Although the “primitive” rituals described in Schechner's article diverge from the realism found in Tennessee Williams' A Streetcar Named Desire, the same process of “reactualization” exists in his Work. Williams' Streetcar focuses on the “mock battle” or complete competition between generational cultures symbolized by the characters of Blanche Dubois and Stanley Kowalski. Blanche, representative of the fallen aristocracy of the South, seeks sensitivity and kindness in Stanley Kowalski's new world, the modern working class. In Blanche's search for security, the play's theatrical semiotic qualities become a ritual “clash of the titans” as both Blanche and Stanley fight for dominance and control over future generations made in Stella's womb. Yet the tragic dethronement of previous generations – represented by Blanche's exile from the community and her subsequent departure for the asylum – leaves the audience without an Aristotelian catharsis. Rather, the classically regenerative “hero's sacrifice…” has disappeared; what we have instead is a resignation to general guilt” (Vlasopolos, 323), as Williams’ titanic “unmasking” fizzles out instead of resolving the conflict. With so little hope offered in Williams' denouement, audience members often question Streetcars' resolution, finding no reenacting forces in the characters' masks of death. However, the answer to this question lies in the mythological characterizations that Williams creates in the battle between Stanley and Blanche. By examining the basic semiotic properties that Williams foregrounds in both the titanic characters of Blanche and Stanley, audiences can understand the moral force actualized in A Streetcar Named Wishes as mythical ritual. Tennesse Williams'... middle of the sheet... the colors of men” have already been established in previous examples of the work. When Stanley first meets Blanche, he is returning from the bowling alley. Although the stage directions do not explicitly state whether or not Stanley is wearing his bowling shirt in this scene, the bowling alley evokes images of Stanley's bowling shirt, "his green and scarlet bowling shirt" (717). In this case, Stanley's appearance not only demonstrates his generation's definition of masculinity, as an "aggressive, indulgent, powerful, and proud expression of sex" (Falk, 95), but also as a bright splash of color in the otherwise "physicist". filth,” (Brown, 41) of his home. Therefore, the character of Stanley, both through his physical gestures and his colorful costumes, becomes the symbol of the male dominance of his generation, overwhelming and controlling the environment in which Blanche arrives..