# data[].attributes.body
Barney:
he puts his hand on top lf her and, still grining  broadly, forces her to meet his eye . Barney owes most

# data[].attributes.body
The general unhappiness among all
the characters at the end of the play suggests that refusing to
redefine gender roles doesn't just hurt one gender or the other:
everyone suffers.

# data[].attributes.body
Men and women of the 1950s both faced stereotypical expectation on a daily basis.

Displaying the place of woman in the 1950s and the high expectations to be feminine

# data[].attributes.body
Olive - "That's what the lay-off is. Not just playing around and spending a lot of money, but a time for livin'. You think I haven't sized that up against what other women have? I laugh at them every time they try to tell me. Even waiting for Roo to get back is more exciting than anything they've got."

Analysis:
When Olive says this she tells Pearl that the time they have during the lay-off is fun and its Barney and Roo's time to have fun and not work. Barney and Roo enjoy the lay-off more than working. So they take the lay-off to enjoy and live life not working. This also shows that men leave their friends and family to do more masculine jobs. Where Women should not work or should perform "soft men labour"

# data[].attributes.body
When Roo insists on getting a
job in the city, his companions struggle to see him as a "real
man" because "real men" work in the bush and absolutely do
not work during their hard-earned layoff season.

# data[].attributes.body
Olive quotes Nancy and
explains that the men who works in the city are "soft city blokes,"
and in comparison to Roo and Barney, they look like "a bunch of
skinned rabbits." Showing that  the location itself is gendered: the
bush is masculine, while the city is feminine. the city is for pussys

# data[].attributes.body
In act 3, Roo proposes to Olive for marriage but Olive refuses his proposal because Roo's disintegrating  masculinity is not what Olive wants.

# data[].attributes.body
stage directions
costuming
props
asides
mise ensure
figurative devices
symbolism
dialogue
language
narrator intervention
staging
lighting