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The feminist writer and editor Edna Kenton (1876ndash;1954) was elected to the Executive Committee of the Provincetown Players by 1916. This theatrical company, first to present the plays of Eugene O'Neill, rebelled against the commercialism of Broadway and gave unrecognized dramatists the opportunity to experiment. Kenton was a great admirer of company leader George Cram Cook, and when Cook died in Greece in the early 1920s, Kenton dedicated herself to upholding his vision of a Dionysian ideal in American theater. This is Kenton's original history of the influential theatre, from the first seasons at Provincetown in 1915 and 1916, to the final New York season in 1922. This invaluable eyewitness account has been edited from the most complete and latest version of Kenton's text, with consultation of earlier incomplete versions. Kenton transcribed many playbills into the text, and included others whole between the pages; the latter are included as illustrations. An appendix reprints Kenton's two periodical articles about the Provincetown Players and articles from the New York Herald, the Boston Globe, and the Boston Evening Transcript, as well as other memories of the Provincetown Players, including those of Marsden Hartley, Nina Moise, M. Eleanor Fitzgerald, and Djuna Barnes.
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.
(Limelight). "...essential to any understanding of...O'Neill if only because they demystify him." Arthur Miller, The New York Times Book Review
This study explores the personal, historical, and artistic influences that combined to form such dark and influential American masterpieces as 'The Iceman Cometh', 'The Emperor Jones', 'Mourning Becomes Electra', 'Hughie', and - arguably the finest tragedy ever written by an American - 'Long Day's Journey into Night'.
In his short story “The Hunger Artist,” Kafka imagined the theatrical career of a “professional faster” whose performance consists merely in displaying his own starving body before an avid audience. Kafka thus paradoxically suggested that hunger, mere emptiness working its way through declining bodies, may be a privileged theatrical object. Hunger often signals an anchorage in socio-historical reality, and invites extreme situations on stage, articulating large-scale cataclysms (famines, the devastation of war) with personal tragedies (hunger-strikes, anorexia, etc.) in which characters experience the tenuousness of their own lives. Whether in the comic or in the tragic mode, staged hunger metaphorizes various kinds of starvation – material greed, spiritual, emotional, sexual starvation, and even linguistic insufficiency. This volume explores the aesthetic and ethical issues raised by hunger on the stage in the English-speaking world. It investigates the paradox of the hypervisibility of the thinning body and shows how, throughout history, hunger has given shape to innovative, powerfully transgressive dramaturgies.