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Philosophical Synthesis in the Early Period Plays of Eugene O’Neill

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Philosophical Synthesis in the Early Period Plays of Eugene O’Neill UNIVERSITY OF CALIFORNIA Santa Barbara Belonging, Possession and the Ironic Life Force: Philosophical Synthesis in the Early Period Plays of Eugene O’Neill A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Ryder W. Thornton Committee in charge: Professor William Davies King, Chair Professor Simon Williams Professor Robert M. Dowling December 2018 The dissertation of Ryder W. Thornton is approved. ____________________________________________ Simon Williams ____________________________________________ Robert M. Dowling ____________________________________________ William Davies King, Committee Chair December 2018 Belonging, Possession and the Ironic Life Force: Philosophical Synthesis in the Early Period Plays of Eugene O’Neill. Copyright © 2018 by Ryder W. Thornton iii Curriculum Vitae (abbreviated) Ryder W. Thornton Cell: (267) 496 9910 [email protected] Education PhD, Theater, University of California, Santa Barbara, 2018 (expected) Dissertation: “Belonging, Possession and the Ironic Life Force: Philosophical Synthesis in the Early Period Plays of Eugene O’Neill.” Advisor: William Davies King MFA, Theatre Directing, Temple University, 2004 Thesis Production: The Imaginary Invalid by Molière (translation and direction). Written thesis: “A Directorial Approach to Molière’s The Imaginary Invalid.” Advisor: Dan Kern BA, English, University of Wisconsin, Madison, 1995 Honors Thesis: “Weaving Timeless into Time: A Study of Memory and Memorable Figures in T.S. Eliot’s ‘The Four Quartets.’” Advisor: Cyrena N. Pondrom. Selected Awards and Recognition Carol Lavin Bernick Faculty Grant–international conference travel, Tulane 2018 Professor Of Practice Travel Grant–international conference travel, Tulane 2018 Doctoral Travel Grant–award for international conference travel, UCSB 2017 Research Support Grants –funding awards for research, UCSB, 2014-18 UCSB Departmental Fellowship–first year fellowship, Dept. of Theater and Dance, 2013 Travel Award Grant–Temple University Award for travel-related research, 2002 Graduate Fellowship–Three-year fellowship Temple University, 2001 Fulbright Scholarship–Host: Eötvös Loránd Tudomány Egyetem, Budapest,1995 University Bookstore Award for Outstanding Research –Senior Thesis, 1995 Publications “Stately Women in Retrospect: Actresses jenny Bacon and joan Macintosh Recall Their Roles as Sara and Deborah Harford in Ivo van Hove’s More Stately Mansions at NYTW.” Eugene O’Neill Review, 38:1-2 (2017), pp 122-136. “Anna and The Antichrist: Nietzsche, Christian Symbolism, and Vedantic Philosophy in ‘Anna Christie’.” Eugene O’Neill Review, 37:2 (2016), pp. 145–163. Review: “The Iceman Cometh by George C. Wolfe.” Eugene O’Neill Review, vol 39, no. 2 (2018), pp. 331-335. Review: “The Hairy Ape by Richard jones.” Eugene O’Neill Review, vol 38, no. 1-2 (2017), pp. 170-174. Review: “Hughie by Michael Grandage.” Eugene O’Neill Review, vol. 37, no. 2 (2016), pp. 310–314. Book Review: “April Fool—Stories by Dezsô Kosztolányi.” budapestlive.hu. Pocsok Media. Web February 2000. “Influences and Innovations: The Paintings of Moricz Gabor.” Seven Magazine, vol. 1, no. 1, March 1999, p. 41. Conference Presentations “‘Accept yourself as you are:’ American Dreams and the Tragedy of Pragmatism in More Stately Mansions.” Migrations in American Drama and Theatre: 5th International Conference on American Drama and Theater, Nancy, France (June 2018) iv “Killing Catholic Guilt: Self-loathing and the Psychology of Fascism in Iceman Cometh.” Tenth International Conference on Eugene O’Neill, Galway, Ireland (July 2017) “Dissonant Protagonists: O’Neill’s Nietzschean Approach to Tragedy in the Early Plays.” 41st Annual Comparative Drama Conference, Orlando FL (April 2017). “A Theatrical Vocabulary for the Unfinished Play: Ivo van Hove’s More Stately Mansions at New York Theatre Workshop 1997.” ALA 27th Annual Conference (March 2016). “Kafka’s Comedies: An evening of adaptations on stage.” Metamorphosis: Human, Animal, Armor: International Conference. Santa Barbara, CA (December 2015). “Changeover Politics in Contemporary Hungarian Literature.” Fulbright Scholars in Hungary Conference, Eötvös Loránd Tudományegyetem. Budapest (December 1996). Teaching Experience and Academic Appointments Tulane University, Department of Theatre and Dance, New Orleans LA Professor of Practice, full time (fall 2017 to present) Plays and Playwrights - Survey of drama from the ancient Greeks to the present Fundamentals of Acting - Foundational acting class focusing on methods Honors Colloquium: “Creativity” - An honors seminar on the creative process UC Santa Barbara, Department of Theater and Dance Teaching Associate (spring 2017) Modern and Contemporary European Drama Teaching Assistant (2013-16): Performance in Global Contexts: Europe, Introduction to Acting, Play Analysis, Directorial Production American Musical and Dramatic Academy (AMDA), New York NY Acting Instructor (2011-13) Foundations, Graduation Showcase, Advanced Scene Study Temple University, Department of Theater, Philadelphia PA Adjunct Lecturer (2005-2010) Art of Acting, Creative Spirit, Collaborative Art, Acting II, Intro to Directing Northampton Community College (NCC), Dept. of Theater, Northampton PA Adjunct Instructor (2009) Acting I Languages Latin: Advanced reading knowledge of classical and medieval forms, medieval paleography. French: Intermediate oral and written. Hungarian: Intermediate oral and written. Professional Affiliations Board Member: Eugene O’Neill Society Member: SDC - Stage Directors and Choreographers Society. Member: DG - Dramatists Guild of America. Member: TCG - Theatre Communications Group Practical Experience Director of over 40 professional theater productions nationally and internationally. Selected credits include: New City Stage Company, Pennsylvania Shakespeare Festival, The Wilma Theater, Waling Fish Theater, EgoPo Productions, Kaibutsu, Pennsylvania Academy of Vocal Arts, Temple Theatres, New York University, UC Santa Barbara, The Pearl Theatre Company, Classic Stage Company, Inad Theatre Company, The Merlin International Theatre, White Heron Theatre Company and Tulane University. v ABSTRACT Belonging, Possession and the Ironic Life Force: Philosophical Synthesis in the Early Period Plays of Eugene O’Neill. by Ryder W. Thornton The plays of Eugene O’Neill’s early period express the playwright’s philosophic mind, which constructed drama from the metaphysics of philosophers he had begun reading in his late teens. Three seminal thinkers stand out as having the greatest influence on the dramatist: Arthur Schopenhauer, Max Stirner, and Friedrich Nietzsche. Their philosophies enabled O’Neill to construct a worldview in which tragedy could be staged for modern audiences. This dissertation presents analyses of one-act and full length plays from 1913 to 1921 revealing the influence of these philosophers and establishes that O’Neill was a fundamentally a philosophic playwright even from his earliest dramatic sketches. Specific concepts from Schopenhauer, Stirner, and Nietzsche went into O’Neill’s shaping of character arcs and dramatic circumstances. Among them are Schopenhauer’s concept of will, Stirner’s notion of possession and Nietzsche’s principle of the Apollonian-Dionysian duality. Schopenhauer’s will was foundational to O’Neill’s construction of tragic irony, which is apparent in his first one-act plays written in 1913 and 1914. Stirner’s ideas play a distinct role as O’Neill begins writing full length plays and constructs tragic characters that are brought down by their own actions such as john Brown in the unproduced Bread and vi Butter (completed in 1914) and the Robert Mayo in Beyond the Horizon (completed in 1918). Nietzsche’s influence is apparent in early successes like the Glencairn plays and becomes more pronounced as O’Neill moves into full-length drama. O’Neill did not isolate these philosophers’ theories. Their ideas, as well as ideas from other traditions, operate in concert in the plays demonstrating the playwright’s unique capacity for philosophical synthesis. In “Anna Christie” (completed in 1920), for example, O’Neill combines Nietzsche’s idea of Christian decadence, outlined in The Antichrist, with his own Catholic sensibilities, his reading of Eastern philosophy and Stirner’s concepts of ego and possession. In The Hairy Ape (completed in 1921) O’Neill invokes various Nietzschean theories and complements them with concepts from Stirner and Schopenhauer. vii TABLE OF CONTENTS Introduction .............................................................................................................................. 1 A Note on Translations ........................................................................................................ 7 I. Suffering and Solace: Nietzsche and Schopenhauer in the Early Plays………………………… 10 II. Rites of Passage: Realism, Religion, and Philosophy in the Glencairn Plays ................. 43 III. Tragedies of Ownness: Max Stirner’s Philosophy of Egoism in the First Full-Length Plays ................................................................................................................................ 61 IV. “New Forces Out of the Old”: Nietzsche, Stirner, Christian Symbolism, and Vedantic Philosophy in “Anna Christie” ....................................................................................... 93 V. Apes and Ghosts: Philosophy, Tragedy, and Comedy in The Hairy Ape ....................... 125 Afterword ............................................................................................................................
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