Masks

Prompt:


Masks can be used literally or metaphorically in drama. Discuss to what extent, and for what purpose, masks have been used in A Streetcar Named Desire and Hedda Gabler.


Introduction:

Masks are often used as metaphors by characters to conceal an aspect of themselves they are trying to forget about or not let others know. In Tennessee Williams' A Streetcar Named Desire, Blanche DuBois uses metaphorical masks to forget about her deceased husband and the society which judged her for her actions. The masks in Henrik Ibsen's Hedda Gabler that Hedda Gabler creates is to isolate herself away from society and the traditional values they instill upon her. The two female protagonists Blanche and Hedda use darkness, clothes, and dialogue as masks, using these  motifs and the atmosphere produced from their speech in combination with the set to build their own reality where they are able to avoid the limiting lives they are given in the real world.

Topic Sentences # 1

In A Streetcar Named Desire, Blanche uses lampshades as a mask to hide her age in an attempt to avoid the past which haunts her.

In Hedda Gabler, Hedda also avoids the light by closing the curtains in order to ignore the society she cannot fit in with.

Topic Sentences # 2

The clothes and dresses Blanche dresses up in act as a mask to allow herself to become who she wants to be and evade a reality in which she is alone in.

Hedda also wears loose dresses as a mask to hide the child that is allegedly growing inside of her, hiding from herself and others a symbol of the traditional life that she detests.

Topic Sentences # 3

Blanche in A Streetcar Named Desire talks frequently about trivial things and lies often, trying to use her words and change of the set as a mask to create a wall around her to detach herself from her past and others' penetrating and judging words.

Hedda Gabler also uses words as a mask to conceal her thoughts and changes the set as Blanche does to create her own reality, but instead says very little to isolates herself from a society that limits her independence.

Production and Script

I found the production of the play quite an insightful addition to the script, and furthered my understanding as well as clarified some bits, however it made me think even more and now I'm not sure (not that I ever was) what the play is about. There are a bunch of intricacies, only some of which I somewhat understand. Anyways, here are some of the points I noticed about the play in action:

• More annoying than usual.
• Everyone was saying how Carol is even more annoying than usual. I never really thought about why she was annoying though. When we were talking about how we felt about each of the characters, many thought that Carol was a manipulative and conniving person. If we think about the feminist group that she is with in the end, maybe how annoying she is furthers the criticism of the feminist movement and how it has gone too far.
• The "Oh my god" at the end
• John says these words, which give, to some, a whole different meaning to the ending. I didn't really notice it, because when I read the play I took his "well" and his action of looking at Carol as a realization that he had just done something quite terrible, but it's clearer at the end of the production. It seems that he's fully realized what he's done, although now I'm not sure if it's remorse of hitting her, realizing that Carol is going to further sue him and press charges, thus definitely putting him in jail, that his wife's on the phone (which may or may not still be on), or a combination.
• And then there are so many different interpretations of the "Yes, that's right" that Carol says at the very end. Is it an expression of satisfaction in her revenge? Is it a confirmation that she was right all along? Or is it even that she made him into what she wanted him to be in the first place? I don't know.
• Clear transition/transformation of characters
• clothing
• In the beginning, both John and Carol are clearly defined. She is wearing a big coat and looks like a college student who's not really sure where she's going. He's clearly a professor, and takes that role by first being behind the desk.
• In the end, their roles have switched, with Carol dressed in some business suit (although I guess she may be going to court) and acting more confident and John having gone downhill a bit. What's interesting about the production is going outside of the office and the scenes and highlighting John's life outside where he is in bed and drinking. I didn't think too much of it at the time, but this may be where he's at the hotel, because he looks really stressed out and his wife wasn't there. And, there was this one moment when he talking to Carol near the end and he reaches in a drawer, and there may, or may not have been, cigarettes. I'm not really sure, as it was only a flash, but if it was, it adds to the idea of him going downhill (mentally, physically, and literally) and Carol taking a more empowering role.
• tone and words
• In the beginning of the play, John is a bit condescending, and clearly treats her as someone younger whom he needs to teach and care for. Carol is unsure of herself.
• Some words they say are:
• John- "Don't you see?"
• Carol- "I don't understand."
• They both, although Carol does it more- the use of elipses........ ...
• "I..." ..I"
• Towards the end in the third part the roles are switched. John treats Carol as an equal, at least in terms of threat, as he doesn't try and help her or look down upon her but as someone to be wary of. Carol is much more forceful.
• The words they say are reversed. The production actually highlights this more, as he shouts these words, just as she had said them louder than I had actually read them in the beginning.
• Weird singing / Other things I'm not really sure about
• In the beginning and the end, there was this weird song. I don't remember or even understood the lyrics, so I'm not sure if they held any particular relevance, but I just remember it being weird. 
• At the end, as well, there was a quick flash of two students playing football. I'm not sure why, perhaps it was a commentary of how life continues on despite what one individual thinks?
• I remember one part (not clearly though) where the camera focused on some of the words written across the wall, and I think it had relevance to what the play was about, but I didn't read it fast enough and I can't remember anymore. Does anyone know what the writing said? Something about education and schooling.

Themes in "Oleanna"- a judgement from society

I had some trouble in starting an attempt to find a theme in Mamet's Oleanna, so I decided to look at Gautam's How Does Mamet Convey Theme in Oleanna for ideas about what he thought the theme could be. While he saw a theme I hadn't thought about much, he allowed me to get thinking of what I thought the theme was, and so I take his idea and take it in a different direction.

I find his idea of "feminism's power struggle" as the theme in Oleanna interesting. While it wasn't at the top of my list, it certainly exists. Carol, especially in the third act, criticizes John's actions as being rude towards women, and in fact provokes him by telling him "don't call your wife 'baby'" (Mamet 47).

Gautam focuses in on several literary devices that convey this theme. The setting, as he points out, is rigid and correctly portrays the relationship John and Carol have. However, I believe that it is not only the rigidity and constancy of the setting, but the position the characters take within the room that is more important. John is usually behind his desk while Carol is sitting in front of him. This atmosphere, where he is in power and judging her is what adds to the dynamics of the theme. While I took this in a different direction, to convey a theme between society's role as a judge, this could also add to Gautam's idea of a power struggle between men and women, with the traditional role of men in power. Then there is this "idea of transformation", which I also noticed more in watching the play than reading it. The characters do shift, such as the words they use: Carol, in the beginning, says often "I..." and "I don't understand", with John saying "Don't you see?", which changes towards the end when Carol takes John's words "Don't you see" and John is in confusion and less certain. There is definitely a change in who holds the power within the room. However, I would have to disagree with Gautam when he says "Carol has grown as an individual following the alleged 'sexual harassment'". I'm not sure Carol is an individual.

Throughout the play she frequently says that she is in a "group" (34). In fact, she admits that even if she were just her, she would be "inclined to [...] forgive", but she does is not by herself. She is a part of her group. She admits, "I speak, yes, not for myself. But for the group; for those who suffer what I suffer" (40). She uses the system, and does what she is told. I'm not sure she has changed at all. She still does not understand, but tries to follow society. When trying to prove to John that her claims are not alleged but "facts" (38), she uses her notebook. I think this is a motif that helps to characterize who she is. Carol does not think for herself, but acts on what others say. And she uses her notebook to do this. Her notebook is how she attempts to understand the world, and what she follows in order to follow the rules that society has set out. As John points out, she is not gaining any self-benefit in accusing him, but she is doing it anyways, not for her but for others. She says that he is guilty of rape because of the definitions that society has set out. The idea that "society rules" comes to mind when she says that the Tenure committee, which believes her allegations, makes them facts. It does not matter what an individual thinks, but the majority in general, if that makes sense. I think this is where I would take a theme from. Of how the world works according to society, and not individuals who would, by themselves, work with each other and encourage each other (in Act 1) instead of hurting themselves for the greater good (Act 3).

Although after discussion in class today, it's clear this isn't actually the case. I suppose it can't be, as the tone makes Carol seem really, really annoying, and makes us empathize with John. But I never get any of the sexual references/tension/thoughts, so whatever...

Gautam's idea of feminist struggle certainly exists, but I am a bit confused as to what about feminist struggle the author may be trying to portray. While Gautam suggests that Carol is, at the end, in power, switching roles with John, I'm not sure that is the end of it. The "idea of transformation" is not growth, but a switching of roles. That is to say, Carol's tone, as Gautam points out, goes from "weak-willed and shy" to something much more confident, "begins to sound a lot like John". So the feminist struggle brings her to power, right? But I'm not sure if that's a good thing. Because, Carol and John are at this point, not so different. Everything that Carol criticized John for, she could be criticizzed herself for. This again is supported by the motif Gautam brings up of interruptions, from John's phone and Carol's "aggressive verbal interruptions". There are these "communication barriers between the characters" that can resemble "the disparity between man and woman", but they are both much too similar to only focus on the differences. If we look at the struggle the two have and yet how each of them act in a similar way, perhaps Mamet could be focusing on how while both men and women struggle for power, perhaps there is no need to compete as they are all the same.

Yet again, though, I see the role of interruptions in a different way. For though the phone poses as a barrier to communication, where each time John tries and gets close to Carol and understand her, and she is close to telling him how she feels and what she actually thinks, he gets a phone call. In Act 1, Carol almost tells him: "I always... all my life ... I have never told anyone this... [...] All my life..."" (25-26), when right then and there the phone rings, and John has to go pick it up. In watching the play, I saw this repetition, of how she would start to understand him when the phone would ring, John would answer, and then Carol would be back to her accusing self.  Reading the play, I took the phone interruption as a interruption from society- John's duty in society as a husband, prospective buyer, etc. budging in, not letting him do what he wants to do. Then, when watching this scene occur, I also noticed that John himself lost his caring tone that he used towards Carol and always got angry and more demeaning of others. I'm not sure what this could mean, but perhaps John is critical of others (which Carol takes as demeaning towards women) because he doesn't really want to do what they want. Society tells him what to do.

Ahh! I just had a slight epiphany! This idea, of "doing what you're told", is brought up from the very beginning when Carol asks him to do just this. And John doesn't do what society tells him to do- he breaks the rules. It is Carol, who is following the rules, using her notebook, backed up by the Tenure Committee and her group, who succeeds, or well, ruins him. Maybe with this Mamet suggests that in order to succeed/live in a world (a world that follows society's rules) you must also follow its rules, or otherwise, you'll fail. For if John had just followed the rules set out for him and given Carol a bad grade or make her retake the class, then he wouldn't have gotten in trouble.

Oleanna prologues

The passages in the prologue connect to some of the ideas in the play Oleanna, yet I only somewhat understood them after I read the play and thought about it quite a bit.

From Samuel Butler's The Way of All Flesh

"The want of fresh air does not seem much to affect the happiness of children in a London alley: The greater part of them sing and play as though they were on a moor in Scotland. So the absence of a genial mental atmosphere is not commonly recognized by children who have never known it. Young people have a marvelous faculty of either dying or adapting themselves to circumstances. Even if they are unhappy - very unhappy - it is astonishing how easily they can be prevented from finding it out, or at any rate from attributing it to any other cause than their own sinfulness." (Mamet 4).

This passage has a direct relationship with the play Oleanna. I'm just going to take some excerpts from the passage and then point out where I see the connections.

• "The want of fresh air does not seem much to affect the happiness of children in a London alley: The greater part of them sing and play as though they were on a moor in Scotland
• The children, who are happy despite the harsh setting (without fresh air) is much how the students at college believe that they are there for a good reason.
• "There are people out there. People who came here. To know something they didn't know. Who came here. To be helped" (Mamet 12) 
•  So the absence of a genial mental atmosphere is not commonly recognized by children who have never known it.
• The college students are, as John mentions, nonsense. The "tests, you see, which you encounter, in school, in college, in life, were designed, in the most part, for idiots. By idiots. [...] They are a test of your ability to retain and spout back misinformation. Of course you fail them. They're nonsense" (18).
• Yet this hypocrisy is not realized by the students themselves- they do not recognize "the absence of a genial mental atmosphere": Carol tries to follow the rules, and cannot understand (as she repeats several times) John.
•  Young people have a marvelous faculty of either dying or adapting themselves to circumstances.
• I think this perhaps is telling of how Carol uses the system that the rest of society relies on to get what she wants- she adapts. At first she was dying- failing her classes, something that she can't let happen, and when John tries and tells her not to follow the system, she instead uses it to get her grades. She fully accepts her role as not an individual, but part of society"
• "Because I speak, yes, not for myself. But for the group; for those who suffer what I suffer. On behalf of whom, even if I, were, inclined, to what, forgive?" (40)
• Even if they are unhappy - very unhappy- it is astonishing how easily they can be prevented from finding it out, or at any rate from attributing it to any other cause than their own sinfulness.
• Of course, this connects to Oleanna's belief that she has failed- that she is a failure.
• "From morning 'til night: with this one thought in my head. I'm stupid." (12)
• Yet John connects to this too:
• "I was brought up, and my earliest, and most persistent memories are of being told that I was stupid." (14)
• So "they", who are unhappy, is everyone- not just in school, but throughout life in general. In reference to an above quote (18), John says that the tests are not just in school but in life.

 
Folk song

"Oh, to be in Oleanna,
That's where I would rather be.
Than be bound in Norway
And drag the chains of slavery."  (Mamet 4).

"Little roasted piggies
Rush around the city streets
Inquiring so politely
If a slice of ham you'd like to eat.

Beer as sweet as Muncheners
Springs from the ground and flows away
The cows all like to milk themselves
And the hens lay eggs ten times a day."

"Oleanna by David Mamet." How Books Got Their Titles. Web. 16 Apr. 2012. <http://garydexter.blogspot.in/2009/04/62-oleanna-by-david-mamet.html>.

Only the first stanza is included in the book, the second two stanzas I found on the above website. Dexter also gives some background information about the folk song.

• Background of folksong.
• A satirical folksong, the mention of Oleanna is about a community set up by a Norwegian farmer (from whence the name comes from). He set up land to try and create a utopia where Norwegian immigrants could come and start up a life in the U.S. The free land was a symbol of hope and success for many pioneers, but as it turned out the land could not be farmed and the whole community failed.
• This could be a parallel to school, where everyone goes there to learn, as Carol says in the beginning. Yet as John says, it is a failure as a school because it's made for idiots by idiots.
• Folk song
•  "Oh, to be in Oleanna,That's where I would rather be.
  Than be bound in Norway
  And drag the chains of slavery."
• A reference to Oleanna being a place for success, better than where they are now.

• "Little roasted piggies

• Rush around the city streets
• Inquiring so politely
• If a slice of ham you'd like to eat.
• The pigs seem happy to give their own meat for others to eat- it speaks about how the college students give everything and pretty much killing themselves for not that big of a deal.

• Beer as sweet as Muncheners
• Springs from the ground and flows away
• The cows all like to milk themselves
• And the hens lay eggs ten times a day."
• So again this is like how not just college students, but everyone in society are in a false happiness, as the first passage of Samuel Butler's stated, and that they all think they are doing so well yet are in reality giving themselves away.

Art in Heidi

The art in The Heidi Chronicles, the artists themselves, and Heidi's profession as an art historian was something I hadn't really looked at in the play much. I mean, I looked at it a little bit, but with all the other things going on in the play (and the number of songs that appear throughout it), I hadn't put much time into looking into the significance of the paintings Heidi lectures about.

Now thinking about it, it's got to be quite important, since practically every act begins with a prologue of some kind of lecture, and the play ends with a painting. So, I looked a writing by Cortney Cronberg Barko about Rediscovering Female Voice and Authority in Wendy Wasserstein's Heidi Chronicles.

Barko states that Heidi's profession as an art historian is Heidi's attempt to revive "female artists who symbolize women's constant struggle for recognition and inclusion", much like Heidi herself feels. Heidi empathizes with the artists, each who "serve as representations of women finding their own voices and authority within themselves through the creative outlet of painting", an expression that was rare in the past, and even rare in the time period of The Heidi Chronicles.

That's one thing that I find interesting in the inclusion of art: Wasserstein shows the audience that what Heidi is searching for, confidence and a voice for women, is something that has existed throughout history. It's not just a "new fad", but something that has remained constant. By including all the female artists, ones that have, against the norms, spoken up for themselves, Wasserstein makes Heidi's search for individuality one that is not only present among females of her time, but throughout time itself.

Heidi is similar to the artists of the paintings, because she herself has been successful (giving lectures, writing a book) in a place dominated by men (college). Barko remarks that during the time that the play was set, only 5% of professors at Columbia University were female, and that number decreased later on.

Barko then concentrates individually on the paintings, remarking on the symbolism in the painting as well as the artist's accomplishments.

The first female painter that Heidi talks about is Sofonisba Anguissola. This was the first female Italian painter with international fame, and "enjoyed a prosperous career in a male-dominated profession". It was her talent that brought her success in the Renaissance period, one time which was often dominated by male artists. She even received artistic recognition from Michelangelo.

Her paintings themselves were "a social commentary on the place of women in the male-dominated Renaissance society". In one of her paintings, The Chess Game, there are three sisters of different ages who are playing chess, something that involves intelligence and concentration. The oldest sister looks directly at the viewers of the painting, showing independence and separation from others. Each of Anguissola's paintings represent a commentary about the position that females often took in contrast with what she thought women could be. This allows Heidi to empathize with what they were trying to say.

And as Anguissola, along with many other female artists, remains forgotten, so too is feminine independence pushed down by both men and women duirng Heid's time. Heidi understands the women, and connects with the art pieces. Barko mentions Heidi's tone, which is familiar and informal. When lecturing about The Chess Game, Heidi directly says to them, "Hello girls". Barko interprets this as Heidi remembering and connecting with her own memories and their similarity to the ideas behind the painting, focusing on Heidi's personal connection to the painting and the artist, a personal connection that Heidi rarely has outside of the lecture hall with Scoop, Peter, and even her female friends. She uses Anguissola's first name when talking about her, another suggestion of familiarity.

This pattern is similar in all of Heidi's other lectures. There are a bunch of paintings, so I'm not going to go in depth in all of them, but you are free to read Barko's thoughts using the link above.

In the end, a banner of Georgia O'Keefe's is said to appear in the background where Heidi sits with Judy.  She was "a twentieth-century American artist known for acting in opposition to feminine expectations", and "exemplifies the authoritative female image" of Heidi who is raising a child "without the assistance of [...] any other man", and to raise Judy to be better than herself, as a strong, confident, and independent woman.

Each of the paintings represent Heidi's own feelings and thoughts. Often times Wasserstein does not clearly show what Heidi is thinking or feeling, and it is through the lectures and the paintings that Wasserstein indirectly characterizes Heidi.

Comparisons between plays

I hope to add to this later on, please feel free to suggest concepts to add. You may have to zoom in on the picture.

 <--- This is the older version, below is the newer one.

	A Streetcar Named Desire Tennessee Williams- 1947	The Heidi Chronicles Wendy Wasserstein- 1988	Hedda Gabler Henrik Ibsen- 1890	Oleanna David Mamet-1992
Characters	Characters ·       Stanley Kowalski ·       Stella Kowalski ·       Blanche DuBois ·       Negro woman ·       Eunice Hubbell ·       Steve Hubbell ·       Harold Mitchell(Mitch) ·       Mexican Woman ·       Pablo Gonzales ·       A Young Collector ·       Nurse ·       Doctor ·       Prostitute and drunkard Ghost characters: ·       Mike’s mother ·       Allan Grey ·       Shep Huntleigh ·       Shaw	Characters: ·       Heidi Holland ·       Scoop Rosenbaum ·       Susan Johnston ·       Chris Boxer ·       Mark ·       Ray o   Young doctor working with Peter ·       TV attendant ·       Peter Patrone ·       Debbie, Lisa, Denise, Clara ·       Fran, Jill, Molly, Betsy ·       April ·       Waiter Ghost Characters: ·       Woman with fishnets	Characters ·       Hedda Gabler ·       Jorgen Tesman ·       Thea Elvsted ·       Brack ·       Aunt Julle ·       Ejlert Lovborg ·       Berte Ghost characters ·       Mademoiselle Diana ·       Mrs. Elvsted’s husband ·       General Gabler ·       Aunt Rita	Characters ·       John ·       Carol Ghost characters ·       Group (inferred to be feminist) ·       Tenure committee ·       Son ·       Jerry ·       Grace ·       Real estate agent
Topics	Old South vs. New South Society’s condemnation of Blanche Changing times People struggle to adapt to changes in society, and cannot function in one they are not accustomed to. Romantic vs. Realistic Compensating/masking insecurity People may project the ideal version of themselves in order to cover their past/changes.	Humans struggle to create their own identities. Identity is paradoxical. Feminist movement. Humanist	Freedom, free spirit Aristocratic vs. Bourgeoisie Female/male dynamic People strive for freedom by breaking societal expectations Power, beauty Class differences- aristocratic vs. bourgeoisie Traditional woman vs. independent modern woman.	Communication ·       Miscommunication ·       Insinuation ·       Misinterpretation Female/male relationship ·       Inferred feminist group ·       Wife – “baby” ·       Diction ·       Action ·       Setting Student/teacher ·       Notebook ·       John’s book ·       Setting ·       Higher education ·       Diction o   Vague, complicated words §  Transformation Political Correctness ·       “according to the law” ·       Feminism Interruptions ·       Proves he has a life, she doesn’t ·       Impeding on communication ·       Doesn’t like education, but using it to get his job.
Settings	Confined, one set ·       Bathroom ·       Kitchen ·       Poker table ·       Bedroom ·       Balcony ·       Alcohol cabinet Confined ·       Causes tensions between characters Blanche’s changes to the set: ·       Addition of lamp shades ·       adding decorations Inside vs. Outside Belle Reve ·       Change of setting from rural to urban, contrast to Old South ·       an escape of Blanche’s problems Laurel Bowling alley Elysian Fields, New Orleans Flamingo, tarantula Asylum ·       Blanche is put there as an esacpe to problems	Setting changes time and place: transitory- progression of Heidi attempting to define herself. 1965- 1989 Heidi’s art lectures Wedding Lisa’s house. Hedda’s house.	Confined ·       Confined by her role as a traditional woman but never leaves the house Mademoiselle Diana’s Boudoir The inner room ·       past ·       portrait of general gabbler ·       pistols ·       dark, enclosed by curtains ·       piano The living room ·       piano ·       writing desk ·       couch ·       fireplace Brack’s place Back garden Hedda’s change of the set: ·       Closes curtains ·       Gradually gets darker ·       Expulsion of flowers.	Power dynamics ·       His classroom ·       Behind his desk His office
Important language and phrases and why?	“I can’t stand a naked light bulb, any more than I can a rude remark or a vulgar action.” “Poker should not be played In a house with women”. “moth” “Pollack” “I don’t want realism. I want magic!”	“I’m a humanist”.	“what do you think of that?” “I’m thinking” “feather in her hat”	“educational hazing” “I don’t understand” “Do you see?”
Important Stage Directions, and why?	Extensive stage directions ·       Appearance ·       Movement ·       Setting	Little use of stage directions, focus on art and music.	Appearances ·       Hair color/appearance o   light §  Tesman, Thea, Aunt Julle o   dark §  Hedda, §  Lovborg, Hedda always separating herself from others, distancing.	Little/no stage directions: ·       Focus on communication ·       Use of words
Symbolism and Motifs	Poker ·       masculinity Paper lantern Blanche’s dresses ·       false clothing- Blanche’s illusions, escape Alcohol Mitch’s lighter ·       “I shall but love thee better after death”. ·       Elizabeth Browning Color ·       Blanche: white ·       Allan: grey	Burning lingerie ·       feminist movement Judy ·       Heidi’s hope for the future	Pistols ·       past and masculinity ·       destructive and playful o   treat her as a child Fire ·       desire, emotion, passion o   contrast to Hedda’s usual demeanor o   burns the manuscript Vine leaves in the hair ·       Dionysus- wine and fertility o   Lovborg’s alcoholism o   wants him to be drunk, under her control Child ·       family vs. success Light vs. dark (curtains) Family	Notebook John’s book Phone House
Other devices (sound, etc.)	Music ·       Blue piano o   past ·       Varsouviana Poka o   Remembers Allan grey o   ends with gunshot ·       Paper doll (slow and blue, by negro entertainers) o   Stanley misses Stella ·       Animal music ·       Wien, Wien, nur du allien (radio) Blanche’s singing ·       Cleansing her sins ·       contrast between her ans Stanley ·       It’s only a paper moon Train sounds Neighbor noises	Music Art: forgotten feminist artists	Wild piano tune ·       contrast with somber mood	Phone ringing