... not be given ONeill’s work by his contem- Incomdete poraries, his widow ordered that the Eugene O’Neitl ad Work, edited by manuscripts be withheld from publication...

... and injustice. Bottom garnered rave reviews at the Yale Rep produced at the Eugene ONeill National At our interview, conducted in New last Spring. It met with even greater success Playwrights Conference in 1982, is, in part, Haven in mid-May, 1984, Wilson had just this Fall in New York, where the play...

... (cloth) $20.00. The New British Drama by Oleg Kerensky, Taplinger, New York, 1979 (cloth) $1 1.95. Poems: 1912 - 1944 by Eugene ONeill, edited by Donald Gallup, Ticknor and Fields, New Haven and New York, 1980 (cloth) $9.95. The Red Robins by Kenneth Koch, Performing Arts Journal...

... (cloth) $20.00. The New British Drama by Oleg Kerensky, Taplinger, New York, 1979 (cloth) $1 1.95. Poems: 1912 - 1944 by Eugene ONeill, edited by Donald Gallup, Ticknor and Fields, New Haven and New York, 1980 (cloth) $9.95. The Red Robins by Kenneth Koch, Performing Arts Journal...

.... Methuen, London, 1981 (paper) $5.95. &nJoruon: His Vision and Art by Alexander Leggatt, Methuen, NY, Work Bay, Vof II, 1934-1943 by Eugene ONeill, Yale University 1981 (cloth) $35.00. Libraries, New Haven, Conn., 1981 (paper) The Bncht...

..., Purdue University IN, 1987 $17.50. The Director as Artist by R.H. ONeill and N.M. Boretz, Holt, Press, West Lafayette, (cloth) Rinehart and Winston, New York, 1987 (cloth). The Modern Stage and Other...

... Popular Appeal in English Drama by Peter Davison, Barnes & No- of Kentucky, Lexington, 1982, (cloth) $21.50. ble, Totowa, NJ, 1982 (cloth) $26.00. The Calms of Capricorn by Eugene ONeill, Ticknor & Fields, New...

... Cristo”) ONeill and the playwriting of Mae West, in ways which allow directors to re- invent these sources for the present, as no other theater in the country Susan Sontag...

.... Antarctica to me suggested done at the ONeill Theater Center, in Waterford, Connecticut. not the literal language of film, but the rough poetry and Granted, this was only a staged reading, with an absolute mutability of the theater. What I couldn’t know was whether or minimum of “production values...

..., Purdue University IN, 1987 $17.50. The Director as Artist by R.H. ONeill and N.M. Boretz, Holt, Press, West Lafayette, (cloth) Rinehart and Winston, New York, 1987 (cloth). The Modern Stage and Other...

... Popular Appeal in English Drama by Peter Davison, Barnes & No- of Kentucky, Lexington, 1982, (cloth) $21.50. ble, Totowa, NJ, 1982 (cloth) $26.00. The Calms of Capricorn by Eugene ONeill, Ticknor & Fields, New...

... student at the Yale School of Drama, was not bear out this intention; much of its suc- first produced at the Eugene ONeill cess is directly attributable to the fact that it is Playwrights Conference. It opened...

... think ONeill Marston was just a born dramatist. The speeches themselves just went as far as possible. He was a great playwright, but that was the work marvelously on stage. You know in Antonio one of the most end of that road. audacious scenes is a love...

... student at the Yale School of Drama, was not bear out this intention; much of its suc- first produced at the Eugene ONeill cess is directly attributable to the fact that it is Playwrights Conference. It opened...

... with Method. You write whatever happens. You don’t say, “I’m not going to waste A Method actor should be able to work in a play of ONeill as well as my time writing a scene with five characters that are not going to be Ionesco as well as Shakespeare. You don’t need any special training in the play...

....” The splash, in the case of NYTb7, was stylish a director, worked previously as the Administrator of the ONeill Na- writing, high production standards, and an unusual degree of initial tional Playwrights Conference. Several of the playwrights she has financial backing. produced at NYTW are O”eil1...

... of the Studio, it was not training people that could appear in Strindberg, ONeill, Chekhov, any num- ber of things simultaneously, or in the same season; that there was no capacity to transform as actors, that there was a personality orientation, there was a working almost exclusively from the self...

... And while Curse showed no strong alliance men in this family!” Corruption is un- meshes with the underlying parable of a to any specific classical work of drama - covered - questions arise in each play as poisonous ontological situation. The two only faintly reminding us of ONeill, Ibsen, to true...

... in the theater with such finesse, this kind of inevitable dualism was present in different degrees whenever a Negro unit produced an adaptation of a white play, as they did with many of Shaw’s and ONeill’s works. Whether they were designed to produce a sense of fear or one of “primitive”joy...

... 11th biennial national conference last June, where August Wilson delivered his keynote speech, “The Ground on which I Stand” (later published in the September edition of American Theatre). That ground, he said, is “in one guise” that of the Greeks, Shakespeare, Shaw, ONeill, and other canonical...