Abstract
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
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