Thematic Implications in the Stage Directions of George Ryga’s Play The Ecstasy of Rita Joe
DOI:
https://doi.org/10.24203/ajhss.v5i2.4709Keywords:
Thematic, George Ryga, The EcstasyAbstract
The aim of this paper is to illustrate how George Ryga in his play The Ecstasy of Rita Joe (1976), tries to make use of stage directions to enhance the themes expressed in the text. Thus,  he  uses stage directions extensively in order to express, illustrate and present his themes. Like Bernard Shaw who distrusts the readers apprehension to grasp his ideas and motifs, we see that Ryga, to a great extent he presents us a play which the stage directions run parallel to his intended themes and thus enforcing his purpose, not only for the readers only, but also for the actors and directors of his play.Â
References
• Abderrahim Abu-Swailem, The Agony of Rita Joe in The Ecstasy of Rita Joe†in Commonwealth Essays and Studies. Vol. 1, No.2, Autumn 1993.
• ---------------“The Dance of Memory: A Study of George Ryga’s Play: The Ecstasy of Rita Joe.†In Commonwealth Essays and Studies. Vol. 1, No. 3, Spring 1999
• Eric Bentley, ed., The Theory of Modern Stage, (Harmondsworth, 1968)
• Marjorie Boulton, The Anatomy of Drama, ( London: Rutledge and Kegan Paul, 1968)
• Roman Ingarden, Language in the Theatre, tr., by G.G. Grabowicz, ( Evanston, Illinois, 1973)
• A.E. Kennedy, Six Dramatists in Search of a Language, (Cambridge, 1975)
• George Ryga, The Ecstasy of Rita Joe and Other Plays, (Toronto: General Publishing Co. Limited, 1967)..
• George Bernard Shaw, Collected Plays with their Prefaces, (London, 1970)
• Bonnie Worthington, “Ryga’s Women†in Canadian Drama, ( Vol. 5, Fall1979)
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