The opening of a piece is naturally one of its most important parts, serving as an introduction to its setting, its characters and its themes; the best openings also encapsulate both the playwright's intentions and style. In A Streetcar Named Desire, Tennessee Williams describes the setting in extreme detail, using plastic theater to create a vivid setting, while Arthur Miller focuses more closely on the characters, themes and dialogue in A View From the Bridge . Both of these approaches present the realism necessary for any domestic tragedy to have impact. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay A Streetcar Named Desire opens with a lengthy description of the set. Williams is obviously describing something more conceptual than actually achievable, as he includes details of "the L&N tracks and the river," landscape features that would be difficult to capture on stage, while more abstractly juxtaposing nature with nature. he industry, each moved within this environment and carries connotations of travel and movement. These two ideas are linked to Blanche's arrival at the Champs Élysées, displaced and finding that life has continued without her, leaving her a relic of an earlier age. Williams further uses plastic theater techniques, creating a soundscape of the "perpetual blue piano" native to New Orleans, as well as the cries of a tamale seller and multiple simultaneous conversations, creating the image of a active and dynamic community thanks to sound alone. In contrast, Miller gives a brief, more practical set design in A View From the Bridge, with its opening clearly more focused on introducing themes and characters. Alfieri's opening monologue essentially reveals the "bloody unfolding" of the play, exposing key ideas of justice and how Italian and Sicilian forms of social justice often come into conflict with the law. Alfieri's commentary throughout the play provides an outsider's perspective on events in hindsight, and the foreshadowing opening speech is no different. By including this soliloquy, Miller alters the audience's perception of the events that follow and their opinions of the characters themselves through Alfieri's forgiving and understanding point of view. The characters themselves are described initially, not necessarily in a greater level of detail than that of the ensemble, but at a greater depth: Miller provides not only details of appearance, but also approximate age and manners, with Alfieri described as "good-natured and thoughtful". Although Miller's characters are no more or less realistic than Williams's, this immediate focus on character and personality demonstrates how essential they are in A View From the Bridge. Eddie's importance in particular is emphasized both figuratively and literally, being highlighted by Alfieri but also introduced first; the opening of the play follows Eddie through his relationships, first with his co-workers, then with his wife and niece. It is in this latter interaction that his protectiveness towards Catherine first becomes apparent, set against the introduction of a major recurring motif in the play – Eddie's inappropriate feelings towards Catherine. While his doubts about her skirt being "too short" could easily be interpreted as a natural paternal concern (since he is acting as guardian), Alfieri's soliloquy lends an ominous air to the scene. Although Williams does not concentrate.