Two moments, one play

This past week we had the first part of our dramaturgy workshop, and then we worked full on nerd mode on the director's notebook. On another note, i think my brain also died this week, thank you IB!

Now that my concept is fully shaped and i have my vision clear, i think i can now continue with my work properly. Essentially i resolved on working with how we build lies in order to cover the ugliness of reality, to escape it and embellish it. And i think this all came from the fact that the play explores essentially this topic through Blanche's struggle with society.

My vision especifically centers on one thing only: for the audience to see the play through Blanche's eyes, her perspective of things. I want the audience to experience the entire play and the actions just like Blanche did, and then generate a sort of catharsis.
For example, i've decided to start the play (even though this is NOT one of my two moments), with lots of sound and conversations and sequences around the stage and in the entire theatre complex, in order to set the context of New Orleans, but using all of these elements to the extent that it becomes overwhelming to the audience, just like it happened with Blanche. I think that from the begining i want to establish this sort of relation ship with the audience.
Another moment for example is when Blanche sees Mitch for the first time. I personally believe she was indeed attracted to him, so i want to cut anytype of sound and movement in the stage and she is the only one that can move, admiring him, for a few seconds, and then continue as if nothing happened. It would create the effect of attraction, and even love
I even sort of intend to heat up the theatre itself when Blanche talks about how hot and sticky everything is, for the audience to actually see things the same way, and well set the literal atmosphere.

As for the stage, at first i thought about doing an in the round play in an amphitheater, because i wanted the audience to look down on the characters, symbolizing society judging their actions. But then i found two problems with that: one, that all the exits and enters of characters, aswell as the stage division of the room would make things a bit awkward and difficult. And second, and most importantly, that it doesn't quite fit my vision, if the audience is sort of looking down on them, then they are not experiencing things like them (kind of confusing i know). So i designed a different stage. Basically it is just a normal looking stage, but it has an extension in the middle that crosses the audience, and leads to a circle (i guess we can call it that), surrounded by the audience, that stands on a lower level (about 1 m). So i want to have all the moments of great tension, like the monologue, the mailman's kiss, the poker game, etc. in this place, in order to create the effect of the audience looking down on them.
On the topic of design elements, i intend to use very flashy and bright colors for the entire. This is because this type of colors usually give a sense of dreaming or fantasy, which is exactly what happens with lies. They look so bright and pretty, in order to hide something really cruel and ugly: reality. I haven't really desinged fully how i want the costumes to look, but i want to strictly stick with the 1950's style, and i want to make the evident contrast between Blanche's attire and the others'. I also want to have a constant change of attires, and characters putting on clothes as they lie, and taking them off as they reveal something true.

Now talking about my moments, i want to stage Blanche's monologue about Allan, because it is the best example of my concept. Literally, Blanche is taking her lies apart and being fully honest, like if she is undressing herself. Thus, i want her to actually undress herself, fully naked, to symbolize her taking away all of the lies that cover her, her reality. It fits perfectly, since the "dress of lies" is physically present in the scene, and she takes it off as she reveals the truth. I also plan on staging it on the circle of the extension, to have the audience look down on her, because she ultimately created these lies to avoid being in the position where society looks down and judges her, which is happening right now. I also want to light the entire stage (the circle), for her to be fully visible by everyone, and only focus her by turning the lights off the other parts of the stage. I think that the shock of seeing an actress get naked on stage, impacts the audience a lot, to the extent that it could connect empathecally in sense of how shocking it is to tell the truth. I've been considering lighting the audience too, but i think it would be distracting from Blanche's nakedness and her monologue.
As for the second moment, i plan to do the part before the rape, where Stanley attacks verbally Blanche with the truths he knows about her, telling her what that he told the truth to Mitch. At first i had a different approach, but it didn't quite suit my concept. So now i plan on Stanley taking off parts of Blanche clothes, which symbolize her lies, and then she tries to put them back on but fails to do so, because reality is catching up to her. I'm still developing my ideas on this, and i haven't truly figured out how to make the audience feel Blanche's fear first hand.

Mainly, what i've managed to learn this week is how to work like a real director. Previously, my work with the DN was based on researching and deciding what i want to do, coming up with all of these cool ideas to use. Now that i am past that, my job has become to evaluate each idea, scratch, re-imagine, sketch, and so on and so forth and what have you. I think that it is important to stick to the concept and vision, and always check your ideas with them, like the in the round amphitheatre style stage i planned to do, i had to scratch that idea because it didn't quite fit what i wanted to do. I even had to change my initial idea for the second moment of the people carrying Blanche throught he stage, to Stanley forcing Blanche's clothes out.
So my main inquiry of the week is how to connect the vision and the concept into my second moment. How does a director actually manage to do it for every scene? Does it have to happen for every single one of them? What if a scene is just pure absurdity and there is no way to add it?