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- W2279789543 abstract "This thesis will attempt to deal with Eugene O'Neill as a craftsman, a builder t>f plays. The form of his works, not the content, will be the focus. However, in this examination of form and structure, some intrusion of content will be necessary since the two aspects are interdependent. If interpretations are implied, they will be included only in so far as they dominate some structural factor. This thesis looks at some representative plays of O'Neill to discover what stylistic and structural traits have been dominant and what trends, if..any, have appeared in his structural techniques. The plays chosen include works from the second decade of fche century through the years preceding his death in 1953. They have varied. As an experimental playwright, O'Neill tried many different structural patterns i and devices in his attempts to find effective new means for conveying the drama of modern AmericaBut despite O'Neill's freedom and willingnesSfflto experiment, certain characteristics emerge repeatedly in his works. O'Neill did strive to discover the substance and the form for modern tragedy. In rejecting nineteenth century methods, he adopted the realistic approach to character representation and wrote with frankness and sympathetic concern. Although his convictions were constantly changing he was searching diligently for some ultimate meaning for man's suffering and for some method by which he could convey that significance effectively in the drama. O'Neill was not . l _ striving for novelty of theatrical effect but for deeper understanding and communication., Thus his experimentation in form arises out of his thematic concerns. O'Neill's works seem to fall into three groups: the short plays of the early period, notably The Emperor Jones and The Hairy Ape, the highly experimental and varied plays of the prolific middle period exemplified by Desire 'Under the Elms, Strange Interlude and Mourning Becomes Electra, and the more conventionally structured plays of the yeara preceding his death, notably The Iceman Cometh and Long Day's , . % Journey into Night. The second period seems to develop naturally out of the first, but the major break in output occurred between the second and third periods. From increasingly radical experimentation O'Neill turned back to surface adherence to popular current dramatic form and structure." @default.
- W2279789543 created "2016-06-24" @default.
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- W2279789543 date "1975-01-01" @default.
- W2279789543 modified "2023-09-26" @default.
- W2279789543 title "Form in selected plays of Eugene O'Neill." @default.
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