By Clive Bloom (eds.)
An advent to American drama, aimed toward scholars, lecturers and severe readers, that's additionally involved that the surprising names and forgotten voices of these who made an immense contribution to its historical past, were unfairly neglected.
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Extra info for American Drama
Once again, O'Neill's drama moves towards the novel, and in this case towards those 'stream of consciousness' fictions made fashionable after Joyce's Ulysses in 1922, and neatly parodied by Groucho Marx a few years later, following the popularity of O'Neill's play. ) The presentation of the hidden, the secret, the taboo is popular - a resistance to censorship. The play's 426 performances made it O'Neill's longest run, and produced his third Pulitzer Prize. An intermittent flow of interiority might sound ludicrous.
In New York the American playwrights included Lillian Hellman, Robert Sherwood, Sidney Howard, Maxwell Anderson and Eugene O'Neill. Europeans produced included Ibsen, Strindberg, J. M. Synge, Ferenc Molnar, Pirandello and Shaw. At Harvard University, George Pierce Baker's theatre centre, 47 Workshop, thrived, and the courses included the apparatus and techniques of theatre: lighting, cycloramas, acting and direction. O'Neill arrived there at a time when he was absorbed in Strindberg' s The Dance of Death and Dostoyevsky's The Idiot.
Although O'Neill never saw The Verge he may well have read The Glory of the Conquered, and since he shared Glaspell's enthusiasm for Nietzsche's doctrine of self-perfection it is not surprising to find words that describe her feelings in his writing. Judith L. Stevens, 'Gender Ideology and Dramatic Convention in Progressive Era Plays, 1890-1920', in Theatre Journal, vol. 41 (1989) P· 54. Susan Glaspell, Bernice (London: Ernest Berm, 1924). Future references will be included in the text, abbreviated to B.
American Drama by Clive Bloom (eds.)