Outer & Inner Appearances

Inner and Outer Appearances

The play may be seen as a study between outer and inner appearances. This idea comes across in three major places in the play:

Masks

This idea is found in the masks that individual characters wear. They put on a front but actually deep inside they feel very differently.
This is seen in the relationship between Stanley and Blanche.

Williams' staging

This idea is found in Williams’ staging – where the audience gets to see both inside of the apartment and the outside world of New Orleans.
This creates a dynamic of appearance and reality that is reflected in events of the drama; therefore, the set and the plot are intrinsically connected.

Blanche

We see this idea come across through the presentation of Blanche.
As the play progresses, she maintains an outside appearance of everything being fine, when actually, it is not.
Her fantasy about the yacht cruise is an example of this, as is her thinking she will be saved by her old flame, Shep Huntleigh.
The tragedy is that Blanche – in the end – cannot see the difference between the outward world and the inner one.

Inner and Outer Appearances

The notion of inner and outer appearance is related to class issues. Williams shows the blurring between the outer and the inner via music. Stanley may also have an inner and outer appearance.

Class issues

The notion of inner and outer appearance is related to class issues within the play.
Blanche tries to play up an outer appearance of being classy and moneyed, when in fact, she is destitute.
Nevertheless, she tries to keep up appearances.
Blanche demeans others to establish this construction of herself. That is why Blanche is so critical about the state of Stella and Stanley’s apartment.

Exaggerated actions

Blanche uses exaggerated actions and movements to try to give a sense of her superiority in New Orleans – with her classy dressing and demeanour contrasted with those found outside on the street.
Blanche even keeps up her Caucasian pretence by calling Stanley a "Polack".

Role of music

Williams shows the blurring between the outer and the inner via music.
The blue piano music that is used sounds tense and eerie and shows the sharp distinction between these two states.
Williams also uses the "polka music" to allow the audience to enter Blanche’s head. It is only played when she is imagining her past or going into a fantasy about her future. In this way, it seems to represent her sexuality and sexual desire.
Music helps Williams to blur the inner and outer appearance of Blanche.

Stanley

Stanley may also be said to have an inner and outer appearance.
His outer appearance to Blanche is that he detests her: initially for her pretentious refinement but later for her over-sexed lifestyle.
He reveals this outwardly to Blanche herself, to Stella and to Mitch.
Inside, however, he finds her sexually attractive and this extends to the tension between them and his eventual rape of her.

1Context & Overview

1.1The Author

1.1.1Tennessee Williams

1.2Social Context & Setting

1.2.1Social Context

1.2.2Social Issues

1.2.3Setting

1.3Tragedy

1.3.1Overview of the Tragic Genre

1.3.2Modern Domestic Tragedy

1.3.3End of Topic Test - Author, Context & Tragedy

2Scene Summaries

2.1Scene One

2.1.1Scene One: Summary

2.1.2Scene One: Tragedy Ideas

2.2Scene Two

2.2.1Scene Two: Summary & Tragedy Ideas

2.2.2End of Topic Test - Scenes One-Two

2.3Scene Three

2.3.1Scene Three: Summary & Tragedy Ideas

2.4Scene Four

2.4.1Scene Four: Summary & Tragedy Ideas

2.4.2End of Topic Test - Scenes Three & Four

2.5Scene Five

2.5.1Scene Five: Summary & Tragedy Ideas

2.6Scene Six

2.6.1Scene Six: Summary

2.7Scene Seven

2.7.1Scene Seven: Summary & Tragedy Ideas

2.8Scene Eight

2.8.1Scene Eight: Summary & Tragedy Ideas

2.8.2End of Topic Test - Scenes Five-Eight

2.9Scene Nine

2.9.1Scene Nine: Summary & Tragedy Ideas

2.10Scene Ten

2.10.1Scene Ten: Summary & Tragedy Ideas

2.11Scene Eleven

2.11.1Scene Eleven: Summary & Tragedy Ideas

2.11.2End of Topic Test - Scenes Nine-Eleven

3Character Profiles

3.1Blanche DuBois & Stanley Kowalski

3.1.1Blanche DuBois - The Past & Illusions

3.1.2Blanche DuBois - Relationship with Men & Breakdown

3.1.3The Dynamic Between Blanche & Stanley

3.1.4End of Topic Test - Blanche & Stanley

3.2Stella Kowalski & Harold Mitchell (Mitch)

3.2.1Stella Kowalski

3.2.2Harold Mitchell (Mitch)

3.3Minor Characters

3.3.1The Hubbels & Other Characters

3.3.2End of Topic Test - Stella, Mitch & Others

4Key Ideas

4.1Sex & Gender

4.1.1Sex & Desire

4.1.2Masculinity & Femininity

4.1.3End of Topic Test - Sex, Desire & Gender

4.2Appearances, Fantasy & Reality

4.2.1Outer & Inner Appearances

4.2.2Fantasy & Reality

4.2.3End of Topic Test - Appearances, Fantasy...

5Writing Techniques

5.1Structure

5.1.1Structure & Stage Design

5.1.2Linking Devices

5.1.3Recurring Motifs

5.2Genre, Form & Language

5.2.1Genre

5.2.2Form & Language

5.2.3End of Topic Test - Writing Techniques

6Critical Debates

6.1Early & Modern Reception

6.1.1Interpreting Blanche & Self-Pity

6.1.2Contemporary & Modern Reviews

6.2Feminist, Psychoanalytic & Marxist Approach

6.2.1Feminist Approach

6.2.2Psychoanalytic Approach

6.2.3Marxist Approach

6.2.4End of Topic Test - Critical Debates

7Ideas About Tragedy

7.1Ideas About Tragedy

7.1.1Tragic Ideas & Villain

7.1.2Tragic Structure & Language

Jump to other topics