The Dehumanization of Humanity in Eugene O'neill's
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 . -
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. -
The Dramatic Work of Eugene O'neill Considered As to His Use of Literary Dialect As a Unifying Element
THE DRAMATIC WORK OF EUGENE O'NEILL CONSIDERED AS TO HIS USE OF LITERARY DIALECT AS A UNIFYING ELEMENT by Janet M. Marshall A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Arts in the Division of Languages and Literature Morehead State University September 1976 THE DRAMATIC WORK OF EUGENE O ' NEILL CONSIDERED AS TO HIS USE OF LITERARY DIALECT AS A UNIFYING ELEMENT Janet M. Marshall Morehead Sta University, 1976 Director of Thesis On the surface level it must appear to the reader(s} that a writer using literary dialect will do so because of using a dialect, with which the audience is familiar or a dialect which the me mbers of the audience use to a substantial degree . Further, if the motive is one of establishing verisimilitude, the writer will be faithful to the dialect unique to each character, if for no other purpose than being at one with an oral reality of discourse . Many writers of literary dialect--among them such figures as Whittier, Lowell, and Poe, in this country-- have been unsuccessful in the usage of dialect. The burden placed on general or wide audiences, the difficulty of representing the phonology of the dialect , and the distraction of the dialect itself are among major reasons for lack of writer-success in using dialect. 1 2 Krappe and Ives have discussed the nature of dialect and reasons for its lack of success, overall. However, some writers who have not articulated in terms of any literary criticism their employment of dialect have used dialect in a wider perspective. -
Study Guide For
Study Guide for Written by Róisín McBrinn and Sam Maynard Edited by Sam Maynard Rehearsal Photography by Marc Brenner Production Photography by Johan Persson This programme has been made possible by the generous support of the Harold Hyam Wingate Foundation 1 Contents Section 1: Cast and Creative team Section 2: An Introduction to Eugene O’Neill Eugene O’Neill: A timeline ‘Dat ole Davil’ – Eugene O’Neill, ANNA CHRISTIE, and the sea Section 3: ANNA CHRISTIE – The play Key Themes of ANNA CHRISTIE An introduction to the Three Principal Characters Section 4: Inside the Rehearsal Room A Discussion with Paul Wills, Designer A Discussion with David Hayman, playing Chris Christopherson Extracts from Assistant Director Simon Evans’ Rehearsal Diary Section 5: ANNA CHRISTIE in performance Before seeing the production: Practical Exercise After seeing the production: Discussion Exercise Section 6: Further Study Ideas for further reading Bibliography 2 section 1 Cast and Creative Team Cast: Paul Brightwell Jenny Galloway David Hayman Johnny the Priest Marthy Owen Chris Christopherson Jude Law Robert Lonsdale Henry Pettigrew Mat Burke Postman Larry Michael Walters Matt Wilman Ruth Wilson First Longshoreman Second Longshoreman Anna Christopherson Other roles played by members of the company. 3 Creative Team: ROB ASHFORD Director For the Donmar: as Director: Concert Performance of Merrily We Roll Along, A Streetcar Named Desire. As Director & Choreographer: Parade. As Choreographer: Guys and Dolls (Piccadilly). Theatre: As Director in London: Shrek the Musical. As Director on Broadway: How to Succeed in Business Without Really Trying, Promises Promises. As Choreographer on Broadway: Cry Baby, Curtains, The Wedding Singer, Thoroughly Modern Millie – Tony Award for Best Choreography. -
Eugene O'neill Society
1 Eugene O’Neill: Ireland, the Constant Presence The Tenth International Eugene O’Neill Conference, 2017 National University of Ireland Galway Wednesday, July 19 10:00-11:30 Eugene O’Neill Society Board Meeting 12:00-5:00 Registration 12:30-2:00 Session 1: Performing Views: O’Neill, Glaspell, and Shakespeare • Patrick Midgley, Texas Tech University, “Shakespeare and O’Neill, Cheek by Jowl: A One Man Mash-up” • David Roessel, Mark Mallet, with students Alexandria Dobbin, Julie Eller, Stockton University, “A Female View of Women Artists in the Provincetown Players: Susan Glaspell’s A Stepchild of the Sun” 2:15-3:30 Session 2: Living Performance • Dan McGovern, Board President of the Eugene O’Neill Foundation, “From Stage to Live Broadcasts and Streaming: O’Neill’s Theatre Guild Model in the Digital Age” • Polly L. Heinkel, University of Essex, East 15 Acting School, “Breathing Life into O’Neill’s One Act: A Director’s Journey” • Eric Fraisher Hayes, Eugene O’Neill Foundation, Tao House, “Producing the Unproduceable” 3:45-4:15 Abbey Theatre’s Eugene O’Neill Exhibit Lecture by Barry Houlihan, Archivist, James Hardiman Library, National University of Ireland Galway 4:20-4:40 Abbey Theatre’s Eugene O’Neill Exhibit tour led by Barry Houlihan, Archivist 4:20-4:50 Abbey Theatre 5:00-6:20 Opening Reception 6:20-6:40 Welcome: Patrick Lonergan, National University of Ireland Galway Audrey McNamara, University College Dublin Nelson O’Ceallaigh Ritschel, Massachusetts Maritime Academy, “The Irish O’Neill” 6:40-7:40 Keynote Address, Declan Kiberd, University -
A-Moon-For-The-Misbegotten.Pdf
Media Contact: Dawn Kellogg Communications Manager (585) 420-2059 [email protected] FOR IMMEDIATE RELEASE GEVA’S 43RD SEASON CONTINUES WITH A MOON FOR THE MISBEGOTTEN Eugene O’Neill’s classic play is a co-production with the Theatre Royal in Rochester’s Sister City of Waterford, Ireland. Rochester, N.Y., March 14, 2016 – A classic drama by America’s only Nobel Prize-winning playwright continues the 2015-2016 ESL Wilson Stage Series as Geva Theatre Center presents A Moon for the Misbegotten by Eugene O’Neill and directed by Ben Barnes in the Elaine P. Wilson Stage from March 29 through April 24. The jaded James Tyrone is on the edge of despair, and the fiercely passionate Josie Hogan is lonely beyond endurance. But on this night, when they meet on a barren patch of earth in the glow of an autumn moon, hope sparks between them. In this bittersweet elegy, two wounded hearts experience the power of redemption—and the saving grace of love. It is a stark look at humanity in its basest and loveliest form by four-time Pulitzer Prize and America’s only Nobel Prize-winning playwright, Eugene O’Neill. When Eugene O’Neill (1888 – 1953) began writing for the stage early in the 20th century, the American theatre was dominated by vaudeville and romantic melodramas. Influenced by Strindberg, Ibsen, and other European playwrights, O’Neill vowed to create a theatre in America, stripped of false sentimentality, which would explore the deepest stirrings of the human spirit. In 1914, he wrote: “I want to be an artist or nothing.” During the 1920s, he was awarded the Pulitzer Prize for three of his plays – Beyond the Horizon, Anna Christie, and Strange Interlude.