Est-ce qu'on pourrait prédire que les acteurs qui s'investissent à ce point dans des rôles complexes comme celui de Blanche DuBois risquent de développer des troubles psychologiques à long terme ?
1949–1951: Play and film roles in A Streetcar Named Desire

Leigh next sought the role of Blanche DuBois in the West End stage production of Tennessee Williams 's A Streetcar Named Desire and was cast after Williams and the play's producer Irene Mayer Selznick saw her in The School for Scandal and Antigone; Olivier was contracted to direct. The play contained a rape scene and references to promiscuity and homosexuality, and was destined to be controversial; the media discussion about its suitability added to Leigh's anxiety. Nevertheless, she believed strongly in the importance of the work.

When the West End production of Streetcar opened in October 1949, J. B. Priestley denounced the play and Leigh's performance; and the critic Kenneth Tynan, who was to make a habit of dismissing her stage performances, commented that Leigh was badly miscast because British actors were "too well-bred to emote effectively on stage". Olivier and Leigh were chagrined that part of the commercial success of the play lay in audience members attending to see what they believed would be a salacious story, rather than the Greek tragedy that they envisioned. The play also had strong supporters, among them Noël Coward, who described Leigh as "magnificent".

After 326 performances, Leigh finished her run, and she was soon assigned to reprise her role as Blanche DuBois in the film version of the play. Her irreverent and often bawdy sense of humour allowed her to establish a rapport with Marlon Brando, but she had an initial difficulty in working with director Elia Kazan, who was displeased with the direction that Olivier had taken in shaping the character of Blanche. Kazan had favoured Jessica Tandy and later, Olivia de Havilland over Leigh, but knew she had been a success on the London stage as Blanche. He later commented that he did not hold her in high regard as an actress, believing that "she had a small talent." As work progressed, however, he became "full of admiration" for "the greatest determination to excel of any actress I've known. She'd have crawled over broken glass if she thought it would help her performance." Leigh found the role gruelling and commented to the Los Angeles Times, "I had nine months in the theatre of Blanche DuBois. Now she's in command of me." Olivier accompanied her to Hollywood where he was to co-star with Jennifer Jones in William Wyler 's Carrie (1952).

Leigh's performance in A Streetcar Named Desire won glowing reviews, as well as a second Academy Award for Best Actress, a British Academy of Film and Television Arts (BAFTA) Award for Best British Actress, and a New York Film Critics Circle Award for Best Actress. Tennessee Williams commented that Leigh brought to the role "everything that I intended, and much that I had never dreamed of". Leigh herself had mixed feelings about her association with the character; in later years, she said that playing Blanche DuBois "tipped me over into madness".
Le cinéma a également tenté de représenter le trouble de la personnalité borderline (TPB), avec des personnages dans *Margot à l'Hôtel* (2007), *Monsieur Nobody* (2009), *Cracks* (2009), *La vérité* (2013), *Blessés* (2013), *Welcome to Me* (2014) et *Tamasha* (2015) étant tous suggérés comme présentant des traits de ce trouble. Le comportement de Theresa Dunn dans *Looking for Mr. Goodbar* (1975) est conforme au TPB, comme le suggère Robert O. Friedel. Des films tels que *Play Misty for Me* (1971) et *Girl, Interrupted* (1999, basé sur les mémoires du même nom) suggèrent une instabilité émotionnelle caractéristique du TPB, tandis que *Single White Female* (1992) met en évidence des aspects tels que les troubles de l'identité et la peur de l'abandon. Le personnage de Clementine dans *Eternal Sunshine of the Spotless Mind* (2004) est noté pour présenter un comportement typique du TPB, et l'interprétation de Carey Mulligan dans *Shame* (2011) est saluée par les psychiatres pour sa justesse quant aux caractéristiques du TPB.
### Query ###
Est-ce qu'on pourrait prédire que les acteurs qui s'investissent à ce point dans des rôles complexes comme celui de Blanche DuBois risquent de développer des troubles psychologiques à long terme ?

### Main Text ###
1949–1951: Play and film roles in A Streetcar Named Desire

Leigh next sought the role of Blanche DuBois in the West End stage production of Tennessee Williams 's A Streetcar Named Desire and was cast after Williams and the play's producer Irene Mayer Selznick saw her in The School for Scandal and Antigone; Olivier was contracted to direct. The play contained a rape scene and references to promiscuity and homosexuality, and was destined to be controversial; the media discussion about its suitability added to Leigh's anxiety. Nevertheless, she believed strongly in the importance of the work.

When the West End production of Streetcar opened in October 1949, J. B. Priestley denounced the play and Leigh's performance; and the critic Kenneth Tynan, who was to make a habit of dismissing her stage performances, commented that Leigh was badly miscast because British actors were "too well-bred to emote effectively on stage". Olivier and Leigh were chagrined that part of the commercial success of the play lay in audience members attending to see what they believed would be a salacious story, rather than the Greek tragedy that they envisioned. The play also had strong supporters, among them Noël Coward, who described Leigh as "magnificent".

After 326 performances, Leigh finished her run, and she was soon assigned to reprise her role as Blanche DuBois in the film version of the play. Her irreverent and often bawdy sense of humour allowed her to establish a rapport with Marlon Brando, but she had an initial difficulty in working with director Elia Kazan, who was displeased with the direction that Olivier had taken in shaping the character of Blanche. Kazan had favoured Jessica Tandy and later, Olivia de Havilland over Leigh, but knew she had been a success on the London stage as Blanche. He later commented that he did not hold her in high regard as an actress, believing that "she had a small talent." As work progressed, however, he became "full of admiration" for "the greatest determination to excel of any actress I've known. She'd have crawled over broken glass if she thought it would help her performance." Leigh found the role gruelling and commented to the Los Angeles Times, "I had nine months in the theatre of Blanche DuBois. Now she's in command of me." Olivier accompanied her to Hollywood where he was to co-star with Jennifer Jones in William Wyler 's Carrie (1952).

Leigh's performance in A Streetcar Named Desire won glowing reviews, as well as a second Academy Award for Best Actress, a British Academy of Film and Television Arts (BAFTA) Award for Best British Actress, and a New York Film Critics Circle Award for Best Actress. Tennessee Williams commented that Leigh brought to the role "everything that I intended, and much that I had never dreamed of". Leigh herself had mixed feelings about her association with the character; in later years, she said that playing Blanche DuBois "tipped me over into madness".

### Supplementary Text ###
Le cinéma a également tenté de représenter le trouble de la personnalité borderline (TPB), avec des personnages dans *Margot à l'Hôtel* (2007), *Monsieur Nobody* (2009), *Cracks* (2009), *La vérité* (2013), *Blessés* (2013), *Welcome to Me* (2014) et *Tamasha* (2015) étant tous suggérés comme présentant des traits de ce trouble. Le comportement de Theresa Dunn dans *Looking for Mr. Goodbar* (1975) est conforme au TPB, comme le suggère Robert O. Friedel. Des films tels que *Play Misty for Me* (1971) et *Girl, Interrupted* (1999, basé sur les mémoires du même nom) suggèrent une instabilité émotionnelle caractéristique du TPB, tandis que *Single White Female* (1992) met en évidence des aspects tels que les troubles de l'identité et la peur de l'abandon. Le personnage de Clementine dans *Eternal Sunshine of the Spotless Mind* (2004) est noté pour présenter un comportement typique du TPB, et l'interprétation de Carey Mulligan dans *Shame* (2011) est saluée par les psychiatres pour sa justesse quant aux caractéristiques du TPB.

### Draft ###

### 1. Query Parsing

"Est-ce qu'on pourrait prédire..." → Could we predict...

Key elements:
- "acteurs qui s'investissent à ce point" → actors who invest to this degree
- "rôles complexes comme celui de Blanche DuBois" → complex roles like Blanche DuBois  
- "troubles psychologiques à long terme" → long-term psychological troubles

? Translation nuance: "à ce point" = to this degree/extent. Critical.

### 2. Information Retrieval vs. Complex Reasoning

Not simple fact lookup. Requires:
- Historical case studies ●
- Psychological research ◐  
- Ethical boundaries in discussing mental health ○

### 3. Blanche DuBois Case Study

Vivien Leigh → "tipped me over into madness" (her own words) ●

Evidence chain:
- Intense 9-month preparation period
- "I am Blanche DuBois" statement  
- Post-performance psychological state
- Historical pattern of mood disorders

But: Correlation ≠ causation. Multiple factors.

### 4. Method Acting vs. Psychological Impact

Historical context: Method acting techniques require emotional authenticity.

⟨H≈0.8⟩ *The trap: when the mask becomes the face, when the character's madness bleeds into the actor's lived experience. Leigh wasn't just playing disturbed - she was becoming disturbed. The method demands it. Stanislavski's system, pushed to its extreme limits...*

Risk factors identified:
- Role duration/intensity
- Method acting philosophy  
- Pre-existing vulnerabilities ?

### 5. Predictive Framework Challenges

Can we predict long-term mental health impacts?

Limitations:
- Individual variation ⚠
- Multiple confounding variables
- Ethical considerations in pathologizing artistic process

※ Key insight: The question assumes psychological disturbance as outcome rather than potential side-effect of intense artistic process.

### 6. Broader Pattern Recognition

Other cases observed:
- Daniel Day-Lewis ● (method actor, documented intensity)
- Heath Ledger ◐ (post-Joker impact, though multiple factors)

? Selection bias: We remember the cases with documented mental health impacts.

### 7. Synthesis & Constraints

Physical constraint: Human psychology has limits. Intense sustained emotional states → stress response.

Logical constraint: Correlation-causation fallacy. Many actors do intensive roles without long-term psychological damage.

Ethical constraint: Should we pathologize artistic dedication? Where does "method" become "disorder"?

### 8. Conclusion Framework

∴ Cannot definitively predict long-term psychological impacts from intensive dramatic roles.

Factors:
- Individual psychological profile
- Role characteristics (intensity, duration, type)  
- Acting methodology employed
- Support systems during/after production

⚠ Risk exists, but unpredictable.

NB: The question itself reveals tension between artistic intensity and psychological health - a valid concern deserving nuanced consideration rather than simple reassurance or condemnation.

### Answer###
Cette question touche à une réalité complexe du métier d'acteur. L'histoire de Vivien Leigh offre un exemple révélateur : elle a elle-même déclaré que son interprétation prolongée de Blanche DuBois l'"a plongée dans la folie". Après neuf mois de théâtre intensif dans ce rôle, elle a commenté : "Je suis Blanche DuBois. Elle commande maintenant sur moi."

Le rôle de Blanche DuBois représente effectivement un tournant dans sa carrière, suggérant que l'investissement émotionnel profond dans ce personnage trouble et complexe a eu des conséquences psychologiques durables. Cette observation rejoint d'autres témoignages d'acteurs ayant interprété des personnages particulièrement intenses.

Cependant, il serait réducteur de conclure automatiquement que tous les acteurs investis dans des rôles complexes développent des troubles psychologiques. De nombreux facteurs individuels, comme la personnalité de l'acteur, ses mécanismes de défense, et son système de soutien, influencent la manière dont il gère de tels défis émotionnels.

La question révèle une tension fondamentale entre l'exigence artistique et le bien-être psychologique, mais les mécanismes précis de cette interaction restent complexes à prévoir et à mesurer.