Stage direction plays a more forward and prominent role in this play than in the others we have studied so far in the year. Stage directions indicate literal movements on the stage as well as indirect characterization. For example, we learn that Amanda is preoccupied with her past in a fantasy-driven manner, "(TOM motions for music and a spot of light on AMANDA. Her eyes lift, her face glows, her voice becomes rich and elegiac,)" (Williams, 1238). Characters are revealed by their actions as well as their words. Amanda is revealed as delusional during the first scene in the sense that she is unable to accept the face the fact that her daughter is not going to attract the suitors she claims to have had. The way that she goes on about her former life and gentlemen callers and our knowledge of her absent husband leads the reader to believe that she quite possibly never had the suitors or life she claims and in some way connects this fantasy with her daughter's life.Monday, October 1, 2012
Menagerie - Scene One
The Glass Menagerie - Tennessee Williams
Stage direction plays a more forward and prominent role in this play than in the others we have studied so far in the year. Stage directions indicate literal movements on the stage as well as indirect characterization. For example, we learn that Amanda is preoccupied with her past in a fantasy-driven manner, "(TOM motions for music and a spot of light on AMANDA. Her eyes lift, her face glows, her voice becomes rich and elegiac,)" (Williams, 1238). Characters are revealed by their actions as well as their words. Amanda is revealed as delusional during the first scene in the sense that she is unable to accept the face the fact that her daughter is not going to attract the suitors she claims to have had. The way that she goes on about her former life and gentlemen callers and our knowledge of her absent husband leads the reader to believe that she quite possibly never had the suitors or life she claims and in some way connects this fantasy with her daughter's life.
Stage direction plays a more forward and prominent role in this play than in the others we have studied so far in the year. Stage directions indicate literal movements on the stage as well as indirect characterization. For example, we learn that Amanda is preoccupied with her past in a fantasy-driven manner, "(TOM motions for music and a spot of light on AMANDA. Her eyes lift, her face glows, her voice becomes rich and elegiac,)" (Williams, 1238). Characters are revealed by their actions as well as their words. Amanda is revealed as delusional during the first scene in the sense that she is unable to accept the face the fact that her daughter is not going to attract the suitors she claims to have had. The way that she goes on about her former life and gentlemen callers and our knowledge of her absent husband leads the reader to believe that she quite possibly never had the suitors or life she claims and in some way connects this fantasy with her daughter's life.
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