100% satisfaction guarantee Immediately available after payment Both online and in PDF No strings attached
logo-home
Summary Revision notes for Streetcar Named Desire and Duchess of Malfi comparative essay A level £5.56   Add to cart

Summary

Summary Revision notes for Streetcar Named Desire and Duchess of Malfi comparative essay A level

 8 views  0 purchase

My revision notes for the comparative drama essay of the A level course, comparing the Duchess of Malfi and Streetcar Named Desire. These notes helped me get 55/60 in my final essay and a high A* overall. The first part of the document contains general points of analysis between the two plays , inc...

[Show more]

Preview 3 out of 17  pages

  • September 1, 2024
  • 17
  • 2023/2024
  • Summary
All documents for this subject (1)
avatar-seller
lululiz06
DOM Facts

- Play was initially performed without sexual and political and sexual moments – e.g. some
critics think that Delio and Antonio moments – silver fountain – was only added to 1623
version – politically would imply Webster was too worried about doing it the first time.
- Repeated motif of women being strangled – silenced; evokes a Witch Trial.
- Julia is “the duchess on high speed played for laughs” – Jem Bloomfield
- JB - “a play in search of a motive” - none of Ferdinand’s motives make sense; Bosola;
Duchess deciding to take Antonio as a husband.
- Audience is made complicit in how women/ women’s bodies are treated – Bosola tells us in
asides apricot scene vs Stan saying what he will do to Blanche.



3.4.

- Loreto – representation for the audience at the time of a potentially corrupt religious site –
3.4. is set here.
- What function do the pilgrims serve? - choric feature: “the cardinal Bears himself much too
cruel.” -- exposing religious hypocrisy of the Cardinal. Do also show that society judges the
marriage = “who would have thought So great a lady would have match'd herself Unto so
mean a person.” Microcosm of what has happened so far in the play. Pilgrims = non-
powerful religious people and therefore non-corrupt – voice of the audience? Or not to be
trusted because they are at the shrine at Loretto – not properly religious? Voice of people
outside the court. Also reveal that the Pope has taken Malfi from the Duchess – religious
corruption at the top. Duchess and Antonio banished – Mary and Joseph vs Adam and Eve –
virtuous vs sinful. Religion, politics, corruption, power, performance and illusion – dumb
show is a performance, a play within a play.
- Links to Streetcar – Stanley “banishing” Blanche, Stan sees Blanche as corrupt religion -
“Ticket! Back to Laurel! On the Greyhound! Tuesday!” Image of Ant and Duchess holding
their baby – similar to Stan and Stella at the end – pure or corrupt? Adam and Eve vs Mary
and Joseph; ultimate nuclear family ideal ‘safe’ or corrupt family life – Adler sees this as
“unholy family” SND? Cardinal violently takes ring off Duchess’ fingers – violence of men
towards female possessions (e.g. paper lantern), stripping women of their rights, their
symbolic strength and presence, rejection of character (Stanley in Scene 2 with the
Napoleonic Code and jewels etc.)
- New Orleans as a pilgrimage for Blanche/ safe haven/ Stella for star?



General points of comparison

Malfi Streetcar
Why did - Criticising corruption in the court; - Responding to treatment of
they write protesting against a sexist society. women, change of values –
it? (conc) - Critiquing Jacobean hypocrisy critique of old way of life as
around female sexuality well as new American dream
- -- source text = Palace of - Williams: one major theme of
Pleasure; however, in DOM my work is the “destructive
Bosola repents and is conflicted power of society on a
and in Palace of Pleasure the two sensitive, non – conformist

, brothers die of natural causes. individual”
- Webster fascinated by the far-
reaching consequences of actions.
- Genre = tragedy; Aristotelian
notion that tragic events are both
surprising and yet follow cause- -- tragic inevitability of B’s downfall
and-effect.
- Satirise the court of James I –
promoted ‘favourites,’ autocratic
attitude towards parliament; his
cousin Arabella Stewart had
married without permission –
both locked up in the tower.
- Meditation on the human
condition – obsession with
“death” (T.S. Eliot)
Key formal - Duchess is titular character; - Blanche not the titular
differences leaves in Act 5 but returns as echo character. But she defines
in Act 5. when the play begins and
- “grand guignol” (excessive bloody ends, unlike the Duchess.
melodrama) of the ending is a - Sets the play in a real location
pastiche of the beginning. - Expressionist aspects –
- Not a “real” Malfi but an idea – lighting, “jungle” voices;
satire of what Italy is like. shadows; the Varsouviana,
- Setting is deliberately other music.
transferrable – set in Italy but - Time: after Scene 7 the time
probably about English court. gets closer together and then
- Time is deliberately disrupted; Scene 11 in the aftermath
deemphasises linear narrative and - Time passing through
idea of causation; time constantly pregnancy – are we leading up
jumping around- echo means past to rape or pregnancy
and present are mixed up. - Past and present mixed up
with Varsouviana and young
man played by same actor as
Alan.
Production - Written to be performed in - Almeida 2023: staged as just
s candlelit Jacobean theatre – one room – no separate
heightens idea of corruption, bathroom or division of the
sneakiness. stage (no divisions/ portieres;
- SW playhouse 2024: softens no furniture) and B walked
Ferdinand; genuine, affectionate around the stage when she
relationship w Duchess at the was in the “bathroom” - like a
beginning. Cries when Duchess boxing ring, physically
tells him she has defied him to competing for power, no
marry Ant. privacy, exposed constantly.
- In the 1940s and 1950s Bosola - Varsouviana is played by a
became the hero/ moral centre of band on stage one member of
the play; Act 5 only makes sense if which becomes the doctor at
you see Bosola as the centre the end – adds to sense of
- Performed at Globe and tragic inevitability and
Blackfriars – torture/ dead hand madness surrounding her

, scene: at Globe we are in position constantly, always present.
of torturer (we know what's - 2014 Young Vic production –
happening, but the Duchess set is a skeleton of an
doesn't) whereas at Blackfriars we apartment which is designed
are in position of Duchess (can’t on a revolving stage;
see anything). movement starts when B takes
- SWPH production 2014 shows her first sip of alcohol; starts
Duchess and Antonio singing at the real action and becomes a
the beginning of the scene (3.2.), merry-go-round that none of
literally in matrimonial harmony – them can get off.
D “I prithee, when were we so - In both rape scene is alluded
merry?” to – in Young Vic Stan rifles
- SWPH 2014 B a tomb-maker is through her dress then scene
dressed completely in black, freezes; in Almeida Blanche is
cannot be seen in the dark. alone as the rain pours down
- Almeida 2019: the three on her.
murdered women do not
disappear but loom on the stage,
thereby giving them power after
their death.
- 1971 RSC production of DOM Judi
Dench as the Duchess and her
husband Michael Williams as
Ferdinand – casting highlighted
the sexual, incestuous
relationship between them.
Women- - Duchess’ financial power as a - Stan’s repeated references to
both show widow – Ferdinand hopes to have Napoleonic code by which
men gained an “infinite mass of what belongs to Stella also
seeking to treasure” if she was to die – belongs to him.
control although unclear if this is true
women motive?
financially;
inheritance
Deceit - Duchess and Antonio’s - Blanche concealing her age
clandestine marriage, which is and past to maintain her
also outside the authority of the reputation and southern belle
Church. (per verba de presenti) identity.
- Ferdinand: dead man’s hand and - “I want to deceive him enough
wax works. to make him want me”
- Secrets as corrupt and poisoning: - Self-deceit: by the end roles
Cardinal describes secret “like a have reversed as Stella admits
lingering poison” she may have allowed herself
- Ferdinand’s letter = equivocation, to be deceived in order to
form of deceit. continue her life w Stan.
- Women as deceptive: “unequal - Offstage announcement that
nature...” another poker game (“seven-
card stud”) is about to
commence ends the play with
a symbol of the deception and
bluffing that has taken place in

The benefits of buying summaries with Stuvia:

Guaranteed quality through customer reviews

Guaranteed quality through customer reviews

Stuvia customers have reviewed more than 700,000 summaries. This how you know that you are buying the best documents.

Quick and easy check-out

Quick and easy check-out

You can quickly pay through credit card for the summaries. There is no membership needed.

Focus on what matters

Focus on what matters

Your fellow students write the study notes themselves, which is why the documents are always reliable and up-to-date. This ensures you quickly get to the core!

Frequently asked questions

What do I get when I buy this document?

You get a PDF, available immediately after your purchase. The purchased document is accessible anytime, anywhere and indefinitely through your profile.

Satisfaction guarantee: how does it work?

Our satisfaction guarantee ensures that you always find a study document that suits you well. You fill out a form, and our customer service team takes care of the rest.

Who am I buying these notes from?

Stuvia is a marketplace, so you are not buying this document from us, but from seller lululiz06. Stuvia facilitates payment to the seller.

Will I be stuck with a subscription?

No, you only buy these notes for £5.56. You're not tied to anything after your purchase.

Can Stuvia be trusted?

4.6 stars on Google & Trustpilot (+1000 reviews)

84866 documents were sold in the last 30 days

Founded in 2010, the go-to place to buy revision notes and other study material for 14 years now

Start selling
£5.56
  • (0)
  Add to cart