NYS Common Core ELA & Literacy Curriculum Grade 12 Module 4 Unit 1 Lesson 11

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12.4.1 Lessn 11 Intrductin In this lessn, students cnsider their analysis f the entire play A Streetcar Named Desire in relatin t three film segments frm the 1951 film versin f A Streetcar Named

As they view the film, students recrd their bservatins n the A Streetcar Named Desire Film Viewing Tl.

1 Lessn 11 Intrductin In this lessn, students cnsider their analysis f the entire play A Streetcar Named Desire in relatin t three film segments frm the 1951 film versin f A Streetcar Named Desire, directed by Elia Kazan. Students analyze the film, cmparing the directrial chices t Tennessee Williams s play and identifying aspects that demnstrate a unique interpretatin by Kazan. As they view the film, students recrd their bservatins n the A Streetcar Named Desire Film Viewing Tl. Students use their bservatins as the basis fr a discussin f character develpment, setting, and cinematic chices in the selected film segments. Student learning is assessed via the Lessn 11 Exit Slip, in which students analyze hw the discussin cnfirmed r changed their initial respnses t the fllwing prmpt: What d yu ntice abut the characters, setting/set design, and cinematic chices the directr makes in the film? Fr hmewrk, students respnd briefly in writing t the fllwing prmpt: What des Kazan chse t emphasize r mit in his treatment f the selected scenes frm A Streetcar Named Desire? Analyze 1 2 directrial chices that represent Kazan s interpretatin f Williams s play. Additinally, students cnduct a brief search int the Hays Cde and respnd briefly in writing t the fllwing prmpt: Hw des yur research f the Hays Cde impact yur interpretatin f the film versin f the play? 1

2 Standards Assessed Standard(s) RL Analyze multiple interpretatins f a stry, drama, r pem (e.g., recrded r live prductin f a play r recrded nvel r petry), evaluating hw each versin interprets the surce text. (Include at least ne play by Shakespeare and ne play by an American dramatist.) Addressed Standard(s) W a SL Draw evidence frm literary r infrmatinal texts t supprt analysis, reflectin, and research. a. Apply grades Reading standards t literature (e.g., "Demnstrate knwledge f eighteenth-, nineteenth- and early-twentieth-century fundatinal wrks f American literature, including hw tw r mre texts frm the same perid treat similar themes r tpics"). Initiate and participate effectively in a range f cllabrative discussins (ne-n-ne, in grups, and teacher-led) with diverse partners n grades tpics, texts, and issues, building n thers' ideas and expressing their wn clearly and persuasively. Assessment Assessment(s) Student learning is assessed via an Exit Slip fllwing a grup discussin at the end f the lessn. Students explain hw the discussin cnfirmed r changed their initial respnses t the fllwing prmpt: What d yu ntice abut the characters, setting/set design, and cinematic chices the directr makes in the film? High Perfrmance Respnse(s) A High Perfrmance Respnse shuld: Prvide evidence f hw the discussin changed r cnfirmed students initial ideas frm the A Streetcar Named Desire Film Viewing Tl. See Mdel Lessn 11 Exit Slip at the end f this lessn. 2

3 Vcabulary Vcabulary t prvide directly (will nt include extended instructin) Nne.* Vcabulary t teach (may include direct wrd wrk and/r questins) Nne.* Additinal vcabulary t supprt English Language Learners (t prvide directly) Nne.* *Because this is nt a clse reading lessn, there is n specified vcabulary. Hwever, in the prcess f returning t the text, students may uncver unfamiliar wrds. Teachers can guide students t make meaning f these wrds using the strategies utlined in L a-d. 3

4 Lessn Agenda/Overview 4

5 Student-Facing Agenda Standards & Text: Standards: RL , W a, SL Text: A Streetcar Named Desire by Tennessee Williams % f Lessn Learning Sequence: 1. Intrductin f Lessn Agenda 2. Hmewrk Accuntability 3. Film Viewing and Analysis 4. Grup Discussin Lessn 11 Exit Slip and Assessment 6. Clsing 1. 5% 2. 10% 3. 55% 4. 15% 5. 10% 6. 5% Materials Cpies f the 12.4 Cmmn Cre Learning Standards Tl fr each student (ptinal) Cpies f the A Streetcar Named Desire Film Viewing Tl fr each student Excerpts frm Elia Kazan s Film A Streetcar Named Desire (1951) (00:00 07:22, 32:04 43:51, and 1:08:46 1:19:37) Cpies f the Lessn 11 Exit Slip fr each student The restred versin f A Streetcar Named Desire includes scenes that were nt available in the 1951 versin. The restred versin used in this lessn is the streamed versin available n (Search terms: A Streetcar Named Desire, Elia Kazan, 1951). 5

6 Learning Sequence Hw t Use the Learning Sequence Symb l Type f Text & Interpretatin f the Symbl 10% Percentage indicates the percentage f lessn time each activity shuld take. n symbl Plain text indicates teacher actin. Bld text indicates questins fr the teacher t ask students. Italicized text indicates a vcabulary wrd.! Indicates student actin(s). " Indicates pssible student respnse(s) t teacher questins. # Indicates instructinal ntes fr the teacher. Activity 1: Intrductin f Lessn Agenda 5% Begin by reviewing the agenda and the assessed standard fr this lessn: RL In this lessn, students cnsider their analysis f the entire play A Streetcar Named Desire in relatin t three film segments frm the 1951 film versin f A Streetcar Named Desire, directed by Elia Kazan. Students analyze the film, cmparing Kazan s directrial chices t Tennessee Williams s play and identifying aspects that demnstrate a unique interpretatin by Kazan. As they view the film, students recrd their bservatins n the A Streetcar Named Desire Film Viewing Tl. Students lk at the agenda. Differentiatin Cnsideratin: Distribute a cpy f the 12.4 Cmmn Cre Learning Standards Tl t thse students wh wuld benefit frm the supprt f a tl. Pst r prject standard RL Instruct students t talk in pairs abut what they think the standard means. Lead a brief discussin abut the standard. Student respnses shuld include: This standard is abut viewing r listening t several interpretatins f a text. 6

7 Different versins f a stry, drama, r pem emphasize different aspects f the surce text, and this standard asks the viewer t evaluate hw a given versin interprets the surce text. This standard asks the viewer t analyze hw a particular prductin f a play demnstrates a unique interpretatin f the surce. The standard suggests that students read at least ne play by Shakespeare and ne by an American playwright like Tennessee Williams. Activity 2: Hmewrk Accuntability 10% Instruct students t take ut their respnses t the previus lessn s hmewrk assignment. (Reread the epigraph by Hart Crane at the beginning f the play and respnd briefly in writing t the fllwing prmpt: Select ne character frm A Streetcar Named Desire and analyze that character in relatin t the play's epigraph.) Instruct students t frm pairs and discuss their respnses. Student respnses may include: The epigraph relates t Blanche because she enters the brken wrld (epigraph) f Elysian Fields [w]here [she is] nt wanted and where [she is] ashamed t be (p. 81). In Elysian Fields, she attempts t recver frm hard kncks [her] vanity s been given (p. 95), but instead, she is abused and belittled, and her hpes fr a future where she is n lnger alne in the wrld (p. 103) are destryed. Blanche pursues the visinary cmpany f lve (epigraph), r the dream f having true lve in her life, thrughut the play. She tries t find this visinary cmpany f lve (epigraph) in her relatinship with Mitch as well as in her spectral admirers (p. 158), specifically, the illusin f Shep Huntleigh, but the tragedy f her yung husband still haunts her. She is nt yung and vulnerable any mre (pp ), and, thus, she is left with nly desperate chice(s) (epigraph) such as living in Stanley s huse and presenting an idealized image f herself t Mitch t secure his affectin. These desperate chices (epigraph) leave Blanche vulnerable t Stanley s vilence and insecurities as he destrys Blanche in hpes f reclaiming the way that it was (p. 133) with Stella. Blanche des nt get t act n each desperate chice fr lng (epigraph), as her wrst fears abut Elysian Fields r the brken wrld (epigraph) cme t be realized, and she is [c]aught in a trap (p. 160) in which Stanley is able t destry her identity permanently. Stella entered the brken wrld (epigraph) f Elysian Fields because she ran frm Laurel and her past and chse Stanley, a desperate chice (epigraph), as 7

8 she cntinually has t tlerate (p. 74) his abuse. When pressed by Blanche t leave Stanley fr smene with mre culture, Stella states plainly I m nt in anything I want t get ut f (p. 74). Althugh Blanche sees Stanley as a madman (p. 73) and thinks that Stella is in a desperate situatin (p. 78), Stella has n need fr the visinary cmpany f lve (epigraph), as she already has actual lve in her life. After Stanley rapes Blanche, Stella must make a desperate chice (epigraph) whether r nt t leave him. She finally sees that she is [c]aught in a trap (p. 160) because f their baby, and her relatinship with Stanley has changed fr the wrse, further shwing hw Elysian Fields is a brken wrld (epigraph). Lead a brief whle-class discussin f student respnses. Activity 3: Film Viewing and Analysis 55% Distribute the A Streetcar Named Desire Film Viewing Tl. Explain t students that they will view three different film segments frm Elia Kazan s 1951 film f A Streetcar Named Desire. Instruct students t make ntes during the film, recrding their bservatins abut the characters in the first clumn, their bservatins abut setting/set design in the secnd clumn, and their bservatins abut cinematic chices that the directr makes in the third clumn. Infrm students that they will use this tl in the fllwing lessn ( Lessn 12) as they cntinue t view mre film segments. Students examine the A Streetcar Named Desire Film Viewing Tl. Ask students the fllwing questin: What decisins des a directr make in creating a film versin f a play? Student respnses may include: A directr may chse specific cstumes r prps fr the characters. direct actrs t use certain gestures r t play their part in a particular manner. chse t change the stage directins in the play r adapt the setting. chse t fcus n the perspective f ne character thrugh extended screen time r additinal scenes. alter the plt by rearranging scenes, cutting scenes, r adding scenes. 8

9 chse the psitin and angle f the camera t include different reactins r a single fcus. chse hw specific characters r bjects are framed by the camera. make decisins abut lighting, such as hw a scene is lit and what bjects r peple are illuminated. chse t use a sundtrack r sund effects similar t r different frm the riginal play. Pst r prject the fllwing fcus questin fr students t cnsider as they view the film: What d yu ntice abut the characters, setting/set design, and cinematic chices the directr makes in the film? Shw segment 1 f A Streetcar Named Desire (00:00 7:22). Students view segment 1 f A Streetcar Named Desire and recrd their bservatins in the first segment f the A Streetcar Named Desire Film Viewing Tl. This sectin crrespnds apprximately t pages 3 15 in the play. Cnsider instructing students t review this sectin f the play first r fllw alng in their texts t nte similarities and differences in the film adaptatin (W a). Shw segment 2 f A Streetcar Named Desire (32:04 43:51). Students view segment 2 f A Streetcar Named Desire and recrd their bservatins in the secnd segment f the A Streetcar Named Desire Film Viewing Tl. This sectin crrespnds apprximately t pages in the play. Cnsider instructing students t review this sectin f the play first r fllw alng in their texts t nte similarities and differences in the film adaptatin (W a). Shw segment 3 f A Streetcar Named Desire (1:08:46 1:19:37). Students view segment 3 f A Streetcar Named Desire and recrd their bservatins in the third segment f the A Streetcar Named Desire Film Viewing Tl. This sectin crrespnds apprximately t pages in the play. Cnsider instructing students t review this sectin f the play first r fllw alng in their texts t nte similarities and differences in the film adaptatin (W a). 9

10 Activity 4: Grup Discussin 15% Transitin students t a whle-class discussin. Direct students attentin t the fcus questin fr discussin: What d yu ntice abut the characters, setting/set design, and cinematic chices the directr makes in the film? Cnsider reminding students f their previus wrk with SL , which requires students t initiate and participate effectively in a range f cllabrative discussins. See the Mdel A Streetcar Named Desire Film Viewing Tl at the end f this lessn fr sample student respnses. Instruct students t cntinue taking ntes n their A Streetcar Named Desire Film Viewing Tl during the discussin. Lead a brief whle-class discussin f student respnses. Activity 5: Lessn 11 Exit Slip and Assessment 10% Distribute the Lessn 11 Exit Slip. Instruct students t cmplete the Exit Slip independently. See the Mdel Lessn 11 Exit Slip at the end f this lessn. Cllect student Exit Slips. Activity 6: Clsing 5% Display and distribute the hmewrk assignment. Fr hmewrk, instruct students t cnsider this lessn s wrk with Kazan s 1951 film and respnd briefly in writing t the fllwing prmpt: What des Kazan chse t emphasize r mit in his treatment f the selected scenes frm A Streetcar Named Desire? Analyze 1 2 directrial chices that represent Kazan s interpretatin f Williams s play. Additinally, instruct students t cnduct a brief search int the Hays Cde and respnd briefly in writing t the fllwing prmpt: 10

11 Hw des yur research f the Hays Cde impact yur interpretatin f the film versin f the play? Students fllw alng. Hmewrk Based n yur wrk with Kazan s 1951 film f A Streetcar Named Desire, respnd briefly in writing t the fllwing prmpt: What des Kazan chse t emphasize r mit in his treatment f the selected scenes frm A Streetcar Named Desire? Analyze 1 2 directrial chices that represent Kazan s interpretatin f Williams s play. Additinally, cnduct a brief search int the Hays Cde and respnd briefly in writing t the fllwing prmpt: Hw des yur research f the Hays Cde impact yur interpretatin f the film versin f the play? 11

12 12.4 Cmmn Cre Learning Standards Tl CCS Standards: Reading Literature I knw what this is asking and I can d this. This standard has familiar language, but I haven t mastered it. I am nt familiar with this standard. RL Analyze multiple interpretatins f a stry, drama, r pem (e.g., recrded r live prductin f a play r recrded nvel r petry), evaluating hw each versin interprets the surce text. (Include at least ne play by Shakespeare and ne play by an American dramatist.) 12

13 A Streetcar Named Desire Film Viewing Tl Name: Class: Date: Directins: Use this tl t recrd yur bservatins abut Elia Kazan s directrial chices in the film A Streetcar Named Desire. Fcus Questin: What d yu ntice abut the characters, setting/set design, and cinematic chices the directr makes in the film? Character Develpment Setting/Set Design Cinematic Chices e.g., Which characters are in each scene? Hw d the actrs prtray their characters? Hw are the characters dressed? Which character(s) is the fcus f each scene? Hw d the characters interact with each ther? e.g., Where is this scene set? What d yu ntice abut this envirnment? What d yu ntice abut the time and place? e.g., Hw is sund used? Hw is lighting used? Hw are camera angles used? Wh r what is framed by the camera? Segment 1: 00:00 07:22 (pages 3 15) Segment 2: 32:04 43:51 (pages 54 67) 13

14 Segment 3: 1:08:46 19:37 (pages ) Segment 4: 1:30:30 1:41:10 (pages ) Segment 5: 1:52:00 2:04:30 (pages ) 14

15 15

16 Mdel A Streetcar Named Desire Film Viewing Tl Name: Class: Date: Directins: Use this tl t recrd yur bservatins abut Elia Kazan s directrial chices in the film A Streetcar Named Desire. Fcus Questin: What d yu ntice abut the characters, setting/set design, and cinematic chices the directr makes in the film? Character Develpment Setting/Set Design Cinematic Chices e.g., Which characters are in each scene? Hw d the actrs prtray their characters? Hw are the characters dressed? Which character(s) is the fcus f each scene? Hw d the characters interact with each ther? e.g., Where is this scene set? What d yu ntice abut this envirnment? What d yu ntice abut the time and place? e.g., Hw is sund used? Hw is lighting used? Hw are camera angles used? Wh r what is framed by the camera? Segment 1: 00:00 07:22 (pages 3 15) 16

17 Blanche emerges frm the steam f the train. A sldier helps her get t the streetcar. Stanley is making all the rhubarb by getting int a fight with several men at the bwling alley. Blanche seems anxius abut being in the bwling alley. Stella and Blanche g t a dark area f the bwling alley, and Blanche pushes dwn the light and rders a drink. In the play, n page 15, Blanche insists that Stella stand up s she can lk at her figure and Stella des. In the film, Stella des nt stand up. Stella cries ut t the waiter, like a call f emergency. Blanche arrives at night frm the train; it is lud and late. This pening differs frm the play in that the play pens at Elysian Fields. Elysian Fields has a shared curtyard and is dark, walled ff frm the street. The cuch in the curtyard is trn. When Blanche enters the bwling alley, it is bright and nisy. The lights flicker because f the verhead fans. Stella has t push thrugh bdies t get t Blanche. The bwling alley was nt an riginal setting in the play. The music at the beginning includes a lt f hrns that clash with ne anther. The nise and fight in the neighbrhd bar is lud. The bwling alley is als lud and chatic. Blanche appears nervus. When Blanche enters the bwling alley, her face is seen in the mirrr rather than facing the camera directly. We nly see Stanley frm afar, in a grup f men, where Stella was watching Stanley bwl. Segment 2: 32:04 43:51 (pages 54 67) 17

18 When Stanley cmes in t turn ff the radi, Blanche thrws herself n the cuch and turns away frm him. This mvement is nt in the riginal text. The way Blanche says DuBis is very sexy: she purses her lips like a kiss. When Mitch shuts ut t Stanley Cming! the effect is jarring t the audience. Stella hits the ther pker players after Stanley thrws the radi ut f the windw. After the shwer, Stanley thrws each man against the wall. Stanley cries ut, realizing he needs Stella. Stella mves dwn the stairs as if sleepwalking, mving slwly twards Stanley and he is kneeling, rubbing his head n her belly. The setting is split int tw rms: where the wmen laugh and talk and where the men play pker. Stella and Stanley shut back and frth acrss the clth barrier. Stanley invades the wmen s rm by tearing apart the curtain. Mitch separates it gently, respecting the bundaries. Stella tears acrss the curtain t attack the pker players. The characters break lights, windws, and furniture. Stanley is extremely lud thrughut the scene, yelling thrugh the curtains int the bedrm. When Stanley cmes in t turn ff the radi the first time, the camera angle shws him twering ver Blanche. Mitch turns suddenly t the screen fr a clse-up s we can see him shut Cming! in a brutal way. When Stanley hits Stella, the vilence takes place ffscreen. The first sng played n the radi is seductive and junglelike (when Blanche is by herself). The secnd sng played n the radi (when Mitch and Blanche dance) is cultured and feminine. When Mitch begins t cmpliment Blanche, music plays in the backgrund. Segment 3: 1:08:46 1:19:37 (pages ) 18

19 Blanche s stry abut her yung husband is changed frm the text versin. In the film, Blanche says, I killed him, and dramatic music plays. In the play she just says, the persn I lved I lst (p. 113). Stanley s dialgue is changed frm the riginal text. Stanley is gentle when he says, I hate t tell yu this and skips hurtful lines frm the play, such as I d like t have been in that ffice when Dame Blanche was called n the carpet! (p. 122). This scene des nt take place utside f Stella and Stanley s hme, as in the play. Instead, Blanche and Mitch are n a fggy pier. There is a new scene inserted between Scenes Six and Seven in which Stanley tells Mitch abut Blanche. In this part, there are five men hlding Mitch back, but n ne is hlding Stanley. This new scene als features Blanche in the bathrm, with a mirrr and steam rising frm the bath. The Varsuviana plays when Blanche tells her stry abut the by, her yung husband. The audience hears the sht. We see clse-ups f Blanche as she tells her stry abut her yung husband s suicide. She seems sftened by the lighting. 19

20 Lessn 11 Exit Slip Name: Class: Date: Directins: Explain hw the discussin cnfirmed r changed yur initial ideas abut the prmpt. Text: A Streetcar Named Desire (1951) by Elia Kazan. Prmpt: What d yu ntice abut the characters, setting/set design, and cinematic chices the directr makes in the film? Prvide evidence f hw the discussin changed r cnfirmed yur initial ideas frm the A Streetcar Named Desire Film Viewing Tl. 20

21 Mdel Lessn 11 Exit Slip Name: Class: Date: Directins: Explain hw the discussin cnfirmed r changed yur initial ideas abut the prmpt. Text: A Streetcar Named Desire (1951) by Elia Kazan. Prmpt: What d yu ntice abut the characters, setting/set design, and cinematic chices the directr makes in the film? Prvide evidence f hw the discussin changed r cnfirmed yur initial ideas frm the A Streetcar Named Desire Film Viewing Tl. The discussin challenged my analysis that Blanche is prtrayed as unstable thrughut the film. My peers pinted ut that while Blanche is prtrayed as nervus and anxius, she has a firm grip n reality. Certain symblic images seem t fllw Blanche, such as darkness and steam r fg. These directrial chices appear deliberate t separate Blanche frm the harsh, bright reality that Stella and Stanley live in; hwever, instead f suggesting that Blanche des nt have a grip n reality, they suggest that she prefers gentleness, sftness, and quiet because the wrld has been unkind t her. Fr example, in segment 1, when Blanche is intrduced, she emerges frm the steam f the train. She appears helpless, and the straightfrwardness f the yung sldier cntrasts with her nervusness. When Blanche enters the bwling alley, it is bright and nisy. Blanche cwers and begs t be brught t the diner where it is darker, indicating that the wrld f Stella and Stanley seems large and nisy and t much fr Blanche. 21

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