Williams’ “A Streetcar Named Desire” and Ibsen’s “A Doll’s H

Dramatic Conflict in the Male/Female Relationship

In any narrative, the development of the plot and the creation of compelling characters depends on a single literary element: the presence of conflict. While colorful prose and realistic dialogue may give a play or novel some artistic merit, it is the conflict that gives the fiction its dramatic energy; it is the conflict that draws the audience in, holds their interest, and brings them to care about the characters and the ultimate resolution of the story. Unsurprisingly, perhaps due to the complex interplay of sexual tension and gender miscommunication, the conflict between men and women is frequently at the center of successful dramas; audiences can relate to such conflicts, and find them uniquely believable. It is the masterful portrayal of this age-old conflict between the sexes that serves as the dramatic centerpiece in both Tennessee Williams’ “A Streetcar Named Desire” and Henrik Ibsen’s “A Doll’s House.”

In the Williams’ dramatic masterpiece of modern theater, the male/female relationships form the basis for the vast majority of the dramatic conflict; these conflicting i

The conflict in the play is subtle and drawn out rather than explosive as in “A Streetcar Named Desire” – but control remains the source of all male/female conflict. As the first act closes, Nora is attempting to control Torvald in order to protect Krogstad and thus maintain her own secrets. The most important moment of the play comes later, however, when the mail is delivered – and Nora knows that the damning letter from Krogstad will soon be opened. It is at that moment that Nora must most consciously exercise control, and she does so with a combination of intellect and sexuality: she dances the tarantella to distract and control Torvald.

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