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Reveals unexplored links between Shakespeare's plays and the work of Eugene O'Neill
Eugene O'Neill is the only American dramatist ever to have received the Nobel Prize for Literature. He wrote over 50 plays; a number are virtually unknown by the general public; several are considered classics of the American stage; all of them demonstrate, in one way or another, how O'Neill challenged the conventional boundaries of the drama of his time and thereby paved the way for modern American theatre. This volume will provide guides to eight of O'Neill's plays that are most often studied in schools and colleges: The Hairy Ape, Anna Christie, The Emperor Jones, Desire Under the Elms, Ah, Wilderness!, The Iceman Cometh, Long Day's Journey Into Night, and A Moon for the Misbegotten. More than almost any other author in any fictional genre, O'Neill's works are highly autobiographical. The love/hate relationships he had with the members of his own family resonate throughout his dramatic works. The son of an alcoholic and a morphine addict, he struggled with chemical dependency throughout his life, but determined to be an artist or nothing, he eventually gave up drinking and fulfilled his artistic ambitions, transforming the traumatic experiences of his life into compelling drama. O'Neill's drama provides insights into the complexities of human behavior and raises questions about the forces, both external and internal, that shape human lives.
Shakespeare's Surrogates contends that adapting Renaissance drama played a key role in the development of modern drama's major aesthetic movements. Loftis posits that playwrights' reactions to Shakespeare and his contemporaries worked to create their public personas, inform their theoretical writings, and influence the development of new genres.
Exploring the interactions between Shakespeare and popular music, this book links these seeming polar opposites, showing how musicians have woven the Bard into their sounds.
Stricken with guilt and grief when his father, mother and brother died in quick succession, Eugene O'Neill mourned deeply for two decades. This critical biography presents an understanding of O'Neill's life, work and slow grieving.
Shakespeare Between the World Wars draws parallels between Shakespearean scholarship, criticism, and production from 1920 to 1940 and the chaotic years of the Interwar era. The book begins with the scene in Hamlet where the Prince confronts his mother, Gertrude. Just as the closet scene can be read as a productive period bounded by devastation and determination on both sides, Robert Sawyer shows that the years between the World Wars were equally positioned. Examining performance and offering detailed textual analyses, Sawyer considers the re-evaluation of Shakespeare in the Anglo-American sphere after the First World War. Instead of the dried, barren earth depicted by T. S. Eliot and others in the 1920s and 1930s, this book argues that the literary landscape resembled a paradoxically fertile wasteland, for just below the arid plain of the time lay the seeds for artistic renewal and rejuvenation which would finally flourish in the later twentieth century.
Study of the plays of Eugene O'Neill, 1888-1953, American playwright.
As more and more scholars come to realise that the accepted story of William Shakespeare is untenable, this book tries to unmask the covert Irish influence on his work and the remarkable career of William Nugent, the only Irish candidate ever put forward for Shakespeare. It includes the full text of many original documents on Irish history, from the Reformation to the 1641 Rebellion. "That in these lines I could as well express, As in my soul I do admire her beauty, Or that great Daniel, fit for such a task, This wonder of our Isle, had seen, and heeded, Then should his glorious muse, her worth unmask, And he himself, himself should have exceeded; Then England, France, Spain, Greece and Italy, And all that th'Ocean from our shores divideth, Would over-run their bounds, and hither fly, To find the treasure, that our Ireland hideth, But best is, that we never do disclose it, Since known but of ourselves, we shall not lose it." - RIchard Nugent "Cynthia" (London, 1604)
This Guide steers students through four centuries of critical writing on Shakespeare’s history plays, enhancing their enjoyment and broadening their critical repertoire. Guides students through four centuries of critical writing on Shakespeare’s history plays. Covers both significant early views and recent critical interventions. Substantial editorial material links the articles and places them in context. Annotated suggestions for further reading allow students to investigate further.