DOCSLIB.ORG

Expressionism and Epic Theatre (Cambridge, L982), P.27

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Expressionism and Epic Theatre (Cambridge, L982), P.27 JONATHAN JAMES CRAMER EXPRESSIONiSM IN EUGENE O'NEILL AND ELMER RICE L'EXPRESSIONISME CHEZ EUGENE O'NEILL ET ELMER MCE Mémoire présenté a la Faculté des études supérieures de l'université Laval pour ['obtention du grade de maître es arts (M.A.) Département des littératures FACULTÉ DES LETTRES CMIVERSITÉ LAVAL Janvier 2000 O Jonathan James Cramer, 2000 National Library Bibliothèque nationale 14 of,,, du Canada Acquisitions and Acquisitions et Bibliographie Selvices services bibliographiques 395 Wellington Street 395. nie Wellington OnawaON KlAON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Librar). of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette t4èse. thesis nor substantid extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imphmés reproduced without the author's ou autrement reproduits sans son permission. autorisation. To Mom, Dad, Suzama and Amie Résumé This thesis will examine how certain techniques of stage drama in The tldding ,4fizchine and The Enrperor Joiies. The Hain Ape, The Great God Brown and Strmge Interlrtde distinguish expressionism from other literary movements, especially realism. This study attempts to define expressionism in Amencan theatre as it manifested itself in the work of Elmer Rice (1892- 1967) and Eugene O'Neill (1 888- 1953). By examining the techniques and dramatic tendencies of O'Neill and Rice, this thesis focuses on the problem created by the expression of persona1 ideas and emotions by the playwright while he simultaneously assigns to his plays universal values with which he wishes the audience to associate. Because the work of O'Neill and Rice helped to define the criteria for American expressionism, this thesis examines closely each author's use of dialogue, plot structure and stage technique in order to establish a link between the use of the distortion of these dranzatic e1ements and the irnmediate dramatic effect of this distortion on the audience. Jonathan Cramer Anthony Raspa TABLE OF CONTENTS *.. Résumé Engiish. ...................................................................il] French. ...................................................................... .iv Table of Contents. .........................................................................,v Pre face. .....................................................................................vi Chap ter 1: The Roofs of Eipressiorl isi?r:Ibsei2 a!id Striridberg. .....................1 Chapter II: Ed'j Expressio~iisni:Sta~~islmsly arid Daduisni.. .....................23 C hapter III : Dialogtte: Mdciiig La ri page Stra rige. .................................3 7 C hap ter IV: Character and Actirig Sgk.............................................. .65 Chapter V: Plot, Atnrospliere and SettUig.. ......................................... -.86 Conclusion : A Final Look at the E.~pressio~iismof O 'Neill und Rice.. ........ 109 . * Bibliography ............................................................................ 1 12 Prefac e In the introduction to his collected plays in 1950, Arthur Miller makes a simple but vital statement: "1 wrote these plays to be perfomed." Though quite simple, his statement is meant to remind the reader of something students and cntics seem to forget: his plays were created with the intention of being staged. Ernesr Hemingway, on the contrary, did not tvrite A FareweU ro Arnzs with the hope of it becoming a Hollywood motion picture. He wrote the novel as an expression of himself and his views of a lost generation. Mile Hemingway's art is no less powerful than Miller's, its descriptive medium is quite different. A novel exists in a limited realm consisting of just the written lines themselves and the readrr's mind. For the most part, it is not intended to extend farther than the confines of the reader's psyche. A play, however, does not reach its full artistic potential until it is created and perfomed in front of an audience. Since the age of eight yearç old I have been participating in drama in one form or another. 1 have always been fascinated by the power of the stage, as both symbol and link between audience and the author. A spectator is at the mercy of the playwright, for it is the playwright who, for the most part, controls the audience's experience for that short period of time. Perhaps something similar can be said for al1 other forms of art, but within the context of theatre, the audience is trapped and forced to react to the drarnatic moment as it reveals itself It is this ability of the playdght to control emotion and expenence, even if only momentarily, that led me to develop my interest in expressionism. AAer my Freshman year at the University of New Hampshire I had renounced theatre as my major. The politics and popularity games of the theatre deparmient made me lose the taste for what had originally drawn me to the stage. In the spring semester of my sophomore year, my friend Brendan Quigley persuaded me to audition for Elmer Rice's The Adding Macltiile. Neither of us had read the play but we had both heard that is was unlike the usual productions of Hunller and Our Town. In his treatment of the play, Gilbert Davenport, who was the director for this University of New Hampshire production, emphasized the subjectivity and inner turmoil of man's discontentment in the machine age. He subtly steered the actors away fkorn the realistic techniques of Stanislavsky towards the impending, almost threatening modes of expressionism for which Rice's production called. In Davenport's handiing, the audience's experience seemed subordinate to Rice's desire to project emotion and symbol. To this challenge, for the first time in my short acting career, 1 reacted instead of acted. The range of my character was limited to a fleeting scene rnarked by robot-like speech and movements, but as a character I was not expected to try to express the pre- packaged emotions of the realists, but rather a complex system of symbols created by Rice. The play was an exercise in subjectivity, a subtle assault on the senses that seemed ovenly absurd and yet pertinent to my persona1 experience. Participating in Davenport's production of The Addir~g Machine whetted rny curiosity for expressionism and expenmental theatre. This thesis attempts, in a broad sense, to examine the expressionism of Rice and O'Neill and how the techniques employed in the expressionistic works of these authors distinguish expressionism from other literary movements. This thesis attempts to vii encompass the movement of expressionism as a distinct artistic and specifically dramatic movement as well as exarnining the use of distortion as both an aesthetic and symbolic tool of drama. In this study, I hope to illuminate the various themes presented by both authors, while indicating their distinct dramatic techniques and principles. Through the examination of plot, character, dialogue and stage technique, 1 also attempt to demonstrate the importance of subjectivity as a uniQing trait in the expressionistic works of Rice and O'Neill. We are fortunate that O'Neill was a prolific dramatist, but his formidable body of dramatic works forced me to limit my study to just a handfül of plays. The decision to study only one play by Rice was influenced considerably by the author's unfortunate descent into obscurity over the past thiny years. It is extremely difficult to locate copies of his lesser-known works. The Adnirlg hfacachiite, however, proves so pregnant with theme and symbol that it deserves its own doctoral thesis. Rice was an innovator, but like al1 other great American dramatists, he has too ofien appeared merely a talented student of Eugene O'Neill. 1 was about to dismiss Rice in that way but as my interest in his expressionism grew, 1 realized that my study of Rice, should be, instead, a cornparison of both him and O'Neill. Unfortunately, there is little written about Rice. 1 had the pleasure of corresponding shortly with Rice's biographer, but even he could not locate some of the piays I was looking for. On the other hand, there is a vast sea of insightful criticism of O'Neill, readily available in almost any university library. In this study, my work on O'Neill was aided by the multitude of articles and texts of Laval University, University of New Hampshire, Riviere College, and St. Anselm's College. My work on Rice, viii however, benefits little fiom the supenor criticism and insight of scholan greater than mysel f. I would like to thank the above-mentioned universities for allowing me access to their archives and photocopying services. I should like to thank the students of rny Modem America?~Theatre course that I gave in the Département des littératures at Laval, whose questions, reactions and comments on expressionism forced me to simpliQ and explain my theories in a manner that proved most pertinent to this study. 1 am indebted to my friend Kent Judiesch for his support and his congenial encouragement. I am indebted to the Département des littératures for its generosity in granting me a scholarship. 1 would also like to thank Professor Nigel Thomas and Professor Thomas Reisner for answering the vital questions that helped me narrow down the scope of my study. 1 also offer thanks to Professor Peter Sabor who generously offered invaluable comments and suggestions on how to strengthen this thesis. I have had the great honor and privilege to study under Professor Anthony Raspa, a generous scholar, mentor and fhend who tolerated my academic inadequacies and forced me to see the flaws of my writing and replace them with clarity and precision.
Load more

Recommended publications
  • Didactic Fragmentation in ''Scenes from the Big Picture'
    Didactic Fragmentation in ”Scenes from the Big Picture” (2003) by Owen McCafferty Virginie Privas-Bréauté To cite this version: Virginie Privas-Bréauté. Didactic Fragmentation in ”Scenes from the Big Picture” (2003) by Owen McCafferty. 2012. halshs-01071477 HAL Id: halshs-01071477 https://halshs.archives-ouvertes.fr/halshs-01071477 Preprint submitted on 5 Oct 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. !1 Didactic Fragmentation in Scenes from the Big Picture (2003) by Owen McCafferty Virginie Privas-Bréauté Université Jean Moulin - Lyon 3 Brecht’s dramatic theory helps demonstrate that the contours of contemporary Northern Irish drama have been reshaped. In this respect, Owen McCafferty’s play Scenes from the Big Picture has Neo-Brechtian resonances. The audience is presented with frag- ments of lives of people, bits and pieces of a whole picture. This play exemplifies Brecht’s idea of a didactic play in so far as the audience is called to learn about the Northern Irish Troubles from the play through the device of fragmentation: the uneven background of McCafferty’s play – i.e. the Troubles – is peopled with traumatised indi- viduals, proportionally fragmented.
    [Show full text]
  • The Theatre of the Real Yeats, Beckett, and Sondheim
    The Theatre of the Real MMackenzie_final4print.indbackenzie_final4print.indb i 99/16/2008/16/2008 55:40:32:40:32 PPMM MMackenzie_final4print.indbackenzie_final4print.indb iiii 99/16/2008/16/2008 55:40:50:40:50 PPMM The Theatre of the Real Yeats, Beckett, and Sondheim G INA MASUCCI MACK ENZIE THE OHIO STATE UNIVERSITY PRESS • COLUMBUS MMackenzie_final4print.indbackenzie_final4print.indb iiiiii 99/16/2008/16/2008 55:40:50:40:50 PPMM Copyright © 2008 by Th e Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data MacKenzie, Gina Masucci. Th e theatre of the real : Yeats, Beckett, and Sondheim / Gina Masucci MacKenzie. p. cm. Includes bibliographical references and index. ISBN 978–0–8142–1096–3 (cloth : alk. paper)—ISBN 978–0–8142–9176–4 (cd-rom) 1. English drama—Irish authors—History and criticism—Th eory, etc. 2. Yeats, W. B. (William Butler), 1865–1939—Dramatic works. 3. Beckett, Samuel, 1906–1989—Dramatic works. 4. Sondheim, Stephen—Criticism and interpretation. 5. Th eater—United States—History— 20th century. 6. Th eater—Great Britain—History—20th century. 7. Ireland—Intellectual life—20th century. 8. United States—Intellectual life—20th century. I. Title. PR8789.M35 2008 822.009—dc22 2008024450 Th is book is available in the following editions: Cloth (ISBN 978–0–8142–1096–3) CD-ROM (ISBN 978–0–8142–9176–4) Cover design by Jason Moore. Text design by Jennifer Forsythe. Typeset in Adobe Minion Pro. Printed by Th omson-Shore, Inc. Th e paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials.
    [Show full text]
  • Realism.VL.2.Pdf
    Realism Realism 1861- 1914: An artistic movement begun in 19th century France. Artists and writers strove for detailed realistic and factual description. They tried to represent events and social conditions as they actually are, without idealization. This form of literature believes in fidelity to actuality in its representation. Realism is about recreating life in literature. Realism arose as an opposing idea to Idealism and Nominalism. Idealism is the approach to literature of writing about everything in its ideal from. Nominalism believes that ideas are only names and have no practical application. Realism focused on the truthful treatment of the common, average, everyday life. Realism focuses on the immediate, the here and now, the specific actions and their verifiable consequences. Realism seeks a one-to-one relationship between representation and the subject. This form is also known as mimesis. Realists are concerned with the effect of the work on their reader and the reader's life, a pragmatic view. Pragmatism requires the reading of a work to have some verifiable outcome for the reader that will lead to a better life for the reader. This lends an ethical tendency to Realism while focusing on common actions and minor catastrophes of middle class society. Realism aims to interpret the actualities of any aspect of life, free from subjective prejudice, idealism, or romantic color. It is in direct opposition to concerns of the unusual, the basis of Romanticism. Stresses the real over the fantastic. Seeks to treat the commonplace truthfully and used characters from everyday life. This emphasis was brought on by societal changes such as the aftermath of the Civil War in the United States and the emergence of Darwin's Theory of Evolution and its effect upon biblical interpretation.
    [Show full text]
  • Year 10 Term 1: Component 1 Devising Theatre
    Year 10 Term 1: Component 1 Devising theatre Devising techniques As part of Eduqas GCSE Drama you are required to: Devising – A method of theatre- making in which the • devise an original 10- 15 minute performance from script originates from a performing ensemble (team) a stimuli working collaboratively. • A written 750-900 word portfolio explaining the Naturalistic Improvisation - When an actor performs research, and development of the devising process. a character as if they are a real person • An evaluation, explaining your successful and with real memories and beliefs. This requires unsuccessful aspect of the performance. Empathy (when an actor puts themselves in the character’s shoes). The devised piece must be in the style of a chosen Mime -Suggesting action, character or emotion practitioner. without words, using gesture, expression and movement. Last years exam paper: Monologue – When the character is speaking 1. A statement ‘The Promise’ his/her thoughts aloud, directly addressing another 2. A song ‘7 Years’ by Lukas character or the audience. Graham Stimulus – A recourse which inspires ideas for 3. A quote ‘Sometimes I can creating drama. feel my bones straining Painting under the weight of all the A book lives I’m not living’ Jonathan Safran Foer (Extremely Loud and Quote Incredibly Close). 4. An Image Song Lyrics Year 10 Term 1: Component 1 Devising Theatre Research- Explore each stimuli, finding out all the A sequence in a chronological order fact around it. including a beginning, middle and end. Map ideas – Write all your initial ideas on a mind map. Discuss – Share your ideas with your group and decide on a final idea.
    [Show full text]
  • Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
    JULY 2017 WELCOME MIKE HAUSBERG Welcome to The Old Globe and this production of King Richard II. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do. MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people. The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives. INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places. EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage. STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations. IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve.
    [Show full text]
  • The Role of the Theatre Audience: a Theory of Production and Reception
    THE ROLE OF THE THEATRE AUDIENCE THE ROLE OF THE THEATRE AUDIENCE: A THEORY OF PRODUCTION AND RECEPTION By SUSAN BENNETT, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Parial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University January 1988 DOCTOR OF PHILOSOPHY (1988) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: The Role of the Theatre Audience: A Theory of Production and Reception AUTHOR: Susan Bennett, B.A. (University of Kent at Canterbury) M.A. (McMaster University) SUPERVISOR: Dr. Linda Hutcheon NUMBER OF PAGES: viii, 389 ii ABSTRACT Th thesis examines the reception of theatrical performanc by their audience. Its starting points are (i) Brech s dramatic theory and practice, and (ii) theories 0 reading. These indicate the main emphases of the th ,is--theoretical approaches and performance practices, rather than the more usual recourse to dramatic ;xts. Beyond Brecht and reader-response criticism, other studies of viewing are explored. Both semiotics lnd post-structuralism have stimulated an intensity )f interest in theatrical communication and such inves ~gations provide an important impetus for my work. In suggesting a theory of reception in the theatre, examine _theatre's cultural status and the assumption underlying what we recognize as the theatrical event. The selection of a particular performanc is explored and from this, it is suggested that there _s an inevitable, inextricable link between the produc ~ve and receptive processes. The theory then looks to lore immediate aspects of the performance, including 1e theatre building (its geographic location, architectu 11 style, etc.), the performance itself, and the post-p :formance rituals of theatre-going.
    [Show full text]
  • American Theatre and Drama Eugene O'neill and His Contemporaries
    Theatre 365-1: American Theatre and Drama Eugene O’Neill and His Contemporaries Monday/Wednesday 9:30-10:50am, Parkes Hall 215 Instructor: Shannon K. Fitzsimons ([email protected]) Office Hours: By appointment Course Description This course will examine American drama and theatre history from 1915 to 1945 through the stylistically diverse career of Eugene O'Neill, the only American dramatist to win the Nobel Prize for Literature. Special emphasis will be placed on O'Neill's early career with the Provincetown Players, the expressionistic experiments of the 1920s, social dramas of the Depression years, and finally, the realist family dramas of the 1940s. Playwrights (besides O'Neill) to be studied include Susan Glaspell, Elmer Rice, Sophie Treadwell, Gertrude Stein, Marc Blitzstein, Clifford Odets, Tennessee Williams, and Arthur Miller. Assignments Discussion Questions Beginning with class on Wednesday, January 4, and continuing through class on Wednesday, February 29, students are required to post TWO discussion questions on the assigned reading(s) for each class on Blackboard. Discussion questions are due by 8 am on the day of class. Students are expected to post discussion questions for 15 of the 17 discussion days; in other words, you may opt to not write questions for two classes of your choice. The discussion questions for each class are worth 1% of your final grade, for a total of 15%. They will be marked on a complete/incomplete basis, with complete questions receiving an A and incomplete questions receiving a zero. Contextual Presentation and Summary/Bibliography Each student will be responsible for presenting one ten-minute in-class presentation on a topic related to the course material; topics for each class meeting are listed on the weekly schedule below and a sign-up sheet for these presentations will be circulated on the first day of class.
    [Show full text]
  • Wojciechowski 1 Study Guide for Epic Theatre, Bertolt Brecht, the Theatre
    Wojciechowski 1 Study Guide for Epic Theatre, Bertolt Brecht, the Theatre of the Absurd, and Friedrich Dürrenmatt 1. Define Epic Theatre. Theatrical movement from the early to mid-twentieth century that responded to the political climate of the time to a new political theater Erwin Piscator – German theater director Encouraged playwrights to address issues related to “contemporary existence” Staging: documentary effects (projections on screens), audience interaction, use of chorus The Epic Theatre was a reaction against the psychological realism in writing and staging associated with playwrights like Henrik Ibsen. At the same time, it recalls techniques employed by the Classical Greeks, like Euripides. One of the goals of Epic Theatre was to remove the audience from being emotionally involved in the characters so that they could respond and be moved to action by the message of the play. This involved a practice called verfremdungseffekt. 2. What is verfremdungseffekt? A. B. C. D. Why? 3. Some theatrical techniques (technical/performance) to achieve verfremdungseffekt: A. i. Origin: Classical theater B. i. Origin: Classical theater Wojciechowski 2 ii. long soliloquies that are narrative and self-revelatory C. i. light the house as well as the stage ii. place lighting equipment on the stage D. i. play characters believably without convincing either themselves or the audience that they have “become” the characters 4. Some dramatic techniques to achieve verfremdungseffekt: A. B. i. Notes describe minimalistic staging. ii. Stage directions do not describe psychological characterization – only physical. C. D. E. F. 5. The Epic Theatre movement was most developed by Bertolt Brecht; who is he? A.
    [Show full text]
  • Religion and Realism in Late Nineteenth-Century American
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Religion and realism in late nineteenth-century American literature Lisa Irene Moody Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Moody, Lisa Irene, "Religion and realism in late nineteenth-century American literature" (2009). LSU Doctoral Dissertations. 134. https://digitalcommons.lsu.edu/gradschool_dissertations/134 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RELIGION AND REALISM IN LATE NINETEENTH-CENTURY AMERICAN LITERATURE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Lisa Irene Moody B.A., University of Chicago, 1986 M.A., Northwestern University, 1991 December 2009 ACKNOWLEDGEMENTS Throughout the process of writing this dissertation, I have been guided by many excellent faculty and colleagues, each of whom has added significantly to this project. First and foremost, I would like to acknowledge the mentorship of my dissertation director, J. Gerald Kennedy, for his expert guidance, close readings, and overall interest in my graduate studies. Dr. Kennedy has promoted my work and held me to a high personal and academic standard, for which he himself has proven to be an apt role model.
    [Show full text]
  • Scenes from Opera and Musical Theatre
    LEON WILSON CLARK OPERA SERIES SHEPHERD SCHOOL OPERA presents an evening of SCENES FROM OPERA AND MUSICAL THEATRE Debra Dickinson, stage director Thomas Jaber, musical director and pianist January 30 and 31, February 1 and 2, 1998 7:30 p.m. Wortham Opera Theatre RICE UNNERSITY PROGRAM DER FREISCHOTZ Music by Carl Maria von Weber; libretto by Johann Friedrich Act II, scene 1: Schelm, halt' fest// Kommt ein schlanker Bursch gegangen. Agatha: Leslie Heal Annie: Laura D 'Angelo CANDIDE Music by Leonard Bernstein; lyrics by John Latouche, Dorothy Parker, Stephen Sondheim, Richard Wilbur OHappyWe Candide: Matthew Pittman Cunegonde: Sibel Demirmen \. THE THREEPENNY OPERA Music by Kurt Weill; lyrics by Bertolt Brecht The Jealousy Duet Lucy Brown: Aidan Soder Polly Peachum: Kristina Driskill MacHeath: Adam Feriend DON GIOVANNI Music by Wolfgang Amadeus Mozart; libretto by Lorenzo Da Ponte Act I, scene 3: Laci darem la mano/Ah! fuggi ii traditor! Don Giovanni: Christopher Holloway Zerlina: Elizabeth Holloway Donna Elvira: Michelle Herbert STREET SCENE Music by Kurt Weill; lyrics by Elmer Rice Act/I Duet Rose: Adrienne Starr Sam: Matthew Pittman MY FAIR LADY Music by Frederick Loewe; lyrics by Alan Jay Lerner On the Street Where You Live/Show Me Freddy Eynsford Hill: David Ray Eliza Doolittle: Dawn Bennett LA BOHEME Music by Giacomo Puccini; libretto by Giuseppe Giacosa and Luigi Illica Act/II Mimi: Kristin Nelson Marcello: Matthew George Rodolfo: Creighton Rumph Musetta: Adrienne Starr Directed by Elizabeth Holloway INTERMISSION LE NOZZE DI FIGARO
    [Show full text]
  • ENG 3702-001: American Realism and Naturalism: 1865-1918 Christopher Hanlon Eastern Illinois University
    Eastern Illinois University The Keep Fall 2002 2002 Fall 8-15-2002 ENG 3702-001: American Realism and Naturalism: 1865-1918 Christopher Hanlon Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_fall2002 Part of the English Language and Literature Commons Recommended Citation Hanlon, Christopher, "ENG 3702-001: American Realism and Naturalism: 1865-1918" (2002). Fall 2002. 116. http://thekeep.eiu.edu/english_syllabi_fall2002/116 This Article is brought to you for free and open access by the 2002 at The Keep. It has been accepted for inclusion in Fall 2002 by an authorized administrator of The Keep. For more information, please contact [email protected]. 3/0). - 00( ENG 3702: American Realism & Naturalism: 1865-1918 Dr. Christopher Hanlon Fall, 2002 Office: Coleman 3811 Phone: 581.6302 Office hours: MWF 12-1, 2-3 (and by appoint.) [email protected] Required Texts: Kate Chopin, The Awakening Pauline Hopkins, Contending Forces Frank Norris, McTeague Edith Wharton, The House of Mirth The Norton Anthology of American Literature, vol. 2, 5th edition (eds. Nina Baym et al.) American Realism and Naturalism (coursepack available at Campus Copy Center in MLK StudentUnion) COURSE TRAJECTORIES: The Civil War, which claimed the lives of over half a million Americans, had a seismic effect on America's self-image. Prior to 1860, Americans had been taught to think of themselves as exceptional in many ways, and they had grown used to viewing the North American continent as a great blank canvas it was their manifest destiny to inscribe. But after 1865, with the end of the Civil War and the first assassination of an American president, Americans required a new narrative to tell themselves about themselves.
    [Show full text]
  • 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.
    [Show full text]