The Function of Light in the Glass Menagerie to Emphasize the Importance of Laura

The Function of Light in The Glass Menagerie to

Emphasize the Importance of Laura

Sam Student

Course/123

November 1, 2009

Sally Teacher

The Function of Light in The Glass Menagerie to

Emphasize the Importance of Laura

        Tennessee Williams explores the sensitivity to light in The Glass Menagerie through explicit statements in the production notes, screen devices, and references to descriptions of characters, especially Laura. The lighting cues as explained by Williams (1945/1999) enhance character and mood, and in practically every scene, Laura dominates the stage even though she has fewer lines.

        Williams (1945/1999) develops Laura’s character the most through his focus on light. Even though Amanda, Laura’s mother, and Tom, Laura’s brother, have the most lines, Williams’ production notes make it clear in describing Laura that she is the major character: “The light on Laura should be distinct from the others, having a peculiar pristine clarity such as light used in early religious portraits of female saints or madonnas” (p. xxii).

        One of Williams’ most interesting uses of light is the screen device, or screen image, as explained in his production notes:  

This device was the use of a screen of which were projected magic-lantern slides bearing images or titles . . . These images and legends, projected from behind, were cast on a section of wall between the front-room and dining-room areas, which should be indistinguishable from the rest when not in use . . . . The purpose [of the screen device] is to give accent to certain values in each scene. (p. xx)

The playwright inserts 42 images into the text using the screen device. Twenty directly relate to Laura, giving her the most emphasis. Thirteen reference Amanda, three reference Tom, and two reference Jim, the Gentleman Caller. Three slides are miscellaneous. These screen devices make it clear that most of the attention is focused on Laura.

        Laura has only seven lines in Scene One, so Amanda seems to dominate the scene. However, Williams (1945/1999) writes that “a shaft of very clear light is thrown on [Laura’s] face against the faded tapestry of the curtains” (p. 10). This shaft of light asserts Laura’s centrality. The light is not placed on Amanda because to do so would draw attention away from the true focus of the scene.

No direct light cues are provided in relation to Laura in Scene Two, but five screen images call attention to her. As in Scene One, Amanda is the apparent center because of her number of lines. Near the end of Scene Two, Amanda conjures her plot to find her daughter a husband because Laura “won’t have a business career – we’ve given that up because it gave us nervous indigestion” (Williams, 1945/1999, p. 16). However, Williams focuses the audience on Laura’s love life, or lack thereof, at the beginning of the scene when Williams indicates in the production notes, “On the dark stage the screen is lighted with the image of blue roses” (p. 11). This screen image alludes to Jim, the Gentleman Caller, who had given Laura the nickname Blue Roses when the two were high school classmates.