ABSTRACT
This paper will explore the relationship between physical and psychological spaces dramatized by the great American playwright Eugene O’Neill onstage. It discusses the reproduction of psychological conditions of the characters on stage through the physical environment and setting in the Modern Theatre. A territorial understanding of theorists like Deleuze and Guatari has been employed to study its effect on the psyche of the inhabitants in Harry Hope's Bar. Notably, it situates the play The Iceman Cometh within the realm of symbolic spatiality, as the paper discusses various layers of spatial configuration evident in the delusion-stricken lives of the characters, devoid of agency or agility in any form. The play reveals that outcasts and disregarded individuals often retreat into spaces that validate their shared delusion. It further discusses the insight of critics on the dramaturgy of O’Neill, highlighting the recurring themes of disillusionment and immobility in the play The Iceman Cometh. An attempt is made to understand how the physical environment is utilized by the dramatist to mediate a performance of human suffering that arises from collective disillusionment.
