Biographical Information of Eugene O'neill
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Biography of Eugene O'neill
Biography of Eugene O’Neill Trevor M. Wise Eugene Gladstone O’Neill was born on October 16, 1888, at the Barrett hotel in New York city, New York, son of James o’Neill, a well-known matinee idol, and Mary Ellen (Ella) Quinlan. Much of O’Neill’s youth was spent in the wings of the theater as he toured the country with his parents and older brother Jamie, watching his father perform his most famous role—the Count of Monte Cristo. When not touring the country with his family, O’Neill attended Catholic boarding school at St. Aloysius Academy at Mount Saint Vincent in the Bronx borough of New York. he then spent four years at Betts Academy, a non-sectarian prep school in Stamford, Connecticut. O’Neill spent the summers with his family at the Monte Cristo Cottage in New London, Connecticut, the only permanent home O’Neill knew as a child. in 1903, at the age of fifteen, o’Neill became aware of his mother’s morphine addiction and was introduced to alcohol by his brother Jamie, setting him on a path of heavy drinking and alcohol abuse. in the fall of 1906, o’Neill enrolled in princeton University, only to be expelled in the following spring for his poor academic per- formance. in october 1909, o’Neill secretly married Kathleen Jenkins, his first of three wives. Shortly after the wedding, o’Neill set sail for honduras to prospect for gold, but found none. While abroad, O’Neill lived the life of a waterfront derelict, working odd jobs and drinking heavily, until he contracted malaria and was forced to return to the United States. -
A Rhetorical Analysis of Eugene O'neill's Strange Interlude
This dissertation has been 61-4507 microfilmed exactly as received WINCHESTER, Otis William, 1933- A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE. The University of Oklahoma, Ph.D., 1961 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE A DISSERTATION SUBMITTED TO THE ŒADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY OTIS WILLIAM WINCHESTER Tulsa, Oklahoma 1961 A RHETORICAL ANALYSIS OF EUGENE O'NEILL'S STRANGE INTERLUDE APPROVEDB^ DISSERTATION COMMITTEE PREFACE Rhetoric, a philosophy of discourse and a body of theory for the management of special types of discourse, has been variously defined. Basic to any valid definition is the concept of persuasion. The descrip tion of persuasive techniques and evaluation of their effectiveness is the province of rhetorical criticism. Drama is, in part at least, a rhe torical enterprise. Chapter I of this study establishes a theoretical basis for the rhetorical analysis of drama. The central chapters con sider Eugene O'Neill's Strange Interlude in light of the rhetorical im plications of intent, content, and form. Chapter II deals principally with O'Neill's status as a rhetor. It asks, what are the evidences of a rhetorical purpose in his life and plays? Why is Strange Interlude an especially significant example of O'Neill's rhetoric? The intellectual content of Strange Interlude is the matter of Chapter III. What ideas does the play contain? To what extent is the play a transcript of con temporary thought? Could it have potentially influenced the times? Chapter IV is concerned with the specific manner in which Strange Interlude was used as a vehicle for the ideas. -
The Theatre of Eugene O'neill: American Modernism on the World Stage
The Journal of American Drama and Theatre (JADT) https://jadtjournal.org The Theatre of Eugene O'Neill: American Modernism on the World Stage The Theatre of Eugene O’Neill: American Modernism on the World Stage. Kurt Eisen. Methuen Drama Critical Companions Series. London: Methuen Drama, 2017; Pp 242 + xiv. Kurt Eisen’s excellent The Theatre of Eugene O’Neill: American Modernism on the World Stage appears as part of the Methuen Drama Critical Companions series, a series that “covers playwrights, theatre makers, movements and periods of international theatre and performance” and gives “attention to both text and performance” in critical surveys of the work of individual authors. Other contributions to the series include books on Beckett and Tennessee Williams and on the American stage musical and twentieth-century verse drama in England. Eisen here gives a succinct but rich account of O’Neill’s plays, captures well the breadth and range of O’Neill’s achievement, outlines key thematic concerns, and opens up interesting questions for both established scholars and those new to O’Neill’s vast, endlessly intriguing body of work. Essays by William Davies King, Alexander Pettit, Katie Johnson and Sheila Hickey Garvey offer additional and complementary critical perspectives. A comprehensive bibliography identifies all the major critical works and also points towards useful further reading. In other words, the book is a fine addition to the large volume of material in print on O’Neill as well as a suitable beginning point for students and scholars. From the beginning, Eugene O’Neill took himself and the American theatre seriously: one is struck, in placing O’Neill in the company of other Modernists, by how little mischief there is in O’Neill and how lacking the work is in frivolity. -
The Hairy Ape, Anna Christie, the First Man
https://onemorelibrary.com The Hairy Ape, Anna Christie, The First Man Eugene O'Neill Boni and Liveright, New York, 1922 "THE HAIRY APE" A Comedy of Ancient and Modern Life In Eight Scenes By EUGENE O'NEILL CHARACTERS ROBERT SMITH, "YANK" PADDY LONG MILDRED DOUGLAS HER AUNT SECOND ENGINEER A GUARD A SECRETARY OF AN ORGANIZATION STOKERS, LADIES, GENTLEMEN, ETC. SCENE I SCENE II SCENE III SCENE IV SCENE V SCENE VI SCENE VII SCENE VIII SCENE I SCENE—The firemen's forecastle of a transatlantic liner an hour after sailing from New York for the voyage across. Tiers of narrow, steel bunks, three deep, on all sides. An entrance in rear. Benches on the floor before the bunks. The room is crowded with men, shouting, cursing, laughing, singing—a confused, inchoate uproar swelling into a sort of unity, a meaning—the bewildered, furious, baffled defiance of a beast in a cage. Nearly all the men are drunk. Many bottles are passed from hand to hand. All are dressed in dungaree pants, heavy ugly shoes. Some wear singlets, but the majority are stripped to the waist. The treatment of this scene, or of any other scene in the play, should by no means be naturalistic. The effect sought after is a cramped space in the bowels of a ship, imprisoned by white steel. The lines of bunks, the uprights supporting them, cross each other like the steel framework of a cage. The ceiling crushes down upon the men's heads. They cannot stand upright. This accentuates the natural stooping posture which shovelling coal and the resultant over-development of back and shoulder muscles have given them. -
O'neill Society News
Boston Chosen as Site for Next International Conference in 2020 Fall 2018 O’Neill Society News The official newsletter of the Eugene O’Neill International Society Contents • O’Neill in New York and LA .............1 • Boston selected as the site of the 2020 conference .................................1 • Nancy, France Conference 2018....2 • ALA Conference May 2018 in San Francisco ................................................3 • “One Festival, Two Countries” in Danville, CA & New Ross, Ireland ..4 • News From Our Members ...............5 • ALA Conf 2019 Call for Papers .......5 • O’Neill One-Acts in Japan ................5 • Flock Theatre revives production of Long Day’s Journey into Night ....6 • Photos from O’Neill Events .............7 • Membership Renewals due Jan 1 .7 • MLA Conference participants ........8 • Rob Dowling tours China ................8 New York & Los Angeles Theatres • Upcoming Events in Society ..........8 filled with the sounds of O’Neill New York audiences were given the gift of two major productions of Boston Selected as plays by Eugene O’Neill in the spring of 2018. First, The Iceman Cometh the Site of the 2020 was given a Broadway staging with O’Neill Conference Denzel Washington in the lead role of Theodore “Hickey” Hickman and The membership of the O’Neill direction by George C. Wolfe. The play “laughed more often than I teared up,” Society voted at their May 26, 2018 opened at the Bernard Jacobs Theatre contrasting with other productions that business meeting that the site of the on April 26, and the cast featured some “tend to elicit adjectives like ‘searing’ next Eugene O’Neill International of Broadway’s most accomplished and ‘devastating’ (on the positive side) Conference will be Boston, MA. -
Hughie Page 3
A publication of the Shakespeare Theatre Company ASIDES 2012|2013 SEASON • Issue 3 Richard Schiff and Doug Hughes talk Hughie page 3 Eugene O’Neill’s creative process SHAKESPEARE THEATRE COMPANY page 7 A publication of the Shakespeare Theatre Company ASIDES Dear Friend, Hughie is a deceptively simple play. With 3 A Shared Fascination two characters and a single setting, the play is intimate. In a short period of 6 Hughie—Stripping the Soul Naked time, Eugene O’Neill manages to turn by Dr. Yvonne Shafer two nobodies in a late-night hotel lobby into sympathetic characters. As in all of his plays, O’Neill 10 Eugene O’Neill’s New York by Theresa J. Beckhusen makes us question how our own lives are shaped by the people we meet. 12 The Real American Gangster: Arnold Rothstein by Laura Henry Buda When undertaking O’Neill, the devil is in the details. The playwright conveys one layer of the story, the private 14 Play in Process and worlds of the Night Clerk and Erie Smith, solely through Hughie Cast and stage directions. Director Doug Hughes has taken on the Artistic Team formidable task of making these secret worlds just as 15 Coming, Going and palpable as the stage the two men share. Standing Still by Hannah J. Hessel In this issue of Asides, we have included an interview with 17 Drew’s Desk two of our talented artists, Broadway veteran Hughes by Drew Lichtenberg and star of stage and screen Richard Schiff. Also within this issue, Yvonne Shafer, a member of the Eugene O’Neill 19 Hero/Traitor Repertory Society, discusses O’Neill’s creative process, as well as 20 Performance Calendar and Hughie’s unique place within his body of work. -
Eugene O‟Neill: the Constant Presence April 2017
Eugene O‟Neill: The Constant Presence April 2017 SOCIETY BOARD PRESIDENT IN THE U.S., ON STAGE IN IRELAND J. Chris Westgate [email protected] 10th International Conference VICE PRESIDENT July 19-22, pp. 10-13 Robert M. Dowling 1 Central Connecticut State University National University of SECRETARY/TREASURER Ireland, Galway 2 Beth Wynstra [email protected] INTERNATIONAL SECRETARY — ASIA: Haiping Liu [email protected] INTERNATIONAL SECRETARY — EUROPE: Marc Maufort [email protected] 5 GOVERNING BOARD OF DIRECTORS CHAIR: Steven Bloom [email protected] 3 Jackson Bryer [email protected] Eugene O’Neill: Michael Burlingame [email protected] Ireland, the Constant Presence Robert M. Dowling [email protected] Thierry Dubost 4 [email protected] Kurt Eisen Photos: [email protected] 1. Chris Whitaker 2. A. Vincent Scarano Eileen Herrmann 3. Eugene O‘Neill Fdtn. [email protected] 4. Carol Rosegg 5. Stephanie Berger Katie Johnson [email protected] Daniel Larner [email protected] 1. Long Day’s Journey Into Night, Geffen Playhouse, pp. 17-18. Cynthia McCown 2. Long Day’s Journey Into Night, Monte Cristo Cottage, [email protected] pp. 19-20. Anne G. Morgan 3. Shell Shock & The Rescue, Playwrights‘ Theatre, Danville, [email protected] REMEMBERING pp. 28-29. David Palmer THE GELBS 4. The Emperor Jones, Irish Rep, pp. 21-22. [email protected] pp. 3-9 5. The Hairy Ape, The Armory, pp. 14-16. Robert Richter [email protected] EX OFFICIO What‟s Inside IMMEDIATE PAST PRESIDENT Jeff Kennedy Honorary board, special members . .24 President‘s Message . .2 [email protected] Conference Panels . -
Mourning Becomes Electra by Eugene O'neill: Aeschylus and Plato's Cave to Create a Dark Drama?
Mourning Becomes Electra by Eugene O’Neill: * Aeschylus and Plato’s Cave to Create a Dark Drama? For Richard Jenkyns and Josep Quer To once again examine Eugene O’Neill’s Mourning Becomes Electra from the perspective of the classical tradition is not necessarily an impossible task, but it would appear at this stage to be at least a quite risky endeavour. The fundamental debt this work owes to Aeschylus, 1 and to a lesser degree to Sophocles 2 and Euripides, 3 has been widely recognised and analysed since the premier performance on 26 October, 1931. 4 This was the legacy on which the American playwright based his trilogy ( Homecoming, The Hunted, and The Haunted ) to reveal the deep-seated motives that give rise to a hostile and tormented relationship between family members. In effect, the Mannon family saga, New England and the Grecian architecture of its great mansions, and the American Civil War form the contemporary framework of the mid-19th century setting of the tragedy of the Atrides 5 presented in the form of a psychological drama with characters marked by * This article is one of the results of a research project bestowed by the Ministerio de Educación y Ciencia “Usos y construcción de la tragedia griega y de lo clásico” – reference: FFI2009-10286 (subprograma FILO); main researcher: Prof. Carles Miralles Solà 1 See, for example: Clark 1932; Corbin 1932; Knickerbocker 1932; Brie 1933. See also, concerning similarities and dissimilarities: Young 1964; Travis 1988, 331-63; Dymkowski 1995, XII-XXII. Some authors have even pointed in other directions, that is, Shakespeare rather than Aeschylus: Frenz – Mueller 1966. -
Mourning Becomes Electra by Eugene O'neill
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diposit Digital de la Universitat de Barcelona MOURNING BECOMES ELECTRA BY EUGENE O’NEILL: AESCHYLUS AND PLATO’S CAVE TO CREATE A DARK DRAMA1 For Richard Jenkyns and Josep Quer Abstract: The fundamental debt of E. O’Neill’s Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author’s hypothesis, O’Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader’s right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O’Neill’s work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author’s article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O’Neill’s drama bearing in mind the above mentioned Platonic parameter. Keywords: Eugene O’Neill, Mourning Becomes Electra, Aeschylus, Plato’s cave, classical tradition To once again examine Eugene O’Neill’s Mourning Becomes Electra from the perspective of the classical tradition is not necessarily an impossible task, but it would appear at this stage to be at least a quite risky endeavour. -
Mourning Becomes Electra
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 2 | 2010 Voicing Conflict : Women and 20th Century Warfare An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra Aurélie Sanchez Electronic version URL: http://journals.openedition.org/miranda/1381 DOI: 10.4000/miranda.1381 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Aurélie Sanchez, “An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra”, Miranda [Online], 2 | 2010, Online since 03 July 2010, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/1381 ; DOI: https://doi.org/10.4000/ miranda.1381 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Po... 1 An American Tragedy: Memory and History in Eugene O'Neill's A Touch of the Poet and Mourning Becomes Electra Aurélie Sanchez 1 Eugene O'Neill's late plays usually deal with the revelation of grim, intimate secrets that unfold in the stifling atmosphere of isolated barrooms and family living rooms. Between Mourning Becomes Electra, written in 1931 and considered by the author as a turning point in his career, and A Moon for the Misbegotten, his final play, the characters become more and more isolated in cramped, -
Reflections of Science and Technology in American Drama from 1913 to 1941
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 Reflections of Science and Technology in American Drama From 1913 to 1941. Charles Keith Cockrell Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cockrell, Charles Keith, "Reflections of Science and Technology in American Drama From 1913 to 1941." (1999). LSU Historical Dissertations and Theses. 6935. https://digitalcommons.lsu.edu/gradschool_disstheses/6935 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Denise Schneider/Ramsey Carey for IMMEDIATE RELEASE 312.443.5151 Or [email protected] June 13, 2017 IMAGERY: Goodmantheatre.Org/Pressroom SOCIAL
CONTACT: Denise Schneider/Ramsey Carey FOR IMMEDIATE RELEASE 312.443.5151 or [email protected] June 13, 2017 IMAGERY: GoodmanTheatre.org/PressRoom SOCIAL: AH, WILDERNESS!, EUGENE O’NEILL’S “WELCOME DOSE OF LOVE AND LAUGHTER” (LA TIMES), BEGINS SATURDAY, JUNE 17 ***STEVE SCOTT DIRECTS THE RARELY-PRODUCED COMING-OF-AGE COMEDY WITH A CAST OF CHICAGO FAVORITES, AND NIALL CUNNINGHAM AND AYSSETTE MUÑOZ AS THE LOVE-STRUCK YOUNG COUPLE*** (Chicago, IL) Experience the fireworks of love—first love, unrequited love and mature love—on stage this summer, as Goodman Theatre concludes its 2016/2017 Season with a major revival of Eugene O’Neill’s Ah, Wilderness! Longtime Goodman Producer Steve Scott directs O’Neill’s only comedy, which follows the Miller family at the turn of the 20th century. As previously announced, Niall Cunningham (CBS’ Life in Pieces) leads the 15-member cast in his Goodman debut as Richard Miller, the poetry-obsessed, Yale-bound teenager whose love for his young neighbor, Muriel McComber (Ayssette Muñoz), drives him to one night of uncharacteristic rebellion. Ah, Wilderness! appears June 17 through July 23 (opening night is June 26) in the Albert Theatre. Tickets ($25-$75, subject to change) are available by phone at 312.443.4800, online at GoodmanTheatre.org/AhWilderness or at the box office (170 N. Dearborn). See page two for more information regarding events and accessibility. American Airlines is the Major Corporate Sponsor, ComEd is the Official Lighting Sponsor and Katten Muchin Rosenman LLP is the Corporate Sponsor Partner. “While I have spent much of my 30 years at the Goodman diving again and again into Eugene O’Neill’s oeuvre, I am pleased with Ah, Wilderness! to present a different director’s interpretation of this towering playwright,” said Artistic Director Robert Falls.