Dramatic Irony

Dramatic irony is used in Tennessee Williams' A Streetcar Named Desire to enrich the audience's appreciation of the plays and to add another dimension to the play's meaning. Williams uses lighting, music, sounds and dialogue to give the audience a private insight into characters state of mind and also to highlight certain themes throughout the play.

Williams' choice of music tells the audience something about a character's state of mind or highlights a certain ideal relevant at the time. The Varsouviana gives us a private insight into Blanche's state of mind, something that is central to the play, as only she hears it, whenever she is feeling threatened or insecure. Another example of the use of dramatic irony and music is the lyrics of the songs sung. Characters are seemingly oblivious to the words of songs, dismissing them as annoying or irritating. The audience can hear and see the innuendo of the music and so are introduced to new ideas. Blanche's lyrics are particularly suggestive of main themes in the play as she sings, "It wouldn't be make believe if you believed in me." The audience is left to consider the difference between reality and `magic' and whether the desire for magic is so terrible and also whether Blanche does "lie in her heart." The blue piano in the Quarter is also a form of dramatic irony as for the audience it comes to represent the sexual undertows of the play. For the characters, the blue piano is part of life as it is so common a sound. But for the audience, as Williams says, "it expresses the spirit of the life which goes on," thereby demonstrating how big a part sex plays in the lives of these characters.

The lighting throughout Streetcar reveals more about the characters and gives us their own view on what is happening at times without other characters realizing. An example of this is Blanche's preoccupation with covering the "naked light bulb" shows us her fragility and also her need to soften her reality. Other characters in the Quarter where one must "lay her cards on the table" cannot understand this fragility and delicacy. Or maybe they dismiss it as a play act, assuming she is as hard as they are, once again never understanding her hell. The audience can clearly see her need and desire for "magic" and her loss of the "blinding light" of love. The paper lantern softens reality for her so she can hide her age and the fact she is "played out."

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