O'neill's Queer Interlude: Epicene Excess and Camp Pleasures
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O'neill Society News
Boston International Conference June 17-20, 2020 @ Suffolk University Fall 2019 O’Neill Society News The official newsletter of the Eugene O’Neill International Society Contents • EON Society at ALA 2019 .................2 • A Tribute to Kurt Eisen ......................2 • Society Annual Business Mtg .........3 • ALA Conference May 2019 in Boston and 2020 Conference Update....................................................3 • Peter Quinn wins O’Neill Award ....3 • O’Neill Festivals in Danville, CA and New Ross, Ireland ...............................4 • Eisel Reflections on Long Day’s ......5 • Babson Students to Tao House ......5 • Dowling on NPR Radio Show .........5 • Grad Student Paper Competition .5 • New Film on Charles Gilpin ............5 • 2020 Conferences for O’Neillians .6 • Garvey Comes Full Circle .................6 • Photos from Recent Productions of O’Neill plays .........................................7 O’Neill Conferences, Festivals and • Opportunity for ePublishing ..........8 • Review celebrates 5th Decade .......8 Performances Around the Globe The summer and fall were filled with multiple conferences, festivals and regional performances of plays by Eugene O’Neill. The activities took place in the hills of Danville, CA, at Tao House; at the American Literature Association Conference in Boston, MA; in New Ross, Ireland at the Eugene O’Neill Theatre Festival, and many stops in between. We’ll highlight these events in this edition of the newsletter! Word came just as we were going to press that O’Neill Society member, celebrated scholar and poet George Monteiro died suddenly from a heart attack on Tuesday, November 5. His wife Brenda Murphy reported that he had been dealing with debilitating neurological problems for several years, a “Parkinsonism” not unlike Eugene O’Neill’s. -
The Philosophy of Eugene O'neill
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1929 The Philosophy of Eugene O'Neill Judith Reynick Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Reynick, Judith, "The Philosophy of Eugene O'Neill" (1929). Master's Theses. 440. https://ecommons.luc.edu/luc_theses/440 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1929 Judith Reynick THE FrlILO~OPHY OF EUG~~B O'NEILL JUDITH Ri!."'YN 10K A thesis submitted in partial fulfillment of the requirements i'or the degree of Master of Arts in Loyola University 1929 Judi th Reyni ck University of Chicago, Ph.B., 1921 • . Teacher of English, Schurz High School. TABLE ·OF GON'r~ . I. INTRODUCTION . 1. ate. temen t of problem 2. Method of dealing with problem·: 3. Brief sketch of au thor GROUPING' Romantic or objective Xaturalistic and autobiographical 3. Symbolic and subjective OONOLUS,IONS IV. LIS T OF PLAYS RE.'V lEi/ED v. BIBLIOGRAPHY F'..;:;",.-o_-----------------:--------, Eugene O'Neill, the American playwrightl That these terms are almost synonymous is the conclusion one is tl forced to, if , to him, a study of contemporary dramatic criticism of the last fourteen years is any criterion. -
Eugene O'neill and Samuel Beckett
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Theatrical Experience in search of God ; Pessimism and Promise: Eugene O’Neill and Samuel Beckett Seung- En, Song MPhil in English Literature The University of Edinburgh 2012 Song 1 Declaration I hereby declare that this thesis has been composed by myself only. Except for ideas and passages properly acknowledged in the text, this writing is all my own work. The work has not been previously submitted for any other degree or professional qualification. Signed, Seung-En, Song The University of Edinburgh Song 2 Acknowledgements Writing this thesis was a pilgrimage experience, leading me from darkness to light. It would not have been possible to complete this journey without the support of many people: my supervisor, Dr. Olga Taxidou, my academic advisor, M Van De Zande, Professor Choi, Dr. -
The Hairy Ape As an Expressionist Play
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com www.the-criterion.com The Criterion: An International Journal In English ISSN: 0976-8165 The Hairy Ape As An Expressionist Play Rajesh S. Gore Assistant Professor and Head, Dept.of English Toshniwal College, Sengaon, Dist-Hingoli Abstract: Expressionism is a term first used by painter Julian Auguste Harve in 1901, while trying to distinguish his paintings from Impressionism. Expressionist movement in art was initiated in Germany in early 20th century under the influence of Swedish Playwright Strindberg. It was at its height between 1910-1925, just before, during and after the World War-I. In America, Expressionism made a strong impact on the plays of Eugene O'Neill such as ' The Emperor Jones (19221), The Hairy Ape (1922) and The Great God Brown (1926). The Hairy ape is the first expressionist play in America. The Hairy Ape is an expressionist play by Eugene O’Neil about a brutish, unthinking laborer known as Yank as he searches for a sense of belonging in world controlled by the rich. Keywords: Expressionism, Impressionism, brutish, unthinking, laborer, belonging. Eugene O'Neill is an eminent playwright of the 20th century American drama. He is not only the creator of the serious American drama, but he ranks with the greatest European dramatists of the 20th century. -
O'neill and Nietzsche: the Making of a Playwright and Thinker
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1974 O'Neill and Nietzsche: The Making of a Playwright and Thinker Regina Fehrens Poulard Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Poulard, Regina Fehrens, "O'Neill and Nietzsche: The Making of a Playwright and Thinker" (1974). Dissertations. 1385. https://ecommons.luc.edu/luc_diss/1385 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1974 Regina Fehrens Poulard 0 'NEILL AND NIEI'ZSCHE: THE MAKING OF A PI.A'YWRIG HT AJ.'JD THDl'KER by Regina Foulard A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy June 1974 ACKNOWLEIGMENTS I wish to thank the director of llzy" dissertation, Dr. Stanley Clayes, and llzy" readers, Dr. Rosemary Hartnett and Dr. Thomas Gorman, for their kind encouragement and generous help. ii PREFACE Almost all the biographers mention Nietzsche's and Strindberg's influence on O'Neill. However, surprisingly little has been done on Nietzsche and O'Neill. Besides a few articles which note but do not deal exhaustively with the importance of the German philosopher1 s ideas in the plays of O'Neill, there are two unpublished dissertations which explore Nietzsche's influence on O'Neill. -
MGM Studio News (January 14, 1939)
. STUDIO NEWS Eddie Cantor Signed by M-G-M Star in Big Musical Comedy 'PIP ID -J Sf g W To Eddie Cantor will return to the screen under the banner of Metro- Goldwyn-Mayer. A contract just signed assures exhibitors at least Published In the Interests of Metro-Goldwyn-Mayer Pictures Studios one big Cantor musical comedy during 1939 with the star of “Kid VOL. V—CULVER CITY, CALIFORNIA, SATURDAY, JANUARY 14, 1939— No. 13 Boots,” “Whoopee,” “The Kid from Spain” and “Roman Scandals.” Although Cantor has not made a picture since “Ali Baba Goes to Town,” devoting Title Is Changed for all his time to radio, his activity on the New Nelson Eddy Film air has kept him closely associated with the As this issue of Studio News goes screen. to press, announcement is made His personal appear- that a new title has been chosen ances have been terrific for “Song of the West,’’ the Metro- successes in the Goldwyn-Mayer production star- and ring Nelson Eddy, with Virginia course of his radio work Bruce and Victor McLaglen. The he has constantly kept picture will be released as “The his audiences picture- Dusty Road.” minded with his screen discoveries. The latest is Cantor Terry Kilburn, the English boy actor who Wallace Beery scored in “Lord Jeff” and “Christmas Carol.” Cantor also was responsible to a Starts Work On great degree for the careers of Deanna Durbin and Bobby Breen. °Sergt. Madden' Detailed plans for Cantor’s first picture under his contract with M-G-M will be With “Stand Up and Fight” on its announced shortly. -
The Influence of Psychoanalysis Theory on Eugene O'neill
IRWLE Vol. 9 No. II July 2013 1 The Influence of Psychoanalysis Theory on Eugene O’Neill Sabareen Fathima "Eugene O’Neill is one - and the most important one - of the dramatists who have made present - day tragedy possible. Without him contemporary tragedy would be virtually abandoned, deprived of force and impetus, of polemic discussions and models of realities"(Alfonso 98). In the shadow of O’Neill, tragedy had a stronghold despite the repressive presence of apathetic and phlegmatic society. Sastre Alphonso iterates that"iIn the shadow of Eugene O’Neill, it is possible to write a tragedy in today's world (98). Though born into an Irish Catholic family, O’Neill (1888-1953) grew up in a world of unsolicited free will, courtesy his parents who extensively travelled, emanating a sense of solitude within the child, who every time craved for his mother's affection. He was then sent to an ascetic world, where children were rigorously governed by nuns and priests. The sense of intimacy towards his family, lead to cultivate a tendency within O’Neill, that was ought to be subjective and idiosyncratic. Black is very frank about the fact that though "Unconformity seemed to hold Eugene back, nevertheless, it was always tolerated. Long before he could have known in any disciplined way what knowledge is, he had the cast of mind that might suit a future psychoanalyst or a philosophical skeptic or a poet." (60) The larger themes of O'Neill's work, their intensity and robustness, find magnificent reflection in the architectonic and well-pitched anatomy of his dramas. -
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. -
Two Tendencies Beyond Realism in Arthur Miller's Dramatic Works
Inês Evangelista Marques 2º Ciclo de Estudos em Estudos Anglo-Americanos, variante de Literaturas e Culturas The Intimate and the Epic: Two Tendencies beyond Realism in Arthur Miller’s Dramatic Works A critical study of Death of a Salesman, A View from the Bridge, After the Fall and The American Clock 2013 Orientador: Professor Doutor Rui Carvalho Homem Coorientador: Professor Doutor Carlos Azevedo Classificação: Ciclo de estudos: Dissertação/relatório/Projeto/IPP: Versão definitiva 2 Abstract Almost 65 years after the successful Broadway run of Death of a Salesman, Arthur Miller is still deemed one of the most consistent and influential playwrights of the American dramatic canon. Even if his later plays proved less popular than the early classics, Miller’s dramatic output has received regular critical attention, while his long and eventful life keeps arousing the biographers’ curiosity. However, most of the academic works on Miller’s dramatic texts are much too anchored on a thematic perspective: they study the plays as deconstructions of the American Dream, as a rebuke of McCarthyism or any kind of political persecution, as reflections on the concepts of collective guilt and denial in relation to traumatizing events, such as the Great Depression or the Holocaust. Especially within the Anglo-American critical tradition, Miller’s plays are rarely studied as dramatic objects whose performative nature implies a certain range of formal specificities. Neither are they seen as part of the 20th century dramatic and theatrical attempts to overcome the canons of Realism. In this dissertation, I intend, first of all, to frame Miller’s dramatic output within the American dramatic tradition. -
Historical Theater Programs Collection MS-87 Wright State
Historical Theater Programs Collection (MS-87) Guide This finding aid was produced using ArchivesSpace on September 21, 2021. Description is written in: English. Describing Archives: A Content Standard Wright State University Libraries, Special Collections and Archives Special Collections and Archives 3640 Colonel Glenn Hwy Dayton, OH 45435-0001 [email protected] URL: http://www.libraries.wright.edu/special Historical Theater Programs Collection (MS-87) Guide Table of Contents Summary Information .................................................................................................................. 3 Scope and Contents ...................................................................................................................... 3 Arrangement ............................................................... .................................................................. 3 Administrative Information .......................................................................................................... 4 Collection Inventory ............................................................... ...................................................... 4 Series 1: Plays and Musicals ............................................................... ....................................... 4 Series 2: Animal Shows & Races ............................................................................................. 29 Series 3: Concerts ............................................................... ..................................................... -
Uniformity of Theme in Eugene O'neill: Nature, a Sentient Factor in Man's Destiny
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1932 Uniformity of Theme in Eugene O'Neill: Nature, a Sentient Factor in Man's Destiny Annye Brittingham Burbank College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons, and the Theatre and Performance Studies Commons Recommended Citation Burbank, Annye Brittingham, "Uniformity of Theme in Eugene O'Neill: Nature, a Sentient Factor in Man's Destiny" (1932). Dissertations, Theses, and Masters Projects. Paper 1539624427. https://dx.doi.org/doi:10.21220/s2-p94p-k619 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. UNIFORMITY OF THEME I' in EUGENE O'NEIIt NATURE, A SENTIENT FACTOR IN MAN'S DESTINY by ANNYE BRITSINSHAM BURBANK S0BMITTB3) li PARTIAL F0IF1LLMENT OF THE HFQUIEMEHTS OF THE COLLEGE OF WILLIAM AND MARY for the degree of MASTER OF ARTS CONTENTS Chapter Page I ■purpose of Thesis 7 II Resume of the Life of Eugene Gladstone O'Neill: His Personality and Its Reflection 8 III O*Neill#s Dramatic Technique: 14 Revival of Old and Invention of New Dramatic Devices Expressionism or Symbolism 16 "The Emperor-lOnes" 16 "The Hairy Ape** 17 "Dynamo" 18 Mashs and Chorus 19 "The Great God Brown** -
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.