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Three Great Plays: The Emperor Jones, Anna Christie and The Hairy Ape (Dover Thrift Editions: Plays)
by Eugene O'NeillWinner of the Nobel prize for literature and 4 Pulitzer prizes, Eugene O'Neill is generally acknowledged as America's greatest playwright. The Emperor Jones is an expressionistic play much-admired for its powerful psychological portrayal of brute power, fear, and madness. The Hairy Ape combines elements of class struggle and surreal tragedy. Also includes Anna Christie.
Three Plays: Desire Under The Elms, Strange Interlude, Mourning Becomes Electra
by Eugene O'NeillWinner of the Nobel Prize<P><P> These three plays exemplify Eugene O'Neil's ability to explore the limits of the human predicament, even as he sounds the depths of his audiences' hearts.<P> Eugene O'Neill was born on October 16, 1888, in New York City. His father was James O'Neill, the famous dramatic actor; and during his early years O'Neill traveled much with his parents. In 1909 he went on a gold-prospecting expedition to South America; he later shipped as a seaman to Buenos Aires, worked at various occupations in the Argentine, and tended mules on a cattle steamer to South Africa. He returned to New York destitute, then worked briefly as a reporter on a newspaper in New London, Connecticut, at which point an attack of tuberculosis sent him for six months to a sanitarium. This event marked the turning point in his career, and shortly after, at the age of twenty-four, he began his first play. His major works include The Emperor Jones, 1920; The Hairy Ape, 1921; Desire Under the Elms, 1924; The Great God Brown, 1925; Strange Interlude, 1926, 1927; Mourning Becomes Electra, 1929, 1931; Ah, Wilderness, 1933; Days Without End, 1934; A Moon for the Misbegotten, 1945; The Iceman Cometh, 1946; and several plays produced posthumously, including Long Day's Journey into Night, A Touch of the Poet, and Hughie. Eugene O'Neill died in 1953.<P> Strange Interlude was a Pulitzer Prize winner
Long Day's Journey into Night
by Eugene O'Neill Harold BloomEugene O'Neill's autobiographical play Long Day's Journey into Night is regarded as his finest work. First published by Yale University Press in 1956, it won the Pulitzer Prize in 1957 and has since sold more than one million copies. This edition, which includes a new foreword by Harold Bloom, coincides with a new production of the play starring Brian Dennehy, which opens in Chicago in January 2002 and in New York in April.
Long Day's Journey Into Night
by Eugene O'Neill Jessica Lange William Davies KingEugene O'Neill's autobiographical play Long Day's Journey into Night is regarded as his masterpiece and a classic of American drama. With this new edition, at last it has the critical edition that it deserves. William Davies King provides students and theater artists with an invaluable guide to the text, including an essay on historical and critical perspectives; glosses of literary allusions and quotations; notes on the performance history; an annotated bibliography; and illustrations.<P> "This is a worthy new edition, one that I'm sure will appeal to many students and teachers. William Davies King provides a thoughtful introduction to Long Day's Journey into Night--equally sensitive to the most particular and most encompassing of the play's materials. "--Marc Robinson
Early Plays
by Eugene O'Neill Jeffrey H. RichardsThis volume brings to readers a selection of Eugene O'Neill's early work, written between 1914 and 1921 and produced for the stage between 1916 and 1922. Included here are: seven one-act plays, The Moon of the Caribbees, Bound East for Cardiff, In the Zone, The Long Voyage Home, Ile, Where the Cross Is Made, and The Rope; and five full-length plays, Beyond the Horizon, The Straw, Anna Christie, and the classics The Emperor Jones and The Hairy Ape. The majority of the plays are heavily influenced by German expressionism-Freud, Nietzsche, Strindberg, and the radical leftist politics in which O'Neill was involved during his youth. Included in this unique collection is the little known and highly autobiographical play, The Straw, which draws on O'Neill's confinement in the Gaylord Farm Sanatorium.
John Singer Sargent And Madame X
by Rosary O'NeillJohn Singer Sargent And Madame X was heralded by invitation at the Actors Studio, NYC. John Singer Sargent, an up-and-coming American artist, is eager to collaborate on a portrait that would catapult him and Madame X, the most beautiful woman in Paris, to the pinnacle of society. But he falls in love with her and she tries to destroy him. Which pathway will he go down? Will he try to create the perfect painting or placate his lover? With its revelations about Madame X's identity and an eyebrow-raising cast of characters, including Oscar Wilde, Henry James, Sarah Bernhardt, and Dr. Samuel Pozzi (Madame X's notorious gynecologist/lover), this play exposes the tale of beauty, infatuation, obsession, and betrayal that lies behind Sargent's masterpiece painting, Madame X. It is based on a true-life story and set in the glamorous Belle à poque period. of Paris and England. Voluptuous characters and riveting changes of place can be created on a bare stage by shifts in lighting and/or costume pieces.
Awakening of Kate Chopin
by Rosary Hartel O'NeillKate Chopin, author of The Awakening, struggles to hold onto her marriage and her six small children as she launches her career as a novelist in 1884. Frustrating her attempts are: her wealthy next door neighbor, wanting to prove his masculinity; her jealous husband, stricken with malaria; the little sex-pot seamstress next door, the town gossip; and the bankrupt cotton business, which consumes all of her time. This crazy cacophony of personalities ends up compelling Kate toward her goal of becoming a famous author.
Beckett at Greystones Bay
by Rosary Hartel O'NeillShort Play, DramaCharacters: 1 male. One exterior set or bare stage. A young writer faces love, death, and the challenges of creating a joyful life. Setting: Rocky coast of Ireland in the 1930's.
Black Jack
by Rosary Hartel O'NeillFull Length, Southern Comedy CharacterS: 2 male, 4 female. Unit Set. Blackjack follows an eccentric Southern family as it is squeezed into the close quarters of a Mississippi cruise ship for the New Year's holiday. Kaitlyn is convinced that she is channeling the poet Baudelaire, and certain that her husband is having an affair with a larger-than-life ship entertainer. Irene, the matriarch of the family, suspects a rift in her daughter's marriage. Her sexy maid sets her sights on the grandson, a successful Southern rock star. Everyone dons costumes for New Year's Eve, casting off their old identities and trying on new loves. . Also available in A Louisiana Gentleman and other New Orleans Comedies
Degas in New Orleans
by Rosary Hartel O'NeillCharaters: 3 male, 6 female . One Interior/Exterior Set . A historical drama that explores Edgar Degas' scandalous visit to New Orleans in 1872. Edgar Degas, the French Impressionist painter, is torn between helping his relatives in America and pursuing a career as a painter. Fame and family obligations come to a head when he discovers he is still in love with his sister-in-law, who is now pregnant and blind. As Edgar struggles with his own ethical conundrum, he discovers that his aggressively charming brother has gone through all the family money in an attempt to save his uncle's sugar business.
A Louisiana Gentleman
by Rosary Hartel O'NeillFull Length, Southern ComedyCharacters: 1 male, 3 female. Unit Set. Blaine Ashton, a medical student in his mid-twenties from a prominent New Orleans family, has fallen in love with a middle-aged actress and is getting married, much to the chagrin of his mentally disturbed sister and his eccentric, alcoholic old Aunt. His Aunt forces him to take care of his sister after he's married and all the southern belles in the household are almost too much to bear. The histrionics never stop as the women compete for Malter's love and attention. Ultimately, an uneasy truce is called once a baby is born and Christmas rolls around, but continued craziness is undoubtedly in their future. Especially powerful roles for women. . Also available in A Louisiana Gentleman and other New Orleans Comedies
Marilyn/God
by Rosary Hartel O'NeillCharacter: 1 femaleIn this play, Marilyn confronts voices in her head to validate her life as an actress. She finds in the afterlife that she must audition and interview to get into heaven and that her judges are her enemies and aborted children. Along the way she is confused and intrigued by the signs she must follow to climb her way into heaven. The play explores the multi-levels of complexity of cult goddess Marilyn Monroe--her vulnerability, anger, and loneliness and the ways that American culture and the worship of beauty and fame shaped, aborted and forwarded her rise to stardom. In the afterlife she relives three painful scenes from her life and a life review and strains to justify her choices to male unsympathetic judges as well as shocking people from her past.
Property
by Rosary Hartel O'NeillFull Length, Southern ComedyCharacters: 2 male, 3 female. Unit set. Property is a contemporary romantic comedy set in a Garden District mansion in New Orleans. Rooster Dubonnet, a young artist suffering from a terminal disease, is dazzled by love. Raised by an imperious society-driven mother, he has fallen in love with a New-Age nurse. Set during Mardi Gras--when a whole tradition of fun, revelry, and prestige seizes the city-- Rooster is caught between his dedication to his family's past (and "property") and his own very different future. . Also available in Ghosts of New Orleans.
Rhapsodies
by Rosary Hartel O'NeillWings of Madness:Short Play, Southern DramaCharacters: 1 female. Interior Set. Set in a tacky funeral parlor on a highway outside New Orleans, a murdered beauty taunts the audience, exposing her bare unshrouded back, and explaining why she was murdered. Other imaginary characters--her husband and daughter--add an eerie quality to her already surreal tale.Turtle Soup: Short Play, Southern Comedy. Characters: 1 male, 1 female. Interior Set. A young woman fights for her inheritance. Her "dying" uncle mocks her life, as well as that of her actor husband. A tirade occurs over Turtle Soup that culminates in its spillage and her Uncle's guffaws over his prank. He reminds her that it's April first --All Fools Day--and he is playing a joke on her.
Uncle Victor
by Rosary Hartel O'NeillFull Length, Historical Comedy Characters: 3 male, 4 female. Interior. Uncle Victor is a historical comedy inspired by the classic Russian play, Uncle Vanya, by Anton Chekhov. In this version O'Neill takes the structure of Uncle Vanya and some characters and places them on Waverly Plantation in 1899 Louisiana. While the dialogue and characters are typically Southern, the Louisiana story perfectly parallels the situation of turn-of-the century Russia, where a new urban economy was destroying the country's agrarian base. While Russians were suffering from typhoid and peasants were going hungry, Southerners were dying from yellow fever and displaced farmers were starving. In Uncle Victor, the Mallory family, running Waverly Sugar Plantation, confronts a totally changed Louisiana.. Also available in Ghosts of New Orleans.
White Suits in Summer
by Rosary Hartel O'NeillFull Length, ComedyCharacters: 2 male, 2 female. Unit Set. This contemporary Southern romance set in the topsy-turvy world of art. Celebrity artist Susann is determined to reclaim her lost love, Blaise, now married to a sedate New Orleans socialite. Convinced that she cannot live without him, Susann arranges an exhibition of her works to be held in his new house. Susann's readiness to sacrifice her career, his new wife, and her Mama's boy manager leave Blaise both angry and aroused. Theatrical excitement abounds in this comedy of love vs. duty. . Also available in A Louisiana Gentleman and other New Orleans Comedies.
Wishing Aces
by Rosary Hartel O'Neill>Short Play, Comedy . Characters: 2 male, 2 female . Bare stage w/props.. A Southern comedy about mature love found later in life, and the trouble and insight that such discoveries can bring. Though well-warned, Kitten, a runaway housewife, decides to travel with her Tulane professor, Beau, on a train trip through the Louisiana swamp. Their plans are upset when her son, Bunky, in an effort to punish her, shows up as a stowaway on the train. Kitten and Beau struggle through their disappointments, mourning the futility of their lives, while the hurricane brewing outside the train builds toward its inevitable whirlwind of destruction. . Also available in A Louisiana Gentleman and other New Orleans Comedies.
What Mama Said: An Epic Drama
by Osonye OnwuemeAn explosive political drama projecting an African people's revolutionary struggle to confront government forces and foreign oil corporations that have ravaged their land and strangled the voices of their mothers and daughters.
Philip Allan Literature Guide (for A-Level): A Streetcar Named Desire
by Nicola OnyettWritten by experienced A-level examiners and teachers who know exactly what students need to succeed, and edited by a chief examiner, Philip Allan Literature Guides (for A-level) are invaluable study companions with exam-specific advice to help you to get the grade you need.This full colour guide includes:- detailed scene summaries and sections on themes, characters, form, structure, language and contexts - a dedicated 'Working with the text' section on how to write about texts for coursework and controlled assessment and how to revise for exams - Taking it further boxes on related books, film adaptations and websites - Pause for thought boxes to get you thinking more widely about the text - Task boxes to test yourself on transformation, analysis, research and comparison activities - Top 10 quotesPLUS FREE REVISION RESOURCES at www.philipallan.co.uk/literatureguidesonline, including a glossary of literary terms and concepts, revision advice, sample essays with student answers and examiners comments, interactive questions, revision podcasts, flash cards and spider diagrams, links to unmissable websites, and answers to tasks set in the guide.
The Dark Side of Stand-Up Comedy (Palgrave Studies in Comedy)
by Patrice A. Oppliger Eric ShouseThis book focuses on the “dark side” of stand-up comedy, initially inspired by speculations surrounding the death of comedian Robin Williams. Contributors, those who study humor as well as those who perform comedy, join together to contemplate the paradoxical relationship between tragedy and comedy and expose over-generalizations about comic performers’ troubled childhoods, addictions, and mental illnesses. The book is divided into two sections. First, scholars from a variety of disciplines explore comedians’ onstage performances, their offstage lives, and the relationship between the two. The second half of the book focuses on amateur and lesser-known professional comedians who reveal the struggles they face as they attempt to hone successful comedy acts and likable comic personae. The goal of this collection is to move beyond the hackneyed stereotype of the sad clown in order to reveal how stand-up comedy can transform both personal and collective tragedies by providing catharsis through humor.
Corrosive Solace: Affect, Biopolitics, and the Realignment of the Repertoire, 1780-1800
by Daniel O'QuinnIn Corrosive Solace, Daniel O’Quinn argues that the loss of the American colonies instantiated a complex reorganization in sociability and politics in the British metropole that has had long-lasting effects on British national and imperial culture, which can be seen and analyzed within its performative repertoire. He examines how the analysis of feeling or affect can be deployed to address the inchoate causal relation between historical events and their mediation. In this sense, Corrosive Solace’s goals are twofold: first, to outline the methodologies necessary for dealing with the affective recognition of historical crisis; and second, to make the historically familiar strange again, and thus make visible key avenues for discussion that have remained dormant. Both of these objectives turn on recognition: How do we theorize the implicit affective recognition of crisis in a distant historical moment? And how do we recognize what we, in our present moment, cannot discern?Corrosive Solace addresses this complex cultural reorientation by attending less to “new” cultural products than to the theoretical and historical problems posed by looking at the transformation of “old” plays and modes of performance. These “old” plays—Shakespeare, post-Restoration comedy and she-tragedy—were a vital plank of the cultural patrimony, so much of O’Quinn’s analysis lies in how tradition was recovered and redirected to meet urgent social and political needs. Across the arc of Corrosive Solace, he tracks how the loss of the American War forced Britons to refashion the repertoire of cultural signs and social dispositions that had subtended its first empire in the Atlantic world in a way more suited to its emergent empire in South Asia.
Entertaining Crisis in the Atlantic Imperium, 1770–1790
by Daniel O'QuinnHonorable Mention, 2012 Joe A. Callaway Prize in Drama and TheaterFirst Place, Large Not-for-Profit Publisher, Typographic Cover, 2011 Washington Book Publishers Design and Effectiveness AwardsLess than twenty years after asserting global dominance in the Seven Years' War, Britain suffered a devastating defeat when it lost the American colonies. Daniel O'Quinn explores how the theaters and the newspapers worked in concert to mediate the events of the American war for British audiences and how these convergent media attempted to articulate a post-American future for British imperial society.Building on the methodological innovations of his 2005 publication Staging Governance: Theatrical Imperialism in London, 1770-1800, O’Quinn demonstrates how the reconstitution of British imperial subjectivities involved an almost nightly engagement with a rich entertainment culture that necessarily incorporated information circulated in the daily press. Each chapter investigates different moments in the American crisis through the analysis of scenes of social and theatrical performance and through careful readings of works by figures such as Richard Brinsley Sheridan, William Cowper, Hannah More, Arthur Murphy, Hannah Cowley, George Colman, and Georg Friedrich Handel. Through a close engagement with this diverse entertainment archive, O'Quinn traces the hollowing out of elite British masculinity during the 1770s and examines the resulting strategies for reconfiguring ideas of gender, sexuality, and sociability that would stabilize national and imperial relations in the 1780s. Together, O'Quinn's two books offer a dramatic account of the global shifts in British imperial culture that will be of interest to scholars in theater and performance studies, eighteenth-century studies, Romanticism, and trans-Atlantic studies.
Staging Governance: Theatrical Imperialism in London, 1770–1800
by Daniel O'QuinnBetween 1770 and 1800, transformations in the relationship between metropolitan British society and its colonial holdings, and in the concept of the nation itself, left Britons with a new sense of themselves. Over the same period, the consolidation of the middle classes was accompanied by growing social constraints on sexuality and family life. Staging Governance locates the intersection of these two trends in the representation of British India on the London stage. Theatrical productions, especially those representing colonial life, pushed the limits of public discourse on sexuality and colonialism even as the government made efforts to shape and narrow them. At the same time, official discourse on colonial practices, such as the public trials of Clive and Hastings, became theatrical events themselves. Exploring this rapidly shifting world through a series of original readings of dramatic texts and important moments of oratory, Staging Governance demonstrates how the perceived crises of imperial and domestic Britain joined these spheres in the popular imagination. The economics of political and sexual exchange not only became entwined but functioned as mutual supports during a period of social, cultural, and political readjustment.
The Routledge Anthology of Restoration and Eighteenth-Century Performance
by Daniel O’Quinn Kristina Straub Misty G. AndersonThe Routledge Anthology of Restoration and Eighteenth-Century Performance brings together a selection of particularly memorable performances, beginning with Nell Gwyn in a 1668 staging of Secret Love, and moving chronologically towards the final performance of John Philip Kemble's controversial adaptation of Thomas Otway's Venice Presever'd in October 1795. This volume contains a wealth of contextual materials, including contemporary reviews, portraits, advertisements, and cast lists. By privileging event over publication, this collection aims to encourage an understanding of performance that emphasizes the immediacy - and changeability - of the theatrical repertoire during the long eighteenth century. Offering an invaluable insight into the performance culture of the time, The Routledge Anthology of Restoration and Eighteenth-Century Performance is a unique, much-needed resource for students of theatre.
Post-Conflict Performance, Film and Visual Arts
by Des O'Rawe Mark PhelanDrawing on a range of cities and conflicts from Europe, Africa and the Middle East, the collection explores the post-conflict condition as it is lived and expressed in modern cities such as Berlin, Belfast, Bilbao, Beirut, Derry, Skopje, Sarajevo, Tunis, Johannesburg and Harare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory investigates how the memory of conflict can be inscribed in historical monuments, human bodies and hermeneutic acts of mapping, traversing, representing, and performing the city. Several essays explore the relations between memory, history and urban space; where memory is located and how it is narrated, as well as various aspects of embodied memory; testimonial memory; traumatic memory; counter-memory; false memory; post-memory. Other essays examine the representations of post-war cities and how cultural imaginations relate to the politics of reconstruction in places devastated by protracted urban warfare. Post-Conflict Performance, Film and Visual Arts: Cities of Memory offers a comparative survey of the complex and often controversial encounters between public art, political memory and commemoration in divided societies, as well as offering insights into the political and ethical difficulties of balancing the dynamics of forgetting and remembering.