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THE STORY: As told by Chapman, (NY News): The time of the play is 1828, and the setting is a tavern in a village near Boston. The tavern is owned by a tempestuous Irishman, Con Melody, who is as proud as he is ill-tempered. He had been born with w
A Touch of the Poet and More Stately Mansions are regarded as two of Eugene O'Neill's finest plays. Companion pieces, linked by characters and themes, they form part of a projected series of eleven interconnected plays in which the playwright intended to give a psychological and economic account of American life. Now these works, the only surviving plays in O'Neill's "cycle," are brought together for the first time in a paper-back volume. The version of More Stately Mansions presented here is O'Neill's unexpurgated text, scrupulously edited by Martha Gilman Bower, which restores the playwright's original opening scene, a crucial epilogue, and other material essential to our understanding of the play.
Part lyric essay, part prose poetry, Where Things Touch grapples with the manifold meanings and possibilities of beauty. Drawing on her experiences as a physician-in-training, Orang considers clinical encounters and how they relate to the concept and very idea of beauty. Such considerations lead her to questions about intimacy, queerness, home, memory, love, and other aspects of human existence. Throughout, beauty is ultimately imagined as something inextricably tied to care: the care of lovers, of patients, of art and literature and the various non-human worlds that surround us. Eloquent and meditative in its approach, beauty, here, beyond base expectations of frivolity and superficiality, is conceived of as a thing to recover. Where Things Touch is an exploration of an essential human pleasure, a necessary freedom by which to challenge what we know of ourselves and the world we inhabit.
Eugene O'Neill wrote his plays for a theatre in which the playwright would take a central position. He presented himself as a controlling personality both in the texts--in the form of ample stage directions--and in performances based on these texts. His plays address several audiences--reader, spectator, and production team--and scripts were often different from the published versions. This study examines O'Neill's multiple roles as a writer for many audiences. After a description of O'Neill's working conditions and the multiple audiences of the plays, this study examines the various formal aspects of the plays: titles, settings in time and place, names and addresses, language, and connections and allusions to other works. An examination of the plays follows, with particular emphasis on Bound East for Cardiff, Long Day's Journey Into Night, and A Touch of the Poet.
Author : Normand Berlin Publisher : University of Michigan Press Page : 286 pages File Size : 50,8 Mb Release : 1994 Category : American drama ISBN : 0472104691
To whom does a poem speak? Do poems really communicate with those they address? Is reading poems like overhearing? Like intimate conversation? Like performing a script? William Waters pursues these questions by closely reading a selection of poems that say "you" to a human being: to the reader, to the beloved, or to the dead. In any account of reading lyric poetry, Waters argues, there will be places where the participant roles of speaker, intended hearer, and bystander melt together or away; these are moments of wonder.Looking both at poetry's "you" and at how readers encounter it, Waters asserts that poetic address shows literature pressing for a close relation with those into whose hands it may fall. What is at stake for us as readers and critics is our ability to acknowledge the claims made on us by the works of art with which we engage. In second-person poems, in a poem's touch, we may come to see why poetry matters to us, and how we, in turn, come to feel answerable to it. Poetry's Touch takes as a central thread the poetry of Rainer Maria Rilke, a writer whose work is unusually self-conscious about poetic address. The book also draws examples from a gamut of European and American poems, ranging from archaic Greek inscriptions to Keats, Dickinson, and Ashbery.
This new edition of O'Neill's unfinished play coincides with the centenary of his birth and includes a substantial amount of material - including an entire scene - that was missing when it was prepared after the playwright's death, but which, Martha Bower argues, he had intended for inclusion.
Eugene O'Neill and the Reinvention of Theatre Aesthetics by Thierry Dubost Pdf
The plays of Eugene O'Neill testify to his continued search for new dramatic strategies. The author explores the Nobel Prize winner's attempts at creating a new Modern play. He shows how, moving away from melodrama or "the problem play," O'Neill revisited the classical frames of drama and reinvented theater aesthetics by resorting to masks, the chorus, acoustics, silence or immobility for the creation of his dramatic works.
Eugene O'Neill by Madeline C. Smith,Richard Eaton Pdf
In the last half century, the American theater has become more a part of the global theatrical community and as a result, America's playwrights and their works are receiving more attention internationally. Eugene O'Neill is perhaps the one American playwright who has gained the most renown with the global expansion of American theater. This work is not only an annotated bibliography of published works about O'Neill, but a careful record of the scores of productions of O'Neill's work both within and without the United States, in English-speaking countries and elsewhere, and the large number of published translations of his plays covering the years 1973 through 1999. The eight sections of this large work, each annotated, are: A articles in English; B books (with reviews indicated); C dissertations; D non-English language articles, books, and dissertations; E and F listings by play title of productions of O'Neill's plays in the United States and abroad; G primary works by O'Neill; and H miscellaneous information on O'Neill productions.
Jason Robards Remembered by Eugene O’Neill Society Pdf
Jason Robards won consecutive Oscars as best supporting actor for the films All the President's Men (1977) and Julia (1978) but he is particularly remembered for having created central roles in the later plays of Eugene O'Neill. This tribute honors Robards in two parts. Part One presents recent interviews of the late actor as well as articles by Arthur and Barbara Gelb which appeared in the New York Times on the occasions of the American premier of Long Day's Journey into Night (1956) and of the successful production of A Moon for the Misbegotten, with Colleen Dewhurst (1974). Sheila Hickey Garvey writes of the 1956 production of Iceman and gives a brief history of Robards' work with the Circle in the Square Theatre, the theatre that began the Off Broadway theatrical movement of the 1950s. Stephen A. Black, Michael Manheim and Edward Shaughnessy write of seeing Robards perform in O'Neill plays. The O'Neill bibliographers Madeline Smith and Richard Eaton analyze the effect Robards' performances have had on subsequent performances and on scholarship about O'Neill's later plays. Zander Brietzke writes about the problem of performing O'Neill in the post-Robards era. Part Two contains more personal recollections of Jason Robards. Several of Robards' theatrical colleagues (Arvin Brown, Zoe Caldwell, Douglas Campbell, Blythe Danner, George Grizzard, the playwright A.R. Gurney, Shirley Knight, Paul Libin, Theodore Mann, Christopher Plummer, Kevin Spacey and Eli Wallach) recall their times with the actor. Wendy Cooper, president of the Eugene O'Neill Foundation, writes of Robards' help to save O'Neill's Bay Area home, Tao House. Lois McDonald and Sally Thomas Pavetti write of Robards' visits to Monte Cristo Cottage, O'Neill's boyhood home in New London, Connecticut. George Beecroft, Richard Allan Davison, and Daniel Larner recall seeing some memorable Robards performances and Margaret and Ralph Ranald recall two meetings with Robards. Also included are particularly fine obituary and memorial notices by Kevin Spacey, Joe Morgenstern, and Charles Saydah, and a tribute by Jason Robards' colleagues at The Roundabout Theatre.
Kabir's Jacket Has a Thousand Pockets by Ayaz Pirani Pdf
Step into the crater of East Africa and meet the grain of sand from Sindh. Taste the pearls from Indian Ismaili ginans and attend to the True Guru. Aglow with postcolonial loss, wryly defiant of what they reveal, the poems in Kabir's Jacket Has a Thousand Pockets describe a warm estrangement and salty gratitude for being on Earth. It's not war-reporting and Ayaz doesn't solve crimes. He doesn't have his head in the lion's mouth. He draws from Kabir's Bijak, Ghalib, and the oral granth and ginan traditions to plot a lifelong and generational immigration.
An original and provocative analysis of Eugene O'Neill's unfinished cycle play project From 1935 to 1939, Eugene O'Neill worked on a series of plays that would trace the history of an American family through several generations. He completed just two of the proposed eleven plays—A Touch of the Poet and More Stately Mansions—which Zander Brietzke argues represent the core of the entire cycle. Combining archival research, literary analysis, and theatrical imagination, Magnum Opus invites an audience to see this unusual and exciting epic as a historical drama of our time.
