Eugene O Neill And The Reinvention Of Theatre Aesthetics
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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's Philosophy of Difficult Theatre by Jeremy Killian Pdf
Through a close re-examination of Eugene O’Neill’s oeuvre, from minor plays to his Pulitzer-winning works, this study proposes that O’Neill’s vision of tragedy privileges a particular emotional response over a more “rational” one among his audience members. In addition to offering a new paradigm through which to interpret O’Neill’s work, this book argues that O’Neill’s theory of tragedy is a robust account of the value of difficult theatre as a whole, with more explanatory scope and power than its cognitivist counterparts. This paradigm reshapes our understanding of live theatrical tragedy’s impact and significance for our lives. The book enters the discussion of tragic value by way of the plays of Eugene O’Neill, and through this study, Killian makes the case that O’Neill has refused to allow Plato to define the terms of tragedy’s merit, as the cognitivists have. He argues that O’Neill’s theory of tragedy is non-cognitive and locates the value of a play in its ability to trigger certain emotional responses from the audience. This would be of great interest to students and scholars of performance studies, literature and philosophy.
The Cambridge History of American Modernism by Mark Whalan Pdf
The Cambridge History of American Modernism examines one of the most innovative periods of American literary history. It offers a comprehensive account of the forms, genres, and media that characterized US modernism: coverage ranges from the traditional, such as short stories, novels, and poetry, to the new media that shaped the period's literary culture, such as jazz, cinema, the skyscraper, and radio. This volume charts how recent methodologies such as ecocriticism, geomodernism, and print culture studies have refashioned understandings of the field, and attends to the contestations and inequities of race, sovereignty, gender, sexuality, and ethnicity that shaped the period and its cultural production. It also explores the geographies and communities wherein US modernism flourished-from its distinctive regions to its metropolitan cities, from its hemispheric connections to the salons and political groupings that hosted new cultural collaborations.
A critical edition of O’Neill’s most complex and difficult play, designed for student readers and performers This critical edition of Eugene O’Neill’s most complex and difficult play helps students and performers meet the work’s demanding cultural literacy. William Davies King provides an invaluable guide to the text, including an essay on historical and critical perspectives; extensive notes on the language used in the play, and its many musical and literary allusions; as well as numerous insightful illustrations. He also gives biographical details about the actual people the characters are based on, along with the performance history of the play, to help students and theatrical artists engage with this labyrinthine work.
Vows, Veils, and Masks offers a bold and timely approach to the plays of Eugene O’Neill with its attention to the engagements, weddings, and marriages so crucial to the tragic action in O’Neill’s works. Specifically, the book examines the culturally sanctioned traditions and gender roles that underscored marital life in the early twentieth century, and that still haunt and define love and partnership in the modern age. Weaving in artifacts like advice columns, advertisements, theatrical reviews, and even the lived experiences of the actors who brought O’Neill’s wife characters to life, Beth Wynstra points to new ways of seeing and empathizing with those who are betrothed and new possibilities for reading marriage in literary and dramatic works. She suggests that the various ways women were, and still are, expected to divert from their true ambitions, desires, and selves in the service of appropriate wifely behavior is a detrimental performance and one at the crux of O’Neill’s marital tragedies. This book invites more inclusive and nuanced ways of thinking about the choices married characters must make and the roles they play, both on and off the stage.
Critic Clive Barnes once called Eugene O’Neill the “world’s worst great playwright” and Brooks Atkinson called him “a tragic dramatist with a great knack for old-fashioned melodrama.” These descriptions of the man can also be used to describe his work. Despite the fact that O’Neill is the only American playwright to win the Nobel Prize for Literature and his last works are some of America’s finest, most of his published works are not good. This work closely examines how O’Neill’s failures as a playwright are inspiring and how his disappointments are reflections of his own theory that tragedy requires failure, a theory that is evident in his work. Conflicts in O’Neill’s plays are studied at the structural level, with attention paid to genre, language or dialogue, characters, space and time elements, and action. Included is information about O’Neill’s life and a chronological listing of all of his 50 plays with basic details such as production history, principal characters, dramatic action, and a brief commentary.
Named a Choice Outstanding Academic Title of the Year 2018 The Theatre of Eugene O'Neill offers a new comprehensive overview of O'Neill's career and plays in the context of the American theatre. Organised thematically, it considers his modernist intervention in the theatre, offers readers detailed analysis of the plays, and assesses the recent resurgence in his reputation and new approaches to staging his work. It includes a study of all his major plays-The Emperor Jones, The Hairy Ape, The Iceman Cometh, Long Day's Journey Into Night, A Moon for the Misbegotten and Desire Under the Elms-besides numerous other full length and one act dramas. Eugene O'Neill is generally credited with inventing modern American drama, in a time of cultural ferment and lively artistic and intellectual change. Yet O'Neill's theatrical instincts were always shaped by American stage traditions that were inextricable from his sense of himself and his own national culture. This study shows that his theatrical modernism represents not so much a break from these traditions as a reinvention of their scope and significance in the context of international stage modernism, offering an image of national culture and character that opens new possibilities for the stage while remaining rooted in its past. Kurt Eisen traces O'Neill's modernism throughout the dramatists's work: his attempts to break from the themes, plots, and moral conventions of the traditional melodramatic theatre; his experiments in stagecraft and theme, and their connection to traditional theatre and his European modernist contemporaries; the turn toward direct and indirect self-representation; and his critique of the family and of American 'pipe dreams' and the allure of success. The volume additionally features four contributed essays providing further critical perspectives on O'Neill's work, alongside a chronology of the writer's life and times.
Eugene O'Neill's Last Plays by Doris Alexander Pdf
This study draws on research concerning the lives of Eugene O'Neill, his family and his circle. It corrects and expands the biographical record on him and distinguishes the man and his life from the creations that were inspired by, and drew on, that life. Included are his attempted suicide, his tuberculosis, and his relationship with his parents.
This study attempts to trace Eugene O'Neill's theatrical contour from its origin to its end, by discussing each of his works in the approximate chronological order of composition. The book is thus a form of biography, although it pays no heed to those events of O'Neill's life that did not have direct bearing on his professional career. By virtue of O'Neill's central position in the drama of the modern world, this study also has become, within the limits its subject sets for it, a form of theatrical history. An appendix contains a complete factual record of important productions of O'Neill's plays. ISBN 0-19-504548-3 (pbk.): $12.95.
Eugene O'Neill in China by Haiping Liu,Lowell Swortzell Pdf
The year 1988 was notable for being the centennial of playwright Eugene O'Neill's birth and a time of unprecedented democratization in the People's Republic of China and rapprochement with the West. In this optimal climate, a remarkable festival and conference devoted to O'Neill was held in Nanjing, China, orchestrated mainly by Haiping Liu, who secured the funds and cooperation necessary to lure noted O'Neill scholars and theatre artists from around the world. Liu selected and edited papers for publication after the conference, but he realized that this would be a difficult task conducted from China. At his invitation Lowell Swortzell, a conference participant, became co-editor, and in the dark days following the political upheaval in China in 1989, Swortzell assumed much of the burden of editing, organizing, clearing rights, and generally readying the final volume. The essays included capture the intellectual and artistic stimulation of the conference. Organized in divisions similar to the order in which the papers were delivered, they explore the major areas of O'Neill scholarship by some of the most renowned scholars from the United States, Western and Eastern Europe, Japan, and China. They emphasize O'Neill's international reputation and productions, particularly in Asia. Included is an open forum discussion of the festival productions, as well as photographs. The circumstances of the festival and conference are a story unto themselves, and in their individual introductions, the co-editors relate some of the background and convey some of the flavor of the events--providing insights into the continued appeal of O'Neill in China and the world.
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.
To Eugene O'Neill, the links between man and his surroundings were of prime importance. His characters struggled with existential problems, and how they related to them reveals much about O'Neill's own humanity. For the most part, the characters defeat their problems and in doing so are "reborn" in some manner. This work examines the 49 plays that O'Neill completed, focusing on his attempt to find an inner truth in his characters. Part One explores the family, showing how a person is trapped by heredity, space, time and communal hierarchy. Part Two deals with the individual and society, showing how societal conventions confined the characters. In Part Three, personal freedom is the centerpiece, showing how the characters develop a specific approach to life that leads to a coherent vision of the characters' relationships with the world around them.
In this rich resource for American actors, renowned movement teachers and directors reveal the physical skills needed for the stage and screen. Experts in a wide array of disciplines provide remarkable insight into the Alexander technique, the use of psychological gesture, period movement, the work of Rudolph Laban, postmodern choreography, and Suzuki training, to name but a few. Those who want to pursue serious training will be able to consult the appendix for listings of the best teachers and schools in the country. This inspiring collection is a must read for all actors, directors, and teachers of theater looking for stimulation and new approaches.