Wendy,+Valerie,+Jerry

=**Violence/Cruelty/Abuse**=

Appearances are stripped away, and Nora confronts Torvald about the reality of their marriage. Importance of scene: Nora recognizes her self worth -Her decision to leave Torvald and the children indicates Nora’s desire to create her own identity. || Stanley throws radio out the window and hits Stella for being "rude". Steve beats Eunice for suspecting him of being with another woman. Blanche sees her reflection in the mirror and smashes the mirror. Stanley charges at Blanche and rapes her. || Biff and Happy arrive at the restaurant and wait for their Willy to celebrate Biff's new job working for Oliver. Biff however, has not acquired the new job, and tries to convince Happy to help him explain to Willy that he is not cut out to be salesman and that Willy has placed unrealistic expectations on his older son. Happy however, remains convinced that they should just tell Willy white lies and the whole incidence would pass. They notice an attractive girl, Ms. Forsythe and "pick her up", telling her to find a friend so they could spend the night out together. Willy arrives and Biff tries to explain that he has not gotten a job with Oliver, but Willy is stubbornly refuses to believe that Biff has not gotten the job and feels that Biff is trying to spite him. Forsythe returns with a friend, and the two brothers walk out on their father who he relives the painful memory of him being caught cheating. Willy is left, forlorn and despairing in the darkened, closing restaurant. || ||  || New Orleans, 1947 || New York 1949 || (within the structure of the play) || Norway 1879,ACT III 3 days after Christmas eve || New Orleans, 1947 || ??? || Torvald || Stanley & Blanche Stanley & Stella Eunice & Steve || Biff Happy Willy Minor characters (Stanley - waiter, Ms. Forsythe) || (cited text and speaker) || ** Speaker: Torvald Helmer (conceited/selfish) ** //"You hit me! I'm gonna call the police!"// - Eunice p75 //"Oh! So you want some rough-houses!"// -Stanley p130 || " Dad, you’re not letting me tell you what I want to tell you!" - Biff - frustrated that he is unable to communicate failure to his dad worrying that he will let him down. Happy: ( // cutting in //) He told him my Florida idea - Happy cutting in to fabricate a white lie for Willy. Willy: Betcha he threw his arm around you. - conveying overconfidence in son's ability Happy: No that's not my father. He's just a guy. - Happy is completely cruel here, denouncing Willy, his father, as a random stranger in order to remain on good speaking terms with a woman he just met. || (cited text) || * "( // Snatches // the letter and //shuts// the door)" pg 107 //"She catches her brett and slams the mirror face down with such violence that the glass cracks".// -Blanche p122 //"He springs toward her, overturning the table."// -Stanley to Blanche p130 || Willy snaps out of his painful reverie while screaming at the top of his lungs at Young Biff who has just left after discovering his affair with The Woman. The transition from memory to reality is quite smooth, as it is Stanley, the waiter, whom Willy is yelling at. Willy's theme music is played at this point to convey his loneliness and disappointment that his sons left him. ||
 * || A Doll’s House || A Streetcar Named Desire || Death of a Salesman ||
 * Synopsis of scene || Revelation of Nora’s forgery (used to acquire a loan)
 * Real time || Norway 1879 ||
 * Narrative placement
 * Characters involved || Nora
 * Significant lines of dialogue
 * “Ah, None of your slippery tricks” – pg 105 (After Nora says “I’ve loved you more than all this world.)
 * “You understand what you’ve done? //Answer// ! You understand?” – pg 105
 * “”How infinitely disgusting it all is! The shame!” – pg 105
 * “I did it for your sake, and you //repay// me like this.” – pg 105
 * “Can you see now what you’ve done to me?” – pg 106
 * “Take off the shawl. I said, // take it off! // I’ve got to appease him somehow or other.” – pg 106
 * “But you //can’t be allowed// to bring up the children; I don’t dare trust you with them.” - pg 106
 * “Yes, yes, it’s true. //I’m// saved. Nora, //I’m// saved.” – pg 107
 * “You can’t believe that // I’ve forgiven you // . But I have, Nora; I swear I have.” – pg 107
 * “For a man, there’s something indescribable sweet and satisfying in knowing he’s forgiven his wife.” Pg 108
 * “You mean I should constantly go and involve you in problems you couldn’t possibly help me with?” pg 109
 * “You’re insane! You have no right! I forbid you” pg 110 || //"You can't beat on a woman an' then call 'er back!"// -Eunice p60
 * Significant descriptions
 * "(Tears the note and both letters to pieces, throws them into the stove and watches them burn)" pg 107 || //"There is the sound of a blow. Stella cries out" -// Stanley to Stella p57
 * Symbols || * Living room/Study room
 * (Gender roles) * Clothing/Costume

Cracked mirror "Interfere" || stockings - In Willy's memory, he gives The Woman stockings - symbolic of intimacy. Biff regards this as a betrayal/abuse of trust of Linda. || Appearances || Shadows Alcohol Animal motif, beastly Violence || deception betrayal of family relationships reality vs reverie || dramatic conventions || Irony ||  ||   || Symbolism Motif Lighting Music/sound - jungle noises, blue piano, hot trumpet and drums playing loudly || lighting used on Willy to distinguish his memories from current reality music played "Willy's theme" ||
 * Door - Nora's transition from the 'perfect' housewife/mother to an independent || White satin dress
 * Motifs || * Letters
 * Responsibility / Roles
 * Narrative /style aspects || Abuse shown through T's treatment of Nora (Dialogue + stage actions) || Violence happens offstage, hinted by dialogue and actions. || unique, surreal blend of past and present - allows audience to more fully get inside" Willy's head and witness his confusion. ||
 * Literary features and