The article aims to trace how Orpheus Descending written by Tennessee Williams, The Crucible written by Arthur Miller and The Little Foxes written by Lillian Hellman were received on the Albanian stage from the 1960s to the 1980s. Trying to establish a critical eye on the Albanian audience in relation to the American way of life and capitalism, these plays were performed to strengthen communist propaganda through theatrical performances. The paper will explore the ways how these dramas were twisted and transformed in order to achieve the main goal: raising proper citizens with communist principles. For the purpose of my analysis, I will rely on historical approach and different reception theories
