Stella Adler on America's master playwrights: Eugene O'Neill, Thornton Wilder, Clifford Odets, William Saroyan, Tennessee Williams, William Inge, Arthur Miller, Edward Albee

2013 ◽  
Vol 50 (05) ◽  
pp. 50-2555-50-2555
Keyword(s):  
Tennessee Williams ◽  
Eugene O'neill ◽  
Arthur Miller ◽  
Edward Albee ◽  
Thornton Wilder ◽  
Eugene O’Neill

scholarly journals Paula Vogel And The Modern American Female Playwrights

2021 ◽  
Vol 0 (44) ◽  
pp. 46-71
Author(s):  
Rasha Abdulmunem Azeez ◽  
Keyword(s):  
Bertolt Brecht ◽  
Tennessee Williams ◽  
August Strindberg ◽  
Pulitzer Prize ◽  
Arthur Miller ◽  
Edward Albee ◽  
Female Writers ◽  
Paula Vogel

Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there were female playwrights who wrote preeminent plays and they influence Vogel as well. Nevertheless, dramas by female writers, as a matter of fact, remain marginalized. This paper focuses on the influence of some female playwrights on Vogel.

scholarly journals Genuine Relationship: Pure Adaptation

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Nastaran Arjomandi
Keyword(s):  
Eugene O'neill ◽  
Arthur Miller ◽  
Philosophical Concept ◽  
Middle Position ◽  
Dramatic Text ◽  
Stage Directions ◽  
Eugene O’Neill ◽  
Death Of A Salesman ◽  
Martin Mcdonagh

The present research attempted to focus on the concept of adaptation (in theatre) from the perspective of Walter Benjamin’s philosophical concept of pure language firstly introduced in 1923. In so doing, three adapted into Persian performed plays Marg-e Foroushandeh (Borhani Marand, 2015), Ghat-e Dast dar Spokan (Khojasteh, 2015), and Pish az Sobhaneh-ye Jadali (Rezaee, 2016) were studied along with their English written source playtexts Death of a Salesman, A Behanding in Spokane and Before Breakfast, respectively by Arthur Miller, Martin McDonagh and Eugene O'Neill. In each case, the source playtext and its adapted performed play had to be seen as the two main fragmentary languages detached from a larger whole in the fall from grace. Using Ladoucer’s (1995) model of dramatic text translation, the alterations carried out in the main verbal and nonverbal text components (speech lines/dialogues and stage directions) were studied to see which performances were deserved to be considered as purely adapted ones. Finally, the results indicated that not all the transposed performances could be seen as pure adaptations rooted in creativity in its true sense, occupying a middle position between dependency and deviation.

American Drama: Contemporary Allegory from Eugene O'Neill to Tennessee Williams

Books Abroad ◽  
1963 ◽  
Vol 37 (3) ◽  
pp. 333
Author(s):  
Robert L. Stilwell ◽  
Louis Broussard
Keyword(s):  
Tennessee Williams ◽  
Eugene O'neill ◽  
American Drama ◽  
Eugene O’Neill

scholarly journals O século XX e a tragédia do homem comum

2018 ◽  
Vol 27 (46) ◽  
pp. 139-153
Author(s):  
Adriano De Paula Rabelo
Keyword(s):  
Eugene O'neill ◽  
Arthur Miller ◽  
Eugene O’Neill

No decorrer do século XX, houve um grande debate em torno da tragédia e da possibilidade de sua recriação num tempo tão distante do século V a.C., quando ocorreu seu surgimento e seu apogeu e quando Ésquilo, Sófocles e Eurípides, os três grandes tragediógrafos da Grécia, produziram seus trabalhos. Pensadores originários de diversos campos das humanidades tomaram parte nessas discussões. Este artigo sintetiza suas ideias, mostrando como a estatura do ser humano, sua condição social e sua linguagem foram se rebaixando até o século em que autores como Eugene O’Neill, Arthur Miller e Nelson Rodrigues recriaram a tragédia em feição moderna: uma tragédia do homem comum.

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