Titlebook: Eugene O’Neill’s One-Act Plays; New Critical Perspec Michael Y. Bennett,Benjamin D. Carson Book 2012 Michael Y. Bennett and Benjamin D. Car

CLEAR

William B. Kannel,Joseph Stokes IIIperiment with O’Neill produced a comedy that exposed a gap between the playwright’s overwrought, literary ambitions and the physical abilities of actors to execute those intentions faithfully in a theatrical performance. The fact that the selected works of O’Neill’s early efforts number among his bl

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,The Playwright’S Theatre,ience would allow a monologue, whether he could hypnotize the audience into believing they were mad, the use of mood versus action, the use of African American characters when this was not yet part of the professional American theatre, and the use of expressionistic techniques.

BOAST

,Rethinking O’Neill’S Beginnings,ten from New York City slums.. Yet O’Neill’s ambition is compromised by the equivalent of boasting, his “showing off his familiarity with New York’s seamy street life.”. The Gelbs are correct in stressing this contradiction in ., which intends an indictment of class-based injustice but frequently in

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