Eugene O’Neil祥解
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as a background—A Touch of the Poet (first U.S. production, in 1958) and More Stately Mansions (first
U.S. production, in 1967).
Important Position of O’Neil
Eugene's brother, Jamie, older by ten years-clever, cynical, an unsuccessful actor-combined all the weaknesses and none of the strengths of his parents.
first American dramatist to win the Nobel Prize in literature.
O’Neil’s Plays and Concerns
O’Neill’s later plays covered varied ground, leaping from expressionism to comedy, and finally to modern reworkings of classical myth. His best tragic plays reflect his statement that he was “always conscious of the Force behind—Fate, God, our biological past creating our present, whatever one calls it—Mystery certainly—and of the one eternal tragedy of Man in his glorious, self-destructive struggle….”
Near the end of his life O'Neill renounced his daughter Oona when, at 18, she married the actor Charlie Chaplin, a man her father's age; O'Neill himself contracted a crippling disease that made him unable to write.
O’Neil as a Prize Winner
O’Neill won Pulitzer Prizes in drama for his
plays Beyond the Horizon (1920), Anna Christie (1921), Strange Interlude (1928), and Long Day’s Journey into Night (1956). In 1936 he became the
Young O'Neill, his mother, and his older brother lived an unsettled life traveling with James on tour.
The tortured relationships in his family haunted O'Neill all his life and are reflected in many of his plays.
Eugene O’Neil—A realistic and expressionisd
O'Neill's father was James O'Neill, a popular actor noted for his portrayal of the Count of Monte Cristo.
Eugene O’Neill’s work dramatizes the plight of people driven by elemental passions, by memory and dream, and by an awareness of the forces that threaten to overwhelm them. His early plays, appearing between 1916 and 1920, helped initiate American theater’s shift away from elegant parlor dramas and toward gritty (courageous) naturalistic plays.
An over-riding concern about man and his universe
Betrayal of one’s own deepest values (Beyond the Horizon)
At his death O'Neill left several important plays in manuscript, including the autobiographical
masterpiece, Long Day's Journey into Night
(produced in 1956; Pulitzer Prize), and two parts of an unfinished cycle of plays using American history
Eugene was born in a Broadway hotel room, and his difficult birth, coupled with the rigors of accompanying James on his cross-country theatrical one-night stands, drove his mother Ella to morphine addiction.
U.S. production, in 1967).
Important Position of O’Neil
Eugene's brother, Jamie, older by ten years-clever, cynical, an unsuccessful actor-combined all the weaknesses and none of the strengths of his parents.
first American dramatist to win the Nobel Prize in literature.
O’Neil’s Plays and Concerns
O’Neill’s later plays covered varied ground, leaping from expressionism to comedy, and finally to modern reworkings of classical myth. His best tragic plays reflect his statement that he was “always conscious of the Force behind—Fate, God, our biological past creating our present, whatever one calls it—Mystery certainly—and of the one eternal tragedy of Man in his glorious, self-destructive struggle….”
Near the end of his life O'Neill renounced his daughter Oona when, at 18, she married the actor Charlie Chaplin, a man her father's age; O'Neill himself contracted a crippling disease that made him unable to write.
O’Neil as a Prize Winner
O’Neill won Pulitzer Prizes in drama for his
plays Beyond the Horizon (1920), Anna Christie (1921), Strange Interlude (1928), and Long Day’s Journey into Night (1956). In 1936 he became the
Young O'Neill, his mother, and his older brother lived an unsettled life traveling with James on tour.
The tortured relationships in his family haunted O'Neill all his life and are reflected in many of his plays.
Eugene O’Neil—A realistic and expressionisd
O'Neill's father was James O'Neill, a popular actor noted for his portrayal of the Count of Monte Cristo.
Eugene O’Neill’s work dramatizes the plight of people driven by elemental passions, by memory and dream, and by an awareness of the forces that threaten to overwhelm them. His early plays, appearing between 1916 and 1920, helped initiate American theater’s shift away from elegant parlor dramas and toward gritty (courageous) naturalistic plays.
An over-riding concern about man and his universe
Betrayal of one’s own deepest values (Beyond the Horizon)
At his death O'Neill left several important plays in manuscript, including the autobiographical
masterpiece, Long Day's Journey into Night
(produced in 1956; Pulitzer Prize), and two parts of an unfinished cycle of plays using American history
Eugene was born in a Broadway hotel room, and his difficult birth, coupled with the rigors of accompanying James on his cross-country theatrical one-night stands, drove his mother Ella to morphine addiction.