By Clive Bloom (eds.)
An advent to American drama, geared toward scholars, lecturers and critical readers, that is additionally involved that the unexpected names and forgotten voices of these who made an immense contribution to its historical past, were unfairly neglected.
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Extra resources for American Drama
It is in his laugh. Again, O'Neill was aware of his problem in theatre, writing to Kenneth MacGowan: Who can we get to laugh as one would laugh who had completely lost, even from the depths of the unconscious, all traces of the Fear of Death? In short, Lazarus is damned far from any category. It has no plot of any sort as one knows plot ... I had better stop getting more involved in explaining what I can't, for the present, explain to mysel£. 22 There speaks the creative artist in the precise mode of risking articulation, the playwright of 'a theatre of the imagination unbound and one in which the audience especially might participate more vitally and fully'.
For the Heterodites' reaction to The Verge, see Hapgood, A Victorian in the Modern World, p. 377. Christine Dymkowski, 'On the Edge: the Plays of Susan Glaspell', Modern Drama, vol. 33, no. 1 (March 1988) p. 101. Bigsby, Plays by Susan Glaspell, p. 19. Kenneth MacGowan acknowledged that Throckmorton's set was 'expressionistic'; he first used the term with reference to a whole play apropos Eugene O'Neill's The Hairy Ape (1922). : Southern Illinois Press, 26. 27. 28. 29. 30. 31. 32. 33. 34. 1972) p.
O'Neill circles in the sphere of Edgar Allan Poe, in fictions of enclosure, burial, masks and the sea as an arena of reversals. Like Poe, he became a popular author. From The Emperor Jones in 1921 onwards, his plays were usually Eugene O'Neill 25 successful in New York. They contained no esoteric literary or avantgarde risks - beyond clear and direct uses of expressionism. His themes were as central to common American belief structures as those of his contemporary John Steinbeck, and the films made of them.