The Stage Manager Is A Man Of — страница 2

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we don?t take?m out and look at?m very often. We all know that something is eternal. And it ain?t houses and it ain?t names, and it ain?t earth, and it ain?t even the stars?everybody knows in their bones that something is eternal, and that something has to do with human beings?You know as well as I do that the dead don?t stay interested in us living people for very long. Gradually, gradually, they lose hold of the earth?and the ambitions they had?and the pleasures they had?and the things they suffered?and the people they loved" (701). The Stage Manager?s philosophy on death is unique. It is more of a philosophy on life than of death because the dead feel sorry for the living who cannot fully appreciate life. The living cannot see that every detail matters. Every detail has a

universal effect. Our Town is based upon the Stage Manager?s philosophies. The Stage Manager is part of the community itself. He is an actor. He plays several minor roles throughout the play. The significance of the Stage Manager taking on these roles is that anyone, any insignificant person who one meets on the street is important. In Act I, he plays a woman in the street whom George has accidentally bumped into while chasing a baseball. As Mrs. Forest, The Stage Manager says, "Go out and play in the fields, young man. You got no business playing baseball on Main Street"(679). Although it is the Stage Manager playing Mrs. Forest the character still has an impact over George?s actions. In Act II, he plays Mr. Morgan, the druggist and soda jerk. Mr. Morgan serves George

and Emily while George proposes to Emily. Such a small role has a large impact. The Stage Manager plays this part demonstrating that an insignificant person is involved in a large event. The Stage Manager also assumes the part of the minister who performs the marriage ceremony. In Act III he is Emily?s contact between the living and the dead. He presents the theme. The most minor person or episode makes an impression. The Stage Manager shows that the scope of Our Town is wider than just the daily events of several ordinary people in a small New Hampshire town in the early 1900?s. "The name of the town is Grover?s Corner?s, New Hampshire-just across the Massachusetts line: latitude 42 degrees 40 minutes; longitude 70 degrees 37 minutes"(671). The play begins in a

particular place on a particular day at a precise moment. "There are the stars-doing their old, old crisscross journeys in the sky?"(709) The play ends in space. Not a particular place. Not a particular moment. "?we want to know how all this began-this wedding, this plan to spend a lifetime together. I?m awfully interested in how big things like that begin"(961). "I?ve married over two-hundred couples in my day. Do I believe in it? I don?t know? M?.marries N?.millions of them"(699). The Stage Manager makes a general statement about an aspect of human nature and here can relate it to George and Emily. He presides at George and Emily?s wedding with the initial comment about the whole question of marriage. He discusses other aspects of weddings and

refers to wedding customs in Rome. His remarks transcend to a particular place, Grover?s Corners, of the particular couple, George and Emily. The Stage Manager puts Grover?s Corners in perspective with the rest of the world and ultimately the universe itself. The Stage Manager communicates the theme of universality through his narration, moderation, philosophies, and acting. The implication here is that there are many Grover?s Corners and countless characters like those in the play, who have, are, and will continue the cycles of daily life, love marriage, procreation, and eventually death. The name of the play itself is indicative of its universality; it is indeed our town and the human predicament which is its purpose. 357