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Full Description
Eugene O'Neill, Nobel Laureate in Literature and Pulitzer Prize winner, is widely known for his full length plays. However, his one-act plays are the foundation of his work - both thematically and stylistically, they telescope his later plays. This collection aims to fill the gap by examining these texts, during what can be considered O'Neill's formative writing years, and the foundational period of American drama. A wide-ranging investigation into O'Neill's one-acts, the contributors shed light on a less-explored part of his career and assist scholars in understanding O'Neill's entire oeuvre.
Contents
Introduction by Benjamin D. Carson The Playwright's Theatre: O'Neill's Use of the Provincetown Players as Laboratory - Jeff Kennedy 'Why d'yuh hate me so?': Between Sensationalism and Sociology in O'Neill's The Web - J. Chris Westgate Eugene O'Neill's Abortion and Standard Family Roles: The Economics of Terminating a Romance and a Pregnancy - Lesley Broder The Movie Man , the failure of aesthetics? - Thierry Dubost 'God stiffen us...': Queering O'Neill's Sea Plays - Phillip Barnhart Epistemological Crises in O'Neill's S. S. Glencairn Plays - Michael Y. Bennett 'The Curtain is Lowered': Self-Revelation and the Problem of Form in Exorcism - Kurt Eisen 'Ain't nothin' dere but de trees!' Ghosts and the Forest in The Emperor Jones - Paul D. Streufert Neither Fallen Angel nor Risen Ape—Desentimentalizing Robert Smith - Thomas F. Connolly Waiting for O'Neill: The Makings of an Existentialist - Steven F. Bloom O'Neill's Hughie : The Sea Plays Revisited - Robert Combs Condensed Comedy: The Neo-Futurists Perform O'Neill's Stage Directions - Zander Brietzke
