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Illuminating Illusions: Truth and Fantasy in A Streetcar Named Desire
Students will explore how Williams uses characterization to represent the conflict between truth and fantasy throughout the play. Additionally, students will use different literary lenses to analyze the play's themes and social commentaries, as well as make comparisons between the written play and its 1951 film adaptation.
ELA
Unit 4
11th Grade
Unit Summary
Tennessee Williams's A Streetcar Named Desire aligns with the year's theme of American Dreams and Realities. The character of Stanley embodies the shifting American landscape of the post-war period when the working class and immigrants grew more powerful. He clashes with his sister-in-law, Blanche, who symbolizes the prejudiced Southern aristocracy. Stanley's ascent reflects the American dream of upward mobility for those from less privileged origins. However, through Stanley's misogynistic and violent actions, Williams expresses his disappointment with this dream. Written post-World War II, the play's social commentaries on gender, class, and desire, as viewed through various literary lenses, remain relevant today. Students will also connect to the theme of masking one's true self, featured prominently throughout the play.
Before reading A Streetcar Named Desire, students will explore a text set to develop background knowledge on the Southern belle, women's roles in the post-war era, New Orleans culture, the Southern Gothic genre, and the life of Tennessee Williams. While reading, they will compare scenes from the play to Elia Kazan's 1951 film adaptation, analyzing how cinematic techniques and performances emphasize the play's themes, characterizations, conflicts, symbols, and social commentaries. Students will also examine narrative differences between the play and film, resulting from film censorship and the impact of these differences. For the final performance task, students will write a film review assessing how effectively Kazan's film captures the play's themes, conflicts, and social commentaries.
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Texts and Materials
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Core Materials
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Play: A Streetcar Named Desire by Tennessee Williams
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Movie: A Streetcar Named Desire (Directed by Elia Kazan)
Supporting Materials
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Article: “The Southern Lady and Belle: The Companion to Southern Literature by Joseph Flora and Lucinda MacKethan” by Joseph Flora and Lucinda MacKethan (Facing History)
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Article: “Women and Work After World War II” (PBS)
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Article: “New Orleans Multicultural Stew” by Stuart Thornton (National Geographic)
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Article: “Tennessee Williams Family Letters” by Margit Longbrake (The Historic New Orleans Collection)
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Website: French Quarter Life
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Video: “Tennessee Williams: No Refuge but Writing” (The Morgan Library & Museum)
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Video: “Gone with the Wind Clip” by Movieclips (YouTube)
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Video: “Jazz & Spectacle: New Orleans in the 1940s” (YouTube)
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Video: “Southern Gothic Literature in 60 Seconds” by Shelly Swearingen (YouTube)
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Poem: “After the Loss of a Limb” by Elena Wilkinson
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Poem: “We Wear the Mask” by Paul Laurence Dunbar
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Resource: Literary Lenses (G11, U4)
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Resource: Film Terms
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Resource: Film Review Outline (G11, U4)
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Resource: Film Review Mentor Text (G11, U4)
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Resource: Peer Review Worksheet (G11, U4)
- Resource: Recommended Texts for Independent Reading
Assessment
These assessments accompany Unit 4 and should be given on the days suggested in the Lesson Map. Additionally, there are formative and creative assessments integrated into the unit to prepare students for the Performance Task.
Socratic Seminar
The Socratic Seminar assesses students on their ability to push themselves and their peers to think critically and participate meaningfully in conversation by collecting and evaluating evidence, actively listening, and responding thoughtfully. Socratic Seminar assessments may occur mid-unit as a way to synthesize the ideas of the text/unit to that point or summative, taking place at the end of a unit.
Performance Task
The Performance Task is the culminating assessment of the unit in which students have the opportunity to show the skills and content they have learned.
Unit Prep
Intellectual Prep
Essential Questions
- How do authors use characters symbolically to make historical and social commentaries? How can readers gain a deeper understanding of these commentaries through the application of various literary lenses?
- Why do people create and maintain false identities? What are the consequences of doing so?
- How can the film medium enhance important themes, symbols, and conflicts in a written text?
Vocabulary
Text-based
attenuatedestitutedemuredeludedperpetratereproach
Literary Terms
at rise descriptionclose-up shotdiegetic soundfeminist literary criticismhigh-key lightinghistorical literary criticismhigh angle shotlow-key lightinglong shotlow angle shotmarxist literary criticismmedium shotneutral lightingnon-diegetic soundperformancepsychoanalytic literary criticismsatiresetstage directionszoom
To see all the vocabulary for Unit 4, view our 11th Grade Vocabulary Glossary.
Notes for Teachers
A Streetcar Named Desire contains both explicit and implicit references to disturbing content, including physical abuse and rape. Before starting the text, it is imperative that teachers prepare students for this content, which may be sensitive and triggering for students. To foster a safe learning environment, teachers should create or re-establish their classroom contract and have a dialogue with students about what would make them feel safe when reading and discussing upsetting scenes in the play. Prior to students reading A Streetcar Named Desire, teachers should provide students with an overall warning about the sensitive content in the play. Before students complete a homework reading with disturbing scenes, teachers should warn students about the upsetting content they will come across in that particular reading, so that students can mentally and emotionally prepare themselves for it. Additionally, teachers should be aware of signs of abuse in the event that a student displays signs or discloses abuse they are experiencing inside or outside of their home.
Additionally, in the play, the words "colored" and "Negro" also appear as racial descriptors. Before reading the play, be sure to explain to students that these words were once the terminology used to refer to people of African descent and were replaced by "Black" or "African American" in the 1960s, primarily due to the Civil Rights Movement and the Black Power Movement. Students should understand that these terms are now offensive and outdated.
Below are some resources to prepare yourself and your students for this text:
- Contracting by Facing History and Ourselves
- An Introduction to Content Warnings and Trigger Warnings by the University of Michigan
- Trigger Warnings by the University of Waterloo
- Recognizing Signs of Abuse in Students and How You Can Help by Education World
- Responding to Dating Violence by The Center for Relationship Abuse Awareness
- Teaching About Sexual Assault in Young Adult Literature by the Journal of Language & Literacy Education
- Strategies for Addressing Racist and Dehumanizing Language in Literature by Facing History & Ourselves
Lesson Map
Common Core Standards
Core Standards
Supporting Standards
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