Eugene O'Neill: A Playwright's TheatreMcFarland, Incorporated, Publishers, 2004 M01 28 - 268 páginas Eugene O'Neill wrote his plays for a theatre in which the playwright would take a central position. He presented himself as a controlling personality both in the texts--in the form of ample stage directions--and in performances based on these texts. His plays address several audiences--reader, spectator, and production team--and scripts were often different from the published versions. This study examines O'Neill's multiple roles as a writer for many audiences. After a description of O'Neill's working conditions and the multiple audiences of the plays, this study examines the various formal aspects of the plays: titles, settings in time and place, names and addresses, language, and connections and allusions to other works. An examination of the plays follows, with particular emphasis on Bound East for Cardiff, Long Day's Journey Into Night, and A Touch of the Poet. |
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... Sara . SARA curtly . Good morning . Then , ignoring him . I'm going up and change my dress , Mother . Instead of returning her father's word of address , Sara bestows her mother with one - a clear indication that she allies herself with ...
... Sara that " all she wanted was for him to be free to do as he pleased , and she only suggested he wait a year , she didn't make him promise . ” Earlier Sara has considered the idea of waiting to be a trick on Deborah's part . Now she ...
... Sara ! " - accompanied “ by a spasm of pain . " Momentarily he here drops his protective mask and lets us see his wounded face . His third soliloquy [ 22 ] shows his need to restore him- self in his own eyes . Having cursed the riffraff ...