By specifically stating the characters' actions, the stage directions develop the characters more than their dialogue alone. For example, the stage directions describing Amanda's actions and dress exemplify her pretenses and her inability to part with her past. Amanda sits on the fire escape "gracefully and demurely as if she were settling into a swing on a Mississippi veranda" (683). The night the gentleman caller comes, Amanda "wears a girlish frock of yellowed voile with a blue silk sash. She carries a bunch of jonquils--the legend of her youth is nearly revived" (689). Although the stage directions show Amanda's inability to face reality, they leave the audience with a sense of admiration for Amanda and her attempt to protect her family. In the last scene the audience sees Amanda comforting her daughter with "her silliness gone, [having] dignity and tragic beauty" (707). Through her dialogue and the stage directions which describe her actions, Laura is portrayed as fragile, translucent and stagnant, just like her glass collection. The stage directions continuously show how delicate her mind and body are. As Jim and Tom arrive, Laura is incapacitated by fear. According to the stage directions, she "darts through the portieres like a frightened deer" (691). The stage directions tell the audience that "while the incident [Laura's encounter with Jim] is apparently unimportant, it is to Laura the climax of her secret life" (696). This point may never be detected by an audience that is not familiar with the stage directions, yet it is very important to the development of Laura's character because she fails at her one chance to change. A final stage direction important to the development of Laura's character is her returning to the Victrola when Jim leaves. This action indicates that Laura has not changed from her experience with Jim, and she will continue to escape reality through her music and memories.
THE TITLES OF PLAYS, NOVELS, MAGAZINES, NEWSPAPERS, JOURNALS (things that can stand by themselves) are underlined or italicized. Tennessee Williams' The Glass Menagerie and Toni Morrison's The Bluest Eye don't seem to have much in common at first. If you're using a word processor or you have a fancy typewriter, use italics, but do not use both underlines and italics. (Some instructors have adopted rules about using italics that go back to a time when italics on a word processor could be hard to read, so you should ask your instructor if you can use italics. Underlines are always correct.) The titles of poems, short stories, and articles (things that do not generally stand by themselves) require quotation marks.
SparkNotes: The Glass Menagerie
Describing characters' appearances and presenting messages upon the screen, the stage directions foreshadow and emphasize events. The description of Tom standing on the fire escape looking "like a voyager" (692) foreshadows his escape to the Merchant Marines. Also, the description of Laura as "a piece of translucent glass touched by light, given a momentary radiance, not actual, not lasting" (688) foreshadows Laura's brush with self-confidence that leaves as quickly as it comes. Finally, the screen images also foreshadow and emphasize events. For example the screen legend that says "Plans and Provisions" (681) foreshadows Amanda's plan to find her daughter a husband and emphasizes Amanda's sense of duty to protect her family. The screen legend that reads "Annunciation" foreshadows Tom's announcement that he has found a gentleman caller. It also emphasizes, through its biblical allusion, that the coming of the gentleman caller is a very special and long awaited event.