Eugne O'Neill's All God's Chillun Got Wings and Tennessee Williams's A Streetcar Named Desire

Eugene O'Neill plays the role of a sister of "Desire Street Car" played by all white girls of Allgod Chilgot Wings and Tennessee Williams in the spiritual fight between reality and fantasy. Era Downey, a very unstable and ethnically conscious woman, is struggling to overcome her anxiety and is insane between reality and fantasy. Like Ella, a disillusioned woman, Blanche Dubois, realizes that he is mentally struggling, can not overcome reality, refuses to accept that, and in her heart I will retreat to.

In Tennessee Williams' "Desire Streetcar", fantasy and fantasy of Tennessee Williams is called "Desire Streetcar". The theme of Williams' audience survey and exploration is fantasy and fantasy. This book expresses and symbolizes other problems Williams is exploring with the audience, so I think it is a very important topic in this book.

Ironically, Tennessee Williams' masterpiece "Desire Streetcar" really started before Blanque DuBois, "Ili Sen Fields", wandering down New Orleans that is declining. To put it more precisely, Williams first lay the foundation for her arrival, which included many contradictions that reflect his enthusiastic craftsmanship. Williams is lined up in the order of the "broken tower" of the heart crane. This represents the quest for "foresighted love company" in the broken world of Klein. Trams create a destructive company of love and reality through a process based on war-type crafts: comedy, drama and tragedy

His first two Broadway theaters "Glass Zoo" and "Desire Street Car" made sure of the position of Tennessee Williams, and Eugene O'Neill and Arthur Miller were one of the major American playwright of the 20th century I became a person. . Williams' critics, gamers, and other playwrights admit that it will play a poetic innovator who refuses to be restricted to Starkey Young of the new republic. It was pushed to a new field, expanding the limits of individual play, becoming one of the founders of the so-called "new drama". Broadway's Brooks Atkinson admired that "Williams' past memories memorize the distinction of drama as a literary medium." Twenty years later, Joanne Stein wrote in the New York Times, since the prime minister of "Glass Zoo", "American theaters have never been full of dramas".