Eugene-O’Neill分析只是课件
long-day's-journey-into-night长夜漫漫路迢迢PPT课件
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Long Day's Journey into Night
is widely considered to be his masterwork and a semi-autobiography base on O'Neill own family life.The play was written in 1941 but published in 1956 three years after he died.O'Neill received the Pulitzer Prize in Drama for the work in1957.
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Theme:
❖ The action of the work covers a single day from around 8:30 am to midnight, setting in a living room of a summerhouse in August 1912.
❖ In the play, the characters blame, resent and accuse each other in their daily life lead the conflict escalate. Alienation, isolation, loneliness, loss of faith, and illusion, all of those appeared in the play. The escape motif is also predominant. James, Jamie and Edmund all try to avoid the reality by getting drunk, Mary by having morphine and living in her illusory world. They are incapable of dealing with the world in which they live.
Eugene o’Neil 简介
Birthplace plaque in Times Square, NYC 。
Career
O'Neill had been employed by the New London Telegraph, writing poetry as well as reporting. It wasn‘t until his experience in 1912–13 at a sanatorium where he was recovering from tuberculosis(肺结核) that he decided to devote himself full time to writing plays (the events immediately prior to going to the sanatorium are dramatized in his masterpiece, Long Day's Journey into Night).
Family life
In 1929, O'Neill and Monterey moved to the Loire Valley in central France. During the early 1930s they returned to the United States and lived in Sea Island, Georgia, at a house called Casa Genotta. He moved to Danville, California in 1937 and lived there until 1944. His house there, Tao House, is today the Eugene O'Neill National Historic Site. Although they separated several times, they never divorced. He had a bad relationship with his son and daughter.
Desire Under The Elms (榆树下的欲望)学生自主上课
4.The theme of the drama
It also drove Abbie to marry Cabot, a rather old man, so that she can get Cabot’s property. It is from her desire that all the tragedy begin. Even an unrelated person like the sheriff desired to possess the farm! He says, “It’s a jim-dandy farm, no denyin’. Wished I owned it!” It is funny, but there lies something not so lighthearted behind it. The bitterness and sarcasm can be sensed by sensitive readers. That is, it is human nature to desire for wealth.
5. The influence about Desire Under the Elms
1.Introduction of the author
His Life and Writing Career
America's greatest playwright Won the Pulitzer Prize four times，the only dramatist ever to win a Nobel Prize (1936)
4.The theme of the drama
The play uses ancient Greek themes of murder and fateful retributuion upon the sinners. Just as fate leads to a Greek tragedy , the emotional forces of such human desires as jealousy , resentment , lust , and incestuous love result in the fatal tragedy in Desire Under the Elms.
约恩福瑟戏剧中的意象-概述说明以及解释
约恩福瑟戏剧中的意象-概述说明以及解释1.引言1.1 概述约恩福瑟（Eugene O'Neill）是20世纪最重要的戏剧家之一，他的作品以其深刻的人物描写和情感表达而闻名。
在他的戏剧中，意象起着重要作用，为观众提供了一种丰富的观赏体验。
本文将探讨约恩福瑟戏剧中的意象，并分析其在作品中的具体功能和意义。
在约恩福瑟戏剧中，意象是通过使用象征性的形象、符号或情境来传达作者想要表达的主题或意义。
这些意象可以是物体、动作、颜色、声音等，通过它们的存在和组合，戏剧中的情感和思想得以深入地传递和探索。
本文将分析约恩福瑟戏剧中的具体意象，并探讨它们在剧情和人物发展中的作用。
通过分析意象的用法和效果，读者将能够更好地理解约恩福瑟戏剧的深层含义，并体会到其所蕴含的情感和思想。
此外，本文还将讨论意象对观众的影响。
约恩福瑟通过精心构建的意象，引导观众思考人性、命运、家庭关系等普遍而复杂的话题。
这些意象不仅仅是装饰性的符号，它们通过触发观众的情感和思考，引发了对剧作主题的深入认识和思考。
因此，本文将研究意象如何激发观众的共鸣和思考，以及它们对观众审美体验的影响。
最后，本文还将展望约恩福瑟戏剧意象的研究方向。
意象作为戏剧研究中的重要概念，有待进一步深入探讨和研究。
未来的研究可以从不同的角度和视角，对约恩福瑟戏剧中的意象进行更加全面和深入的解读，以进一步揭示其中隐藏的丰富意义和表达方式。
综上所述，本文将以约恩福瑟戏剧中的意象为主题，分析其在作品中的作用和意义，并探讨意象对观众的影响。
通过对约恩福瑟戏剧中意象的深入研究，希望能够增进对戏剧的理解和欣赏，以及启发更多有关意象研究的进一步探索。
1.2文章结构文章结构的目的是为了使读者能够清晰地了解整篇文章的组织和内容安排。
为了达到这一目的，本文将采取如下的文章结构：1. 引言：在引言部分，将简要概述约恩福瑟戏剧中的意象的重要性，并介绍文章的结构。
2. 正文：2.1 约恩福瑟戏剧简介：首先，将介绍约恩福瑟戏剧的背景和特点，包括其创作背景、主要作品等。
尤金奥尼尔ppt实用资料
尤金·奥尼尔
3班 35号 潘乙停
ACHIEVEMENT
The whole life of O' Neill's production is divided into three parts,the early period（1912年—1920年）,the middle period（1920年—1934年） and the late period（1934年—1953年）.The main plays : Beyond the Horizon《天边 外》、Anna Christie《安娜·克利斯蒂》、The Iceman Cometh《送冰的人来 了》and Long Day's Journey into Night《长夜漫漫路迢迢》and so on.
And countless audiences were touched by this.
《夜漫漫路遥遥》简介
该剧以提罗恩一家的家庭悲剧切入，提罗恩是一位十分出色的演员，由于小时候全 家从爱尔兰搬来 ，父亲随后又抛弃年幼的孩子和妻子，独自回 到爱尔兰，使提罗恩
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Beyond the Horizon
Comment
According to the PBS American Experience program, "Theater historians point to O'Neill's Beyond the Horizon, which debuted in 1920, as the first native American tragedy. That play emerged from O'Neill's association with the Provincetown Players, one of many so-called 'little theaters' that developed in the 1910s to provide alternative fare to commercial drama of the time.“ It was O'Neill's first full-length work, and the winner of the 1920 Pulitzer Prize for Drama.
This work demonstrates the theme of his drama in middle and early period. He illustrated the importance of dream for people, the obvious or invisible conflicts between relatives, contradiction between a poet pursuing his dream and a merchant seeking fame and fortune and the confusion they having when they were flirted by the fate. The play focuses on the portrait of a family, and particularly two brothers Andrew and Robert. In the first act of the play, Robert was about to go off to sea with their uncle Dick, a sea captain, while Andrew looked forward to marrying his sweetheart Ruth and working on the family farm as he started a family.
榆树下的欲望分析解析
His career as a dramatist began and he had been wholly dedicated to the mission as a dramatist.
I knew it. I knew it. Born in a hotel room, and God damn it, died in a hotel room.
The Iceman Cometh (1946) 《送冰的人来了》
Long Day’s Journey Into Night (1956) Pulitzer Prize 《进入黑夜的漫长旅程》
Themes of his plays: tragic view of life
1 Life and death, illusion and disillusion, dream and reality, etc. Human existence and predicament 1 3 Disappointment and despair Meaning and purpose 2 4 The truth of life 2 Many characters are seeking meaning and purpose of life. 3 But ending with disappointment and despair.
The middle period: Expressionistic plays
Beyond the Horizon (1920) prize in literature
《天边外》 Pulitzer Prize & Nobel
Anna Christie (1922) 《安娜·克里斯蒂》 Pulitzer Prize
尤金·奥尼尔剧作中的水手形象研究
摘要尤金·奥尼尔是美国民族戏剧的奠基人，在创作中他将自身经历融合进作品，塑造了大量个性鲜明的水手形象。
这一形象对研究奥尼尔的心理历程、情感变化至关重要。
目前，学界研究主要侧重于奥尼尔作品中的悲剧意识以及女性形象，但有关男性角色的研究却鲜有提及。
本文以美国戏剧家尤金·奥尼尔的剧作为中心，着重通过对水手形象以及性格特征的分析弥补学界在此方面研究的不足，进而体察作家对人物群体的关怀和对人乃至人类生存境况的思考。
第一章简要论述奥尼尔创作不同时期的水手形象：早期独幕剧中的“浪漫”水手形象，以“格伦凯恩号”系列剧为例；中期表现主义剧作中的“反抗”水手形象，以《安娜·克里斯蒂》为例；后期现实主义剧作中的“诗性”水手形象，以《进入黑夜的漫长旅程》为例。
第二章着重分析水手形象的性格特征：第一节分析水手单纯质朴但又粗暴的原始性特点。
第二节以水手既热衷冒险的海上生活又向往安宁平静的陆地生活的矛盾心理展开论述。
第三节分析“悲剧英雄”水手无法掌控自我命运和精神上无家可归的悲剧性特点。
第三章探究水手形象的意义：首先，水手形象其实很大程度是奥尼尔自身的写照，尤其是后期作品，是对自我心境的剖析。
其次，通过对人与人、人与大海关系的探讨，作家以隐喻与象征方式表达出对人以及整个人类生存困境的思考。
关键词：尤金·奥尼尔；水手；原始性；悲剧性AbstractEugene O’Neill is the founder of American national drama, who integrated his own experience into works and created a huge number of distinctive sailor images, which is of vital importance to study the psychological process and emotional changes of O’Neil l’s. The academic researchers now mainly focused on the personal pessimism, some degree of tragedy and the female figures revealed in O’Neil l’s plays. Yet hardly any of researches concentrate on the theme of masculine character. To fill the gap in the academic field, the paper centered on the plays written by O’Neill t o analyze the images and character features of the sailor to understand his caring towards groups of figures and thoughts of the dilemma of entire human race.The first chapter is about the introduction of sailor figure from three different life periods of O’Neill. Firstly, the paper examples on the Glencairn Plays to unfold the analysis of romantic sailor figures at O’Neill’s early one-act play time. Secondly, “rebellion” of the sailor was emphasized during productions in the middle of his career, such as Anna Christie. Thirdly, O’Neill went back to realism and took Long Day's Journey into Night as an example featuring some poetic sailors.Chapter two is mainly focused on personality and characteristic of the sailor. To begin with, the first section is around primitiveness of sailors who are simple, not pretentious but rough and rude. Besides, the second section started with their inner struggle of ambivalence. On the one hand, the sailors are longing for freedom and obsessed with adventurous life on the sea but are also yearning for tranquil and peaceful land. Lastly, the third section analyze the tragic characteristics of these “tragic heroes”, who can nether control their own fates nor find forever home in spiritual world.Chapter three goes in depth of the meaning behind the figure of sailor. First, this figure, to a great extent, is O’Neill himself, and his self-searching process especially in later works. Second, the writer tried to express the metaphor and symbol of survival dilemma from entire human race, according to the discussions of the relationship between person to person, and people with the sea.Key words:Eugene O’Neill, Sailor, Primitive ness, Tragedy目录绪论 (1)第一节尤金.奥尼尔创作概况 (1)第二节尤金.奥尼尔研究综述 (1)第三节选题理由与研究思路 (7)第一章尤金.奥尼尔笔下水手形象概述 (10)第一节早期独幕剧中“浪漫”的水手形象 (10)一、早期独幕剧创作概述 (11)二、“浪漫”的水手形象 (12)第二节中期表现主义剧中“反抗”的水手形象 (14)一、中期表现主义剧作概述 (14)二、“反抗”的水手形象 (15)第三节晚期现实主义剧中诗性的水手形象 (18)一、晚期现实主义剧作概述 (18)二、“诗性”的水手形象 (19)第二章水手形象的性格探析 (21)第一节非理性主义的原始性 (22)一、单纯与质朴 (23)二、激情与暴力 (24)第二节寻求归属感的矛盾性 (26)一、渴望自由与安宁 (27)二、追求实利与信仰 (29)第三节个体英雄主义的悲剧性 (30)一、命运不可控 (31)二、心灵无可依 (32)第三章水手形象意义探究 (34)第一节自传式的思想写照 (34)一、自我分裂与重构 (35)二、自我的消解 (36)第二节悲剧成就及审美价值 (38)一、超越自我束缚与生存困境 (39)二、探求自由意志与现实关怀 (41)结语 (43)参考文献 (46)致谢 (48)绪论第一节尤金·奥尼尔创作概况尤金·奥尼尔（Eugene O’Neill,1888-1953）生于曼哈顿的一家旅馆内，这个旅馆所处之地是全世界的戏剧中心——百老汇大道。
尤金奥尼尔-毛猿-分析
Yank's friendliness and excitement
•the ape's anger
indifference and impatience
•his own bitterness, self-mocking and despair.
Symbolism in the play
1) The Thinker—— The Thinker" is symbolic of Yank's need to think. While he physically embodies the cultural symbol of a "thinker" he cannot think himself. The real ape is the only other character that takes "The Thinker" position. The ape sharing this habitual body position reflects on Yanks own animalistic state. 2) Ape——The ape symbolizes man in a primitive state before technology, complex language structures, complex thought or money was necessary. Yank, like the ape, struggles with thought, doesn't understand the class system, has at best basic language skills and is most concerned with his survival on Earth. 3）Steel——Steel is both a symbol of power and oppression. It is symbolic of the technology that forces Yank and the Firemen into slave-like jobs. Yank is in a virtual cage of steel created by the ship around him.
Eugene_O'Neill
《大神布朗》 《拉散路笑了》
Strange Interlude (1928)
《奇妙的插曲》
Ah, Wilderness
(1933) 《啊，荒野》 (the only comedy)
Last and Best Phase
The Iceman Cometh (1946) 《卖冰的人来了》 Long Day’s Journey into Night (1956) 《长日入夜行》
《琼斯皇帝》
Anna Christie
《安娜.克里斯蒂》
The Hairy Ape
《毛猿》
Desire under the Elms
《榆树下的欲望》
All God’s Chillum Got Wings (1924)
《上帝的儿女都有翅膀》
The Great God Brown Lazarus Laughed (1926) (1926)
《榆树下的欲望》&《雷雨》
1. 家庭秩序：清教原则与封建伦理 2. 悲剧原因：原欲冲动与文化制约
His Point of View
(1)
O'Neill's great purpose was to try and discover the root of human desires and frustrations. He showed most of the characters in his plays as seeking meaning and purpose in their lives, some through love, some through religion, others through revenge, but all met disappointment.
12尤讲义金·奥尼尔
《榆树下的欲望》
3幕悲剧，1924年首 演。写农场主卡伯特 为了农场所有权同儿 子埃本和妻子爱碧之 间发生的三角纠纷。
法:“它似乎包括了从极端自然主义到极端表 现主义之间的所有写作方法，但表现主义 的味儿要比自然主义更重些。”’
《毛猿》的表现主义艺术特征：
锅炉房中的铲煤 司炉工响铃后，站起，立正，然后用连锁
步伐列队而出 力大如牛的扬克在第五大道挥拳猛击胖绅
士，“但是那位绅士站在那里纹风不动， 好像没事似的。”
奥尼尔与传统戏剧
在他的作品中，悲剧占有重要地位，古代希腊悲 剧对它们的影响很深。古希腊悲剧表现人同命运 的搏斗，奥尼尔则表现人同生活环境的斗争。他 企图用生活环境解释古代希腊人的命运观念。
在现代欧洲戏剧家中，易卜生、斯特林堡和表现 主义作家对奥尼尔都产生了比较重大的影响。他 的作品广泛地反映了两次世界大战之间美国的社 会，其中也反映了唯心主义思想对他的影响。
奥尼尔主要作品
《毛猿》，1921年 《榆树下的欲望》，1924年。1958年被改编为电影，由索非亚·罗兰
主演。 《大神勃朗》，1925年 《奇异的插曲》，1927年 《悲悼》，1931年。此剧借用了埃斯库罗斯的悲剧《俄瑞斯忒亚》的
情节。 《送冰的人来了》，1939年 《进入黑夜的漫长旅程》，1941年。自传体剧本，是一部现实主义的
作品，但又使用了大量象征主义手法。 《月照不幸人》，1943年。此剧实际为《进入黑夜的漫长旅程》的续
集。
奥尼尔主要作品
奥尼尔《榆树下的欲望》培训资料
02
故事情节分析
伊迪丝的角和性格特点
伊迪丝是一个复杂而矛盾的角色。她 既是一个充满激情和欲望的女人，又 是一个受到社会和家庭束缚的受害者。
她渴望追求真爱和自由，但又无法摆 脱传统道德观念的束缚。她的内心充 满了挣扎和矛盾，这使得她的性格特 点十分鲜明。
埃德蒙的角色和性格特点
埃德蒙是一个复杂而多面的角色。他 既是一个富有魅力和激情的男人，又 是一个自私和冷酷的人。
通过以上三个角色的性格特点和命运分析，我们可以更好地理解整个故事情节的发展和演变， 以及剧中人物之间的关系和互动。这些角色的性格特点和命运也反映了当时社会和文化的背 景和价值观，使得该剧具有更加深刻的社会意义和文化内涵。
03
主题和象征意义
欲望与道德的主题探讨
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欲望的驱动力
奥尼尔通过描绘人物对财 富、权力、爱情的追求， 展示了欲望对个体行为的 驱动力。
对社会道德观念的反思
道德选择
剧中人物在面对道德困境时所做的选择 ，引发了对社会普遍接受的道德观念的 反思，促使观众思考在特定情境下如何 坚守原则和价值观。
VS
道德冲突
剧中人物面临的道德冲突和内心挣扎，反 映了现实生活中人们常常面临的道德抉择 和困惑，促使观众深入思考道德与个人利 益、社会舆论之间的关系。
家庭与归属感
榆树下成为家庭成员聚集的场所，象征着家庭归 属感和亲情的力量。
家庭关系和社会道德的反思
家庭关系的复杂性
奥尼尔通过家庭成员之间的互动，展现了家庭关系的复杂性和矛 盾性。
社会道德的约束力
剧中人物在追求欲望时，受到社会道德的约束和压力，引发对道德 观念的反思。
个人选择与社会责任
剧中人物在面对欲望和道德冲突时，需要权衡个人选择和社会责任， 反映了个人与社会的互动关系。
Eugene Oneil
Comment on O’Neill
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He was the first playwright to explore serious themes in the theatre and to carry out his continual, vigorous, courageous experiments with theatrical conventions. His plays have been translated and staged all over the world. He won Pulitzer Prize four times (1920, 1922, 1928, 1956) and the Nobel Prize in 1936 for his achievements in plays. As the nation’s first playwright with 47 published plays, he did a great deal to establish the modes of the modern theatre in the country. O’Neill’s ceaseless experimentation enriched American drama and influenced later playwrights as Tennessee Williams and Edward Albee.
• Edward Albee (1928- )爱德华· 阿尔比
Eugene O’Neill (1888-1953)
Life and Career
A great playwright, a tragic life
Eugene Glastone O'Neill 美国文学史尤金·奥尼尔课件
伊本：我和你一样有罪！他是咱们的罪恶所生 的孩子。 爱碧：我不忏悔这个罪恶！我不要上帝饶恕我 这个！
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伊莉克特拉是希腊联军统帅阿伽门农和王后克 拉得耐斯特拉的女儿。特洛伊战争结束之后， 阿伽门农回国，但被王后和她的姘夫伊吉斯修 斯杀害。伊莉克特拉鼓舞她的弟弟欧莱斯提兹 入宫，杀死她的母亲和姘夫。精神医学家就把 这段女儿为了报父仇杀害母亲的故事，比喻为 女孩在心性发展上的恋父情结。 ELECTRA COMPLEX
Pulitzer Prize & Nobel Prize
Features of O’Neill’s Plays
Thematic
Features (naturalism):
depicting people who have no hope of controlling their destinies dealing with the basic issues of human existence and predicament: life and death, illusion and disillusion, communication and alienation, dream and reality, self and society, etc.
pure belief, simple church service, widespread disciples, disciplined life, wrathful God
The image of Cabot as a puritan
Cabot （ disciplined life ）
你们真是一对杀人害命的好鸳鸯！你们得双双绞死在 树上，吊在风里，烂掉——这对我这样的老傻瓜倒是 个警告，应该独自去忍受孤独——对你们这些年纪轻 轻的色鬼也是个警告。我今天不能干活，我没兴趣。 这田庄见鬼去吧！我要离开它！我去把母牛和其他牲 畜都解了绳子，我去把它们都赶到树林里去，在那儿 它们可以自由了，我让它们自由，我也让自己自由！ 我今天要离开这儿！我要把屋子和饲养场都放火烧了， 还要看着它们烧！我要让你妈在这废墟上出没。我把 这片土地归还上帝，这样任何人都永远别想碰它！
Unit-18--Eugene-O'-Neil(尤金奥尼尔)
His death and influences
➢ In 1953, his health falling, he lived his last days in a hotel room. He died on November 27, 1953.
Life (2)
1910, became a seaman. His wife, Kathleen, gave birth a son who met his father when he was 11.
1912, he attempted suicide in his room. He and Kathleen divorced. He contracted tuberculosis（TB） and he lived in a tubercular sanatorium(疗养院 )for 6 months. Read a lot of plays.
American Drama --- Overview
Three giants that represent the best of American theatre in the 20th century: Eugene O’Neill(1888-1953 )
---The Hairy Ape(1922), The Iceman Cometh (1946), --- Long Day’s Journey Into Night (1940)
Eugene O'Neill is unquestionably America's greatest playwright. He won the Pulitzer Prize four times and was the only dramatist ever to win a Nobel Prize (1936). He is widely acclaimed “founder of the American drama.”
高级英语第二册课件10
The war acted merely as a catalytic agent in this breakdown of the Victorian social structure What is compared to a catalytic agent?
The war only helped to speed up the breakdown of the Victorian social structure
the increasing insolence of Germany
our official reluctance to declare our status as a belligerent that our government was reluctant to declare war our young men began to enlist under foreign flags our young men joined the armies of foreign countries to fight in the war
What kind of writing is this one?
What is the function of the first paragraph? How do these writers develop this paragraph? sensationally romanticized treated in a passionate, idealized manner to shock thrill and rouse the interest of people
Why a No…more…than…sentence structure is used? the so-called Revolt of the Younger Generation has been more commented upon than all the other aspect nostalgic nostalgia Can we replace questionings by questions? bittersweet longing for things, persons, or situations of the past
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comment
❖ He employed sets, lighting, and sounds to enhance emotion rather than to represent a real place.
❖ He made great contributions to establishing the modes of the modern American drama.
❖ With him American drama developed into a form of literature and in him American drama came of age.
ห้องสมุดไป่ตู้
Comment
❖ As America’s foremost playwright, O’Neill successfully introduced the European theatrical trends of realism, naturalism and expressionism to the American stage as devices to express his comprehensive interest in life and humanity.
Betts Academy, Princeton ❖ 4. Working Experiences: Prospector, sailor
II. Literary Achievements
❖ 1920: Beyond the Horizon 《天边外》 ❖ 1920: The Emperor Jones 《琼斯王》 ❖ 1920: Anna Christie《安娜·克里斯蒂》 ❖ 1921: The Hairy Ape 《毛猿》 ❖ 1924: Desire Under the Elms 《榆树下的欲望》 ❖ 1925: The Great God Brown 《大神布朗》 ❖ 1928: The Strange Interlude 《奇异的插曲》
❖ His plays have been translated and staged all over the world.
❖ Three Pulitzer Prizes(1920, 1922, 1928) and the Noble Prize in 1936 show his achievement and influence at home and abroad.
❖ He was able to succeed also because he had a bursting desire to put on stage what he felt and knew.
Eugene-O’Neill分析
Cover of The Hairy Ape
I. Life
❖ 1. Birthplace: New York City ❖ 2. Family: his father, an actor ❖ 3. Education: a Catholic boarding school,
❖ He represented the new trend on the stage by introducing a modern and timely content.
❖ He grounded his works in personal experience. ❖ His works reflect the life of his country and his time.
comment
❖ As the nation’s first important playwright with forty nine published plays, he did a great deal to establish the modes of the modern theatre in the country.
Literary Achievements
❖ 1931: Mourning Becomes Electra 《悲悼》 ❖ 1934: Days Without End 《无穷的岁月》 ❖ 1939: The Iceman Cometh 《送冰人来了》 ❖ 1940: Long Day’s Journey into Night 《进入黑夜的漫长旅程》
Comment
❖ He was able to do this, not merely because he had a talent for theatre but because he was good at using the modern themes and styles developed abroad, and making them serve his own purpose.
III. Comment
❖ O’Neill was no doubt the greatest American dramatist of the first half of the 20th century.
❖ He was the first playwright to explore serious themes in the theater and to carry out his continual, vigorous, courageous experiments with theatrical conventions.
❖ He often ignored normal play divisions of scenes and acts, paid little attention to the expected length of plays, made his characters wear masks, split one character between two actors, reintroduced ghosts, chorus, monologue, and direct addresses to audience.