this chapter my aim is to examine a classic A Streetcar Named Desire from the before mentioned partly theoretical point of views (performative theoretical, psychological and a gender interactional point of view) in order to prove my Thesis that verbal violence has become more brutal and more dominant in American plays. On the historical context, Abbotson says that it shows a picture on a postwar urban-industrialized society. Its great protagonist Blanche for many critics is a fallen myth of the great antebellum South, where perfect women were supposed to marry charming guys and to live happily ever after on their fields (49). Regardless her efforts, Blanche is no longer a Southern belle, she is a once fired ex-teacher who had sexual relations with young boys and her no stability in her life (49). Whereas Stanley is a brute guy, who without any problem would destroy past myth and create a new happy generation with his wife, Stella (49). Abbotson says that when the play was premiered after World War II, in a post-Freudian age, many were not pleased with the play 's ending (50). Though it was successful in the eye of the public because of its war references (Blanche 's meetings with soldiers and the lamenting on the war with Stanley and his friends) and therefore it became historically creditable. Moreover, the first director of A Streetcar Named Desire had seen Blanche as the play 's main character, although many critic complained that he sympathized more with Stanley 's