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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... indicated , did not always or in all respects regard his stage directions as obligatory for the producers of the plays , 4 he normally did not consider them to be mere suggestions that could be followed or neglected at will . Since they ...
... indicated by means of startling addresses . Thus Marsden's function as a father substitute to Nina is made quite ... indicates her preoccupation with the state of motherhood . Spelled out it means : You are a mother like me ; we have ...
... indicates his courage or , from another point of view , his intense tiredness of life . In Days Without End John's fear concerns not his own death but that of his wife . This is indicated by his use of telling ellipses when talking to ...