Eugene O'Neill Bücher

Eugene O'Neills Theaterstück ›Ein Mond für die Beladenen‹ (1943) thematisiert das Schicksal von James Tyrone, der in der Begegnung mit Josie Hogan für kurze Zeit seinen Alkoholproblemen und Schuldgefühlen entflieht. Das Stück beleuchtet den Gegensatz zwischen Illusion und Wirklichkeit und bietet eine ungewöhnliche Liebesszene.

Christine und Lavinia Mannon erwarten die Rückkehr des Brigadegenerals Ezra Mannon aus dem Sezessionskrieg - Lavinia, die Tochter, sehnsüchtig, Ehefrau Christine dagegen mit Abscheu. Sie plant den Mord an ihrem Gatten, um mit ihrem Geliebten Adam Brant, einem unerwünschten Neffen Ezras, zusammenleben zu können. Lavinia entdeckt Ehebruch und Mord, und als ihr Bruder Orin aus dem Krieg heimkehrt, stiftet sie ihn zum Mord an Adam Brant an. Aus Verzweiflung darüber nimmt Christine sich das Leben, und Orin, der den Selbstmord der über alles geliebten Mutter nicht verwinden kann, erschießt sich. Lavinia erkennt am Ende, daß sich ihre Rache gegen sie selbst gewandt hat, und kerkert sich im Haus der Mannons ein - tot schon im Leben.

Im November 1945 übergab O'Neill seinem New Yorker Verleger das Manuskript des Dramas "Eines langen Tages Reise in die Nacht" mit dem Wunsch, es erst 25 Jahre nach seinem Tod zu veröffentlichen. Doch bereits 1955, nur zwei Jahre nach dem Tod des Dramatikers, bat seine Witwe um die Veröffentlichung und schickte eine Kopie des Manuskripts an das Königliche Dramatische Theater in Stockholm, wo es am 2. Februar 1956 seine Weltpremiere feierte. Schon zu Lebzeiten O'Neills war bekannt, dass es sich um ein autobiografisches Stück handelt, und der Grund für seine Zurückhaltung bei der Aufführung war, dass einer der Protagonisten noch lebte – O'Neill selbst. In dem Stück porträtiert er seinen Vater, seine Mutter und seinen älteren Bruder James. Die Themen sind von akuter Dringlichkeit: die Geizigkeit des Vaters, die Drogenabhängigkeit der Mutter, der Alkoholismus des Bruders und O'Neills eigene Krankheit. Die Handlung spielt an einem einzigen Augusttag im Jahr 1912. In diesem Drama stellt sich O'Neill mutig seiner eigenen Vergangenheit und seinen Angehörigen und bietet eine berührende künstlerische Aussage über menschliches Leiden, die er mit tiefem Mitgefühl, Verständnis und Vergebung betrachtet.

Vor dem Hintergrund des frühen 20. Jahrhunderts in Amerika untersucht dieses Stück Themen wie Ehrgeiz, Sehnsucht und die Komplexität menschlicher Beziehungen. Eugene O'Neills bahnbrechendes Werk beleuchtet das Leben von Charakteren, die mit ihren Träumen und den harten Realitäten des Lebens kämpfen. Es ist bekannt für seine emotionale Tiefe und trug dazu bei, O'Neill den Pulitzer-Preis für Drama zu verleihen, was einen bedeutenden Meilenstein in seiner Karriere als Dramatiker darstellt.

Die Handlung spielt am Wochenende des 4. Juli 1906 in einer malerischen Stadt in Connecticut und bietet einen nostalgischen Blick auf das Leben in einer Kleinstadt. Sie erforscht Themen wie das Heranwachsen von Teenagern, die Unschuld junger Liebe und die Wärme gemeinschaftlicher Werte und steht im Kontrast zu den intensiveren Werken des Autors. Die Geschichte fängt das Wesen jugendlicher Bestrebungen und familiärer Bindungen in einer friedlichen Umgebung ein.

In this previously unpublished work Eugene O'Neill returned to an earlier form with which he had experimented—the one-act play. Only two characters appear on stage; Hughie, the third and most important on, is dead. It is Hughie's innocence, gullibility, and need to believe in a far more exciting existence than he ever knew which gives some kind of purpose to the shabby lives of the two who remain. O'Neill here again writes of the defeated and the courage that comes by way of illusions reflecting still other illusions in a world that needs them all. Hughie, the only surviving manuscript from a series of eight one-act monologue plays that O'Neill planned in 1940, was completed in 1941.

This final volume of Eugene O'Neill's complete dramatic works includes eight plays from 1932 to 1943, showcasing his career's pinnacle. Highlights include "Ah, Wilderness!" depicting boyhood innocence, "Long Day's Journey into Night" exploring family turmoil, and "A Moon for the Misbegotten," reflecting on elusive peace.

The first American dramatist to ever receive the Nobel Prize, Eugene O'Neill is the most renowned American playwright of the 20th century. Included in this edition are four plays from his extraordinary career: "Beyond the Horizon, Anna Christie, The Emperor Jones", known for its unusual stage devices and powerful use of symbolism, and "The Hairy Ape", one of O'Neill's experiments in expressionism.

Winner of four Pulitzer Prizes and the first American dramatist to receive a Nobel Prize, Eugene O'Neill filled his plays with rich characterization and innovative language, taking the outcasts and renegades of society and depicting their Olympian struggles with themselves-and with destiny.

The book features a captivating narrative that intertwines themes of mystery and emotion, resonating deeply with contemporary audiences. Its theatrical elements elevate the storytelling, creating a spellbinding experience that engages readers on multiple levels. The unique blend of intrigue and poignant moments invites reflection, making it particularly relevant and impactful in today's context.

Winner 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.

The action of the seven one-act plays takes place in the years preceding World War I

Two plays from one of the twentieth century's most significant writers, developed and conceived in tandem, drawing on the raw experience of the author's own family relationships.

The maturity and artistry of the American dramatist as shown in his 3 major works

The Pulitzer Prize-winning play delves into the intricacies of the human psyche, exploring themes of love and loss through its innovative use of soliloquies. Characters reveal their innermost thoughts and emotions, creating a rich tapestry of conflicting desires and existential dilemmas. Set against the backdrop of early 20th-century America, the narrative challenges conventional storytelling, offering a profound examination of the human condition and the impact of societal expectations on personal relationships.

Collects three plays from the Nobel and Pulitzer prize winning playwright.

Although one of his lesser known one-act plays, "The Hairy Ape," written in 1922, followed the success of his first two Pulitzer Prize-winning plays. This drama follows the disturbing dehumanization of Yank, a ship's fireman and a representation of the lower class. He feels superiority from his brute strength until he meets Mildred, the well-intentioned daughter of an extremely wealthy steel magnate. She initiates Yank's uncertainty and disillusionment concerning his place in society and humanity, leading to his bitter anger and ultimate demise. While the character of Long introduces hints of socialist ideas in the play and Paddy wistfully recalls the days before machinery, these commentaries serve to enhance the powerful conviction of the terrible human toll of industrialization. "The Hairy Ape" was received largely as thought-provoking entertainment in O'Neill's day, and it continues to provide readers today with an insightful view of a pivotal time in American society, ultimately exploring human nature and a society that would endanger and disassociate many of the hard-working people within it.

Featuring six renowned plays by Eugene O'Neill, this annotated edition offers insights into his most significant works, including "Mourning Becomes Electra" and "Long Day's Journey into Night." The collection is enhanced by an introduction from Herman Daniel Farrell III, providing context and analysis that enrich the reader's understanding of O'Neill's themes and characters. This edition serves as both a tribute to O'Neill's legacy and a valuable resource for students and enthusiasts of American theater.

Ah, Wilderness! and Days Without End presents two plays by Eugene O'Neill, set primarily in the Miller home in a small Connecticut town during the early morning of July 4th, 1906. The narrative unfolds across various scenes, beginning in the sitting room and transitioning through the dining room, a bar, and back to the sitting room, capturing the essence of family life and social interactions during this festive day. The characters include Nat Miller, the owner of the "Evening Globe," his wife Essie, their daughter Muriel, and various family members and friends, such as Tommy, Sid Davis, and Wint Selby, who add depth to the unfolding drama. The setting is characterized by a cheerful yet homely atmosphere, with furnishings reflecting the era's medium-priced taste. As the day progresses, the scenes shift from the morning's bright optimism to the evening's complexities, revealing the intricacies of familial relationships and the societal expectations of the time. The play captures the essence of American life, exploring themes of love, aspiration, and the bittersweet nature of existence, all set against the backdrop of a holiday that symbolizes both celebration and reflection. O'Neill's work invites audiences to engage with the characters' joys and struggles, offering a poignant glimpse into the human experience.

V listopadu 1945 odevzdal O'Neill svému newyorskému nakladateli rukopis dramatu Cesta dlouhým dnem do noci s přáním, aby byl zveřejněn nejdříve dvacet pět let po jeho smrti. Avšak již v roce 1955, necelé dva roky po dramatikově úmrtí, požádala O'Neillova vdova o jeho vydání a kopii rukopisu poslala Královskému dramatickému divadlu ve Stockholmu. Zde měla světovou premiéru 2. února 1956. Už za O'Neillova života se vědělo, že se jedná o autobiografickou hru, stejně jako bylo známo, proč se autor brání jejímu uvedení: jeden z jejích protagonistů byl dosud naživu. Později se ukázalo, že touto postavou je sám O'Neill. Kromě sebe vypodobnil ve hře svého otce, matku a staršího bratra Jamese. Téměř vše v ní odpovídá skutečnosti: otcovo skrblictví, matčina narkomanie, bratrův alkoholismus, O'Neillovy souchotiny. Děj hry je zhuštěn do jediného srpnového dne roku 1912. O'Neill se v tomto dramatu „dávné strasti, napsaném slzami a krví“ odvážně postavil tváří v tvář vlastní minulosti a svým nejbližším a podal o nich dojemnou uměleckou výpověď o lidském utrpení, které nahlíží s hlubokým soucitem, pochopením a odpuštěním.

E.O´Neill: Ľadár prichádza, T. Wilder - Iba o vlások, T. Williams - Kráľovská cesta, A. Miller - Skúška ohňom

Vrcholné O'Neillovo drama, vycházející z mytické příběhu, který známe z dramatického zpracování všech tří řeckých klasiků: Aischyla, Sofokla i Euripida. O'Neill se ovšem jen inspiruje dějovou a významovou kostrou a vlastní příběh přenáší do Spojených Států v polovině 19. století.

Tutto il teatro di O'Neill è la messinscena di una violenza sorda, sotterranea, la cui epifania è solo a tratti esemplificata dai fatti apertamente tragici del racconto. Violenza e desiderio in continua oscillazione, antagonisti, ma in realtà così simili che raramente si possono addebitare a un personaggio singolo. È vero che si alternano e si raccontano dialetticamente, ma si rivelano componenti di una stessa entità, così da doversi dubitare che appartengano ad altri (il Fato, le Furie?), fuori da un dramma individuale. Che è però moltiplicato e riflesso. E mentre è un dramma della stasi in quanto dramma di un'alternanza continua, contiene motivazioni sociologiche e psicologiche, private e collettive (con forti riverberi ideologici, religiosi, etici), non districabili. Se è vero che il dramma è questo, si capisce che l'archetipo del viaggio verso la conoscenza è da leggersi come ansia di ritorno e paura del ritorno, come intuizione di un essere già stato che conferma l'esilio nel desiderio. Ovvero la vita come una specie di morte temporanea. La condizione fissa (il movimento è apparente, il viaggio è nell'oscillazione che riconduce a un punto mediano) è quella della perdita delle illusioni e della loro necessità, della consapevolezza della perdita e del rifiuto di tale consapevolezza "per ereditare il futuro". (Roberto Sanesi)

Winner of the Nobel Prize 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.

Hra o třech dějstvích. Drama o moderním zázraku.

"Mŕtvy padol gigantický spisovateľ; veľký duch, náš najväčší dramatik nás opustil a náš divadelný svet je teraz menší a obyčajnejší," oznamoval divadelný kritik Times-u Brook Atkinson smrť najvýznamnejšieho amerického dramatika, nositeľa Nobelovej ceny Eugena O´Neilla. Autor skoro pol stovky dlhých i krátkych hier je vlastne otcom modernej americkej drámy. S neobyčajným citom pre ľudské nešťastie a vášne vytvoril celý rad moderných tragédií, ktoré ostávajú trvalými hodnotami svetovej literatúry. Počas celého plodného života písal podľa vlastného presvedčenia, nedal sa zlákať priveľkým úspechom ani odradiť neúspechom. O svojej práci raz vyhlásil: "Písanie pre mňa znamená dovolenku od života." (z anotácie na prebale) Obsahuje: Miliónový Marko; Veľký boh Brown; Cisár Jones; Ach, divočina.