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THE STORY: Originally produced on Broadway, revived to sellout houses in 1996 starring Al Pacino, HUGHIE was one of O'Neill's last works. It was originally intended as part of a series of short plays, but it became the lone survivor when O'Neill de
The dramas of Eugene O'Neill--often called America's first "serious" playwright--exhibit an imagining of the natural world that enlivens the plays and marks the boundaries of the characters' fates. O'Neill's figures move within purposefully animated natural environments--ocean, dense forest, desert plains, the rocky soil of New England. This new approach to O'Neill's dramas explores these ecological settings as crucial to his characters' ability to carry out their conscious and unconscious desires. O'Neill's career is covered, from his youthful one-acts, to the middle years experimental dramas, to the mature tragedies of his late period. Special attention is paid to the connection of ecology and theological quest, and to O'Neill's persistent evocation of an exotic, natural "other." Combining an ecocritical approach with an examination of Classical and philosophical influences on the playwright's creative process, the author reveals a new, less hermetic O'Neill.
The American classic—as you’ve never experienced it before. This multimedia edition, edited by William Davies King, offers an interactive guide to O’Neill’s masterpiece. -- Hear rare archival recordings of Eugene O’Neill reading key scenes. -- Discover O’Neill’s creative process through the tiny pencil notes in his original manuscripts and outlines. -- Watch actors wrestle with the play in exclusive rehearsal footage. -- Experience clips from a full production of the play. -- Tour Monte Cristo Cottage, the site of the events in Long Day’s Journey Into Night, and Tao House, where the play was written. -- Delve into O’Neill’s world through photographs, letters, and diary entries. And much, much more in this multimedia eBook.
A collection of essays about the works of Eugene O'Neill.
In Eugene O'Neill's Creative Struggle, Doris Alexander gives us a new kind of inside biography that begins where the others leave off. It follows O'Neill through the door into his writing room to give a blow-by-blow account of how he fought out in his plays his great life battles&—love against hate, doubt against belief, life against death&—to an ever-expanding understanding. It presents a new kind of criticism, showing how O'Neill's most intimate struggles worked their way to resolution through the drama of his plays. Alexander reveals that he was engineering his own consciousness through his plays and solving his life problems&—while the tone, imagery, and richness of the plays all came out of the nexus of memories summoned up by the urgency of the problems he faced in them. By the way of O'Neill, this study moves toward a theory of the impulse that sets off a writer's creativity, and a theory of how that impulse acts to shape a work, not only in a dramatist like O'Neill but also in the case of writers in other mediums, and even of painters and composers. The study begins with Desire Under the Elms because that play's plot was consolidated by a dream that opened up the transfixing grief that precipitated the play for O'Neill, and it ends with Days Without End when he had resolved his major emotional-philosophical struggle and created within himself the voice of his final great plays. Since the analysis brings to bear on the plays all of his conscious decisions, ideas, theories, as well as the life-and-death struggles motivating them, documenting even the final creative changes made during rehearsals, this book provides a definitive account of the nine plays analyzed in detail (Desire Under the Elms, Marco Millions, The Great God Brown, Lazarus Laughed, Strange Interlude, Dynamo, Mourning Becomes Electra, Ah, Wilderness!, and Days Without End, with additional analysis of plays written before and after.
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.
Shortly after the debut of Exorcism in 1920, Eugene O’Neill suddenly canceled production and ordered all extant copies of the drama destroyed. For over ninety years, it was believed that the play was irrevocably lost, until it was recently discovered that O’Neill’s second wife had in fact retained a copy, which she later gave to the prolific screenwriter and producer Philip Yordan. In early 2011, Yordan’s widow discovered the typescript of Exorcism—complete with edits in O’Neill’s own hand—in her late husband’s vast trove of papers. The discovery and publication of Exorcism, a relatively early play in the O’Neill corpus, furthers our knowledge of O’Neill’s dramatic development and reveals a pivotal point in the career of this great American playwright. Revolving around a suicide attempt, Exorcism draws on a dark incident in O’Neill’s own life. This defining event led to his first serious efforts to write. Exorcism displays early examples of O’Neill’s unparalleled skills of capturing deeply personal human drama, and it explores major themes—mourning and melancholia, addiction and sobriety, tensions between fathers and sons—that would permeate his later work. According to Yale University’s Beinecke Rare Book and Manuscript Library curator Louise Bernard, who acquired the play from a New York bookseller, “Exorcism might be read as a preparatory sketch that resonates powerfully with Long Day’s Journey into Night, one that brings the O’Neill family drama full circle in ways at once intimate and grandly conceived.”
Specially commissioned essays explore the life and work of Eugene O'Neill from his earliest writings to Long Day's Journey Into Night.
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.