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RESPONSE TO THE PREVIEW ISSUE: A LETTER January 31, 1977 Dear Professor
Wilkins: The first issue of
The Eugene O’Neill Newsletter was handed me today
by a colleague; enclosed is my subscription. Best wishes for success
in stimulating the exchange of ideas. As a theatre
historian and O’Neill enthusiast, I am particularly eager to see an
upsurge in theatrical thinking, coupled with action centered on
O’Neill. More of his plays need testing on stage in more imaginative
ways than has been, or is being, done. You need not apologize; your
fourth question (“Are there plays, denigrated and disregarded
before, that might now be stageworthy because of technical advances
since the time of their first production?”) is relevant not despite
but because of its practicality-—and my response is emphatically
YES! Moreover, I believe that our thinking and imagination have
changed and may do as much to enable new production concepts as does
technology. I also believe that organized attempts are needed to
encourage several, very different, productions of what Professor
Jackson quite correctly labels “a group of works which strike us
today as essentially unfinished” in order to begin doing justice to
O’Neill, and to the American theatre, past and present. Too long have “scripts” been treated as finished works of literature--in reality they are to the finished product what a blueprint is to a work of architecture. That writers occasionally transcend requirements of their craft (play-W-R-I-G-H-T, not play-W-R-I-T-E, I regularly have to remind my students) should not determine the standard by which we measure the other efforts. I have little
patience with the tired myth that there was no American theatre prior
to O’Neill. No wonder, his early experiments and even some of his
mature works are misunderstood and vilified (and I include Professor
Floyd’s “mediocre, indifferent, and really awful” in that) if
only the “Irish-Catholic heritage” and the “New England
environment” are allowed as formative forces. Since O’Neill was
“dragged up” (Yank’s words) onstage, his plays cannot be
understood without reference to that stage, no matter how vulgar,
cliché-ridden, un-literary, and money-grabbing: it was alive, it
spanned the continent, it packed them in, its practitioners were not
on the unemployment rolls and--it handed O’Neill every cheap and
highfalutin’ trick in the book. Only God creates out of nothing;
artists create out of the particular debris they know. In
O’Neill’s case that included the American theatre as he knew it,
hated it, loved it, and lived it. As a student of the
Provincetown Players, I discover repeatedly how certain bad plays
provide structural or thematic elements for O’Neill. A
systematic search of the plays that comprised the theatrical repertory
to which O’Neill was exposed as a child and as a young adult would
add numerous examples; nor does that detract from the dramatist’s
originality: Shakespeare, Molière, Shaw, Brecht and many others have
shaped the dregs of other writers into masterpieces. The kind of ranking
Professor Raleigh engages in, while it may stimulate discussion, is
potentially very dangerous if not done thoroughly. Numerous plays on
both ends of the spectrum, as well as in the middle, have been
omitted. Arbitrarily so, or by conscious selection process? What
standard was used? His “real clunkers” will compare favorably with The Movie Man and
Abortion, or with such
one-acts as Thirst and The Sniper. On the other
hand, to entirely ignore Strange Interlude, Mourning Becomes Electra, and such one-acts as
Bound East for Cardiff, The Moon of the Caribbees and The Rope is a crime. Nor are other
plays justifiably excluded. Any ranking should
be done with reference to theatrical standards which include, but are
not restricted to, verbal expression. The unfinished scripts cry out
for production; scholarship can and should explore O’Neill’s hints
for production that have hitherto been misunderstood, or not even
deciphered. --Robert K. Sarlos |
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