Aspects of tragedy plague most of the characters of the play, because of these "characters of great complexity and ambiguity; we as readers find our allegiances growing more tangled as the play unfolds". In the case of Stella staying with Stanley and sending Blanche away it is arguable that she thought Blanche to be insane and a liar. As such Blanche could be excused of her wrong doings because of her insanity which seems to be caused by the deaths and despair of her past. It’s this inability to find where the fault lies that is the largest cause of people believing it as a failure as a tragedy; as traditionally you would have the classic ‘hero’ of the story. Blanche is in fact the ‘hero’ of the play as she is the main character we are following; however her actions and the result of them reject the traditional aspects of heroism in plays. All of this only cause to enhance the tragic aspects as in life there are two side to every story and whilst some people may side with one person someone else may side with another. This rings true of Streetcar and is because there is no purity in character, it’s not black and white as good people have done bad things and bad people have done good things putting them all on the same level. Again this is because this is how people are in real life, in a classic play it would tell one tale of thousands within a person’s life and paint that person in a certain light for that tale, however Streetcar is devoid of the good and the bad as life is, all people do both.
According to Todorov's theory of narrative any story should have: a state of equilibrium; a disruption of this equilibrium; recognition of this disruption; an attempt to repair this; and finally comes the reinstatement of the equilibrium. From this theory several views can be made; the first that it does follow this theory and we begin with Stanley and Stella in the state of equilibrium living happily whilst Blanche’s arrival and deceit becomes the disruption. The recognition would then be Stanley discovering Blanche’s lies, as the attempt at repair would be Blanche trying to leave, and finally the reinstatement as Blanche is taken away. However it could also appear that the narrative of Streetcar is almost in the wrong order beginning in the middle of the stages of disruption and ending long after or possibly before the reinstatement creating a completely new tragedy. As Blanche is the hero we could presume that we follow her story in which case the disruption of her own story appears to be when she discovers that her husband if gay. From this point she has taken on more and more tragedy throughout her life that causes her insanity. The recognition of the disruption could be seen at many points such as when she was removed from Belle Reve or as she was staying at The Flamingo, or even later on when we see Blanche’s insanity. It could also be argued that the real tragedy of the play is that there is no recognition of disruption due to Blanche’s insanity she is stuck in the same cycle of delusion and cannot get out.
The ambiguity of the play can often accentuate its nature as the mind can create far worse situations than in reality. This is proven in the 1951 adaptation of the play as "by just cutting the too 'explicit' scenes it was not possible to eliminate the underlying ideas." For example, in the text Stella stays with Stanley despite her suspicions that Blanche was telling the truth of his actions. However in the film Stella is show to run up the stairs and leave Stanley, despite her actions because of scenes earlier in the play in which she leaves Stanley but still returns to him, it is implied that she will still return to him now. This is also true for Stanley and Blanche’s rape scene as we do not see anything more the Blanche in Stanley’s forced embrace, however what our mind can create is far worse than what could have been shown in the film. In this scene the mirror breaking seems to show that Blanche is broken in mind and spirit which further enhances this scene and its tragic aspects.
Catharsis is another of the many common themes that enter a tragedy, however there is very little of this in Streetcar. It is common that at the end of a tragedy there will be a feeling of catharsis that uplifts the audience; this was attempted in the 1951 adaptation of Streetcar as the times called for an at least seemingly happy ending, however as the cast and crew wished to stay as true to the text as possible they created the setting so that the ‘intelligent viewer’ would assume the tragic resignation that is seen in the text. This lack of one of the major themes of classic tragedy is another reason why it is called a failure as a tragedy. This resigned idea that life goes on in the same tragic way as the contents of the play and that there is no real ending to the tragedy seems to enhance the actions of the play to the audience as you feel as though it will never stop. It’s ‘the long parade to the graveyard’ instead of having the normal catharsis you feel as though we are just in a constant stream of tragedy that can only end in death of one kind or another.
Women in Literature: reading through the lens of gender, Greenwood Publishing Group, 2003
Art and Censorship: Elia Kazan's Film "A Streetcar Named Desire" Compared to Tennessee William's Play, GRIN Verlag, 2009