Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.0209
C. Kinealy
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Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.0222
Katie N. Johnson
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Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.0149
Zander Brietzke
ABSTRACT:Artist John Sloan (1871–1951) lived on the southern border of the Tenderloin in New York City from 1904 until 1912 and walked the neighborhood daily for subject matter to draw and paint. His canvases seem like stage composition in which the figures within a scene look at one another while inviting the viewer's participation. The dynamics between who is watching and who is being watched create stories in his pictures and, the author argues, inspire charitable feelings for characters in O'Neill's last plays: compassion for their situations; empathy for what they must endure; forgiveness for their transgressions; and redemption for their lives. To conclude the connections between the painter and the playwright, Sloan's painting of a sunset in the Tenderloin is interpreted as a visual benediction for Jamie Tyrone in A Moon for the Misbegotten.
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Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.vi
Alexander Pettit
Shouhua Qi’s 2019 essay on Chinese adaptations of Desire Under the Elms (EOR 40.1) reminded readers that Eugene O’Neill is popular in China—notwithstanding, I add, the playwright’s poor behavior there during his boozy junket of 1928. O’Neill’s eastern ascent began in the late 1970s, when “a climate materialized in China favorable for the reception of O’Neill and other modern Western writers,” Liu Haiping writes in his and Lowell Swortzell’s Eugene O’Neill in China: An International Centenary Celebration (Greenwood, 1992, xxx‒xxxi). In this issue’s Used Books entry, Shiyan Xu presents Haiping and Swortzell’s collection as a catalyst, noting that “over ten monographs on O’Neill by Chinese scholars” have appeared since its publication. Translations of monographs by Virginia Floyd and James A. Robinson and of biographies by Louis Sheaffer and Robert M. Dowling also followed the breakout collection into print. The work continues: a new monograph on Chinese translations on O’Neill plays has just been published by Zhejiang University Press, and a complete Chinese edition of O’Neill’s plays will appear in 2024 or 2025.The Eugene O’Neill Review is popular in China, too, now more than ever. According to JSTOR, the EOR’s primary online platform until 2023, China was responsible for more online hits in 2022 than any country except the United States. While JSTOR/EOR hits overall dropped by 16 percent from 2021 to 2022, due principally to the pandemic’s early ebb, hits from China increased by 36 percent. Xi’an Jiaotong–Liverpool University, Beihang University, and Guangdong University of Foreign Studies claimed spots 3 through 5 on JSTOR’s 2022 “Institutional Usage Report” for the EOR. Other Chinese universities placed prominently as well.Now, I’m no statistician and I admit that this whole “hits” thing registers fuzzily with me. But surely these numbers suggest that we ought to be paying more attention to China. Our decision to publish Xu’s contribution both in Chinese and in the author’s English translation attempts to honor and celebrate an intellectual bond among O’Neillians worldwide, and I’ll hope that this modest gesture signals a new commitment to learning from and sharing with our Chinese colleagues. I’m optimistic. Indeed, I’m pleased to announce that EOR 45.1 will include a debut essay about Chinese adaptations of Beyond the Horizon during the Second World War. And keep your eyes on our review sections… .Essays by three high-profile members of the Eugene O’Neill Society anchor the present issue. Bess Rowen argues that O’Neill’s stage directions serve throughout his corpus as indicators of “longing and belonging,” possessed of a unique generic functionality. It’s like encountering O’Neill liminally on stage and liminally in print, at the same time—disorienting and fascinating. In a bravado display of interdisciplinarity, Zander Brietzke draws out formal and perspectival correspondences between O’Neill’s late plays and the graphic art of his friend an
齐守华在2019年发表的一篇关于《榆树下的欲望》(EOR 40.1)中国版改编的文章提醒读者，尤金·奥尼尔在中国很受欢迎——尽管我补充说，这位剧作家1928年在中国豪饮期间行为不检点。奥尼尔的东方崛起始于20世纪70年代末，当时“中国出现了有利于接纳奥尼尔和其他现代西方作家的气候”，刘海平在他和洛厄尔·斯沃茨尔合著的《尤金·奥尼尔在中国:国际百年庆典》(Greenwood, 1992, xxx-xxxi)中写道。在本期的旧书条目中，徐世岩以海平和斯沃茨尔的收藏为催化剂，指出“自奥尼尔的作品出版以来，中国学者已经出版了十多本关于奥尼尔的专著”。弗吉尼亚·弗洛伊德(Virginia Floyd)和詹姆斯·a·罗宾逊(James A. Robinson)的专著译本以及路易斯·谢弗(Louis Sheaffer)和罗伯特·m·道林(Robert M. Dowling)的传记译本也紧随其后出版。工作还在继续:浙江大学出版社刚刚出版了一本关于奥尼尔戏剧汉译的新专著，完整的奥尼尔戏剧中文版将于2024年或2025年出版。《奥尼尔评论》在中国也很受欢迎，现在比以往任何时候都更受欢迎。截至2023年，JSTOR是EOR的主要在线平台，根据JSTOR的数据，中国在2022年的在线点击率超过了除美国以外的任何国家。虽然主要由于疫情的早期消退，2021年至2022年，JSTOR/EOR攻击总体下降了16%，但来自中国的攻击增加了36%。西交利物浦大学、北京航空航天大学和广东外语外贸大学在JSTOR的2022年“提高采收率机构使用报告”中名列第3至第5名。其他中国大学也名列前茅。现在，我不是统计学家，我承认我对“点击率”这个概念印象模糊。但这些数字无疑表明，我们应该更多地关注中国。我们决定以中文和作者的英文译本出版徐的贡献，是为了尊重和庆祝全世界的奥尼尔学者之间的智力联系，我希望这一谦逊的姿态标志着我们向中国同事学习和分享的新承诺。我很乐观。事实上，我很高兴地宣布，EOR 45.1将包括一篇关于中国在第二次世界大战期间改编的《超越地平线》的处女作。请关注我们的评论部分... .由尤金·奥尼尔协会的三位知名成员撰写的文章为本期节目奠定了基础。贝丝·罗文认为，奥尼尔的舞台指导在他的语料库中作为“渴望和归属感”的指示器，具有独特的通用功能。就像在舞台上和印刷品上偶然遇到奥尼尔一样，同时又迷惑又迷人。在跨学科的大胆展示中，Zander Brietzke在奥尼尔的晚期戏剧和他的朋友和同时代的约翰·斯隆(John Sloan)的图形艺术之间绘制了形式和透视的对应关系，约翰·斯隆与罗伯特·亨利(Robert Henri)的Ashcan绘画学校有关。导演埃里克·海耶斯带着对“流行病中心”的思考回来了，这促使他开始拍摄奥尼尔的戏剧，在尤金·奥尼尔基金会和国家公园管理局的各种赞助下。海耶斯的电影版《地平线之外》在网上表现不错(哦，那些“热门”!)，这是理所当然的。我相信读者们会喜欢把他的观察应用到他最近的一部同样引人注目的电影《焊接》中，这部电影将于2023年春季上映。凯蒂·n·约翰逊(Katie N. Johnson)在奥尼尔(O 'Neill)的《银弹》(the Silver Bullet)中对种族问题进行了大量研究，使她在《琼斯皇帝》(the Emperor Jones)的早期情节——失物招领处的介绍变得生动起来。与旧书专题偶然对称的是，我们呈现了两个文本:一个外交文本(事实上)记录了奥尼尔在工作中做出的编辑决定，另一个阅读文本，删去了正字法的神秘，保留了奥尼尔将带入《琼斯皇帝》的版本。除此之外，我们还增加了德鲁·艾森豪尔、克里斯汀·Kinealy和埃米琳·朱夫的书评;以及凯蒂·n·约翰逊、理查德·海斯、丹·麦戈文、提香·利什和大卫·帕尔默的表演评论。后一组标志着一个里程碑的通过:自2021年春季(EOR 42.1)以来，所有性能评估首次涉及现场生产。本期杂志标志着我作为EOR杂志编辑的任期结束。感谢我的共同编辑詹德·布里茨克、贝丝·罗文和莱德·桑顿给予我的支持、友爱和建议;EOR的编辑委员会和尤金奥尼尔协会的董事会;宾夕法尼亚州立大学出版社的同仁们;还有即将上任的编辑j·克里斯·韦斯特盖特，我知道，在他的领导下，《华尔街日报》将继续蓬勃发展。在这种情况下，“归属感”既不困难，也不令人担忧。
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Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.0169
E. Hayes
ABSTRACT:Prior to the pandemic, the magic of live performance at Tao House had been discovered. There has been a growing appreciation for the unique experience of producing O'Neill's plays where he created them. The pandemic demanded a dramatic reimaging of what the combination of play and place meant. As with many innovations, necessity demanded new thinking. Problems arose and solutions were needed to meet the moment. A new approach to celebrating the plays of Eugene O'Neill and their connection to Tao House was discovered. Filming the plays not only gave us a way to remain creative and productive, thus keeping the spirit of O'Neill alive, but it also established a new breadth of audience. As much as we hope for and look toward a COVID-free future, the Eugene O'Neill Foundation now looks toward a future of hybrid programming—a combination of live and filmed productions.
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Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.0203
Drew Eisenhauer
{"title":"Staging America: The Artistic Legacy of the Provincetown Players by Jeffery Kennedy (review)","authors":"Drew Eisenhauer","doi":"10.5325/eugeoneirevi.44.2.0203","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0203","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"44 1","pages":"203 - 208"},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70832254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.0232
Danica McGovern
{"title":"A Moon for the Misbegotten","authors":"Danica McGovern","doi":"10.5325/eugeoneirevi.44.2.0232","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0232","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"11 52","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72489494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.0237
Titian Lish
{"title":"The First Man","authors":"Titian Lish","doi":"10.5325/eugeoneirevi.44.2.0237","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.2.0237","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"44 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89899466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.5325/eugeoneirevi.44.2.0132
B. Rowen
ABSTRACT:Eugene O'Neill was constantly experimenting with theatrical styles and genres. From naturalism to expressionism, his plays both follow the tenets of each of these forms while containing a throughline that is, for lack of a better word, O'Neillian. This article argues that O'Neill's stage directions contain pertinent information with regard to what aspects of these dramatic styles O'Neill is adhering to and what parts of his own style he has not relinquished. By looking at Bound East for Cardiff, The Hairy Ape, and Hughie in contrast to other plays written around the same time period in those specific genres, it becomes clear that O'Neill uses stage directions for the purpose of transmitting dramatic style. Like the Hairy Ape himself, O'Neill both belongs and does not belong to each of the dramatic styles he used for his plays, and this "failure" is perhaps his greatest achievement.
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