.”
Projected into the play, the aesthetic illusion finds its particular resonance in the male audiences of the original stage and screen productions, who lived in the post-war America--just like “Master Sergeant” Kowalski who now works in an automobile plant. Referring ‘surreptitiously’ to the social process of re-employment of World War Ⅱ veterans, the play represents their frustration at, and mute exultation in, the scanty reward offered by the society that they had fought to protect. Symptomatic of their powerlessness and inability to outlet their frustration in social protest is Stanley’s self-indulgence in violence and pleasure, heightened by Brando to an illusion of a suffering sensitive soul, and of freedom.
The popular and critical acclaim over Brando/Stanley lies in part in the aesthetics of acting Brando embodied. Trained in Actors Studio and directed by Kazan, Brando achieved the “spontaneity-on-stage”--a Stanislavskian principle--by which an illusion of freedom from material constraints is created. Besides, the actor’s highly sensitive nature and idiosyncratic view of Stanley--evidenced by interviews and memoirs--added to the character a psychological depth in which the ‘masculine’ role was colored with a ‘feminine’ touch, or its violent behavior was regarded as a distorted reflection of “a suffering sensitive soul.”
Projected into the play, the aesthetic illusion finds its particular resonance in the male audiences of the original stage and screen productions, who lived in the post-war America--just like “Master Sergeant” Kowalski who now works in an automobile plant. Referring ‘surreptitiously’ to the social process of re-employment of World War Ⅱ veterans, the play represents their frustration at, and mute exultation in, the scanty reward offered by the society that they had fought to protect. Symptomatic of their powerlessness and inability to outlet their frustration in social protest is Stanley’s self-indulgence in violence and pleasure, heightened by Brando to an illusion of a suffering sensitive soul, and of freedom.
목차
Ⅰ. 브란도/스탠리: “다른 종”(A Different Species)
Ⅱ. 돌아온 “주임 상사”(Master Sergeant)
Ⅲ. 욕망의 미학/정치학: ‘프로이트적 저항’
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