Seminar paper from the year 2003 in the subject American Studies - Literature, grade: 2,0, University of Marburg (FB 10: Fremdsprachliche Philologien), course: Procincetown Players, language: English, abstract: In 1918, Eugene O’Neill advocated a life within reality. Living outside reality, he sees as destructive. With this in mind, he wrote Beyond the Horizon. One of his later plays, Desire under the Elms, reverts in character to Beyond the Horizon, though it exhibits a fine progress in solidity and finish. Desire under the Elms is the last of O’Neill’s naturalistic plays and the first in which he re-created the starkness of Greek tragedy. The play involves O’Neill’s own family conflicts and Freudian treatment of sexual themes.Beyond the Horizon is O’Neill’s first major statement of the theme of self-deception, pipe dreams and life-lies, resulting out of passion and desire. At this point of his career, O’Neill believed that one must engage in the quest to find the ultimate meaning of life, to discover the mysterious behind-life force that lies just beyond the horizon. To his mind this was in fact the pursuit of a goal. Further in his career as a playwright, he begins to believe that just having a dream that can survive through time is more important than having a dream that is attainable or the pursuit of a dream. In Beyond the Horizon, Eugene O’Neill dramatizes the conflict of the opposing ideals of adventure and security, emotion and ratio, embodied in the two brothers, Robert and Andrew. O’Neill identifies himself with the lead character, Robert Mayo whereas he compares Roberts brother Andrew to his brother Jamie. Both brothers represent two parts, the poetic, emotional dreamer and the rational down-to-earth farmer. During the play, both brothers give up their desires and passions; one of them flees into materialism, the other into a world of pipe dreams. When O’Neill wrote Beyond the Horizon, he was only able to see and to tolerate the emotional level of behaving and acting; in other words: rationalism. That is, in his point of view, something negative, which must be prevented. But his opinion changes: in 1924, he tolerates that motif although he still neither likes it nor considers it as a good value. The emotional way of behaving still overweighs in Desire under the Elms but there can also be found a profound way of rationalism in the behaviour of his protagonists. This change of O’Neill’s opinion comes out clearly in the characterisation of Abbie Putnam, who changes from rationalism to emotionalism. The fact that O’Neill changes his point of view made him a child of his time. [...]

The turbulent, often tragic life of America's greatest playwright, Eugene O'Neill, is laid bare in this acclaimed and insightful biography.

This book gives a critical profile of O'Neill, outlining in chronological order the critical response to his plays, beginning with the earliest one-act sea plays and continuing through the posthumous revivals and revolutions of his plays in the 1960s. It includes comments on successes and failures alike in an effort to offer as much critical balance as possible.

The cultural events of a century reported by contemporary observers in the pages of the New York Times.

(Applause Books). For six decades, Harold Clurman illuminated our artistic, social, and political awareness in thousands of reviews, essays, and lectures. His work appeared indefatigably in The Nation, The New Republic, The London Observer, The New York Times, Harper's, Esquire, New York Magazine , and more. The Collected Works of Harold Clurman captures over six hundred of Clurman's encounters with the most significant events in American theatre as well as his regular passionate embraces of dance, music, art and film. This chronological epic offers the most comprehensive view of American theatre seen through the eyes of our most extraordinary critic. 1102 pages, hardcover.