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Selected Theatre and Film Studies

Adler, Stella. Stella Adler on America’s master playwrights: Eugene O’Neill, Thornton Wilder, Clifford Odets, William Saroyan, Tennessee Williams, William Inge, Arthur Miller, Edward Albee. Ed. with commentary by Barry Paris. NY: Knopf, 2012, 17-80 (treats Beyond the Horizon, Mourning Becomes Electra, and Long Day’s Journey Into Night from an actress’s point of view)

Barlow, Judith E. ‘Influence, echo and coincidence: O’Neill and the Provincetown’s women writers.’ Eugene O’Neill Review 27 2005 22-28

-----, Judith E., ed. Women writers of the Provincetown Players: a collection of short works. Albany: State Univ. of New York Pr., 2009. 361 pp

Le Bastard, Gwenola. Eugene O’Neill: la génie illégitime de Broadway. Paris: Presses de l’Université Paris-Sorbonne, 2014. 386 pp

Ben-Zvi, Linda. ‘Eugene O’Neill and film.’ Eugene O’Neill Newsletter 7 i 1983 3-10 [S8]

-----. ‘The Provincetown Players: the success that failed.’ Eugene O’Neill Review 27 2005 9-21

Black, Cheryl. ‘After the Emperor: interracial collaborations between Provincetown alumni and black theatre artists c. 1924-1946.’ Journal of American Drama and Theatre 20 i 2008 5-26 (treats The Emperor Jones and All God’s Chillun Got Wings)

Brietzke, Zander. The aesthetics of failure: dynamic structure in the plays of Eugene O’Neill. Jefferson, NC: McFarland, 2001. 258 pp (adopts ‘the critical perspective of  the stage director’)

-----. American drama in the age of film. Tuscaloosa: Univ. of Alabama Pr., 2007, 35-50 (stresses films of The Glencairn Cycle and The Long Voyage Home)

-----. ‘Condensed comedy: the neo-futurists perform O’Neill's stage directions.’ Pp 193-201 in Bennett

-----. ‘The reel O’Neill in “Reds.”’ Pp 194-209 in Herrmann

Bryer, Jackson R., & Robert M. Dowling, eds. Eugene O’Neill: the contemporary reviews. NY: Cambridge UP, 2014. 991 pp

Brüning, Eberhard. ‘Eugene O’Neill und die Mündigkeit des amerikanischen Theaters.’ Sitzungsberichte der Sächsischen Akademie der Wissenschaften, Philologisch-Historische Klasse 130 ii 1990 3-32

Buby, Adriana. ‘Bridging troubled waters: the local / global dialectics of Romanian-Armenian theater exchanges at the dawn of the twenty-first century.’ Pp 96-114 in Rodica Mihăilă & Dana Mihăilescu, eds. Romanian culture in the global age. Bucharest: Editura Universităţii din Bucureşti, 2010 (compares productions of O’Neill plays)

Cane, Gigi. Teatro d’America. Turin: Società Editrice Torinese, 1950, 181-212: ‘Eugene O’Neill: the little theatre’s gift to American drama’

Case, Claudia W. ‘What they really saw: using archives to reconstruct the censored performance of Eugene O’Neill’s Strange Interlude.’ Pp ? in Performance reclamation: research, discovery, and interpretation. NY City Center: Theatre Library Association, 2008 (proceedings of the second symposium)

Cooper, Burton L. ‘Some problems of adapting O’Neill for film.’ Pp 73-86 in Moorton [S85]

Cornwell, Paul. ‘American drama at the Cambridge Festival Theatre, 1928-1935.’ Eugene O’Neill Review 27 2005 61-75 (stresses productions of O’Neill’s plays at this English noncommercial theatre)

Dauster, Frank. ‘Eugene O’Neill, Thornton Wilder y el teatro independiente.’ Pp 21-26 in Osvaldo Pellettieri & George W. Woodyard, eds. De Eugene O’Neill al ‘happening’: teatro norteamericano y teatro argentino, 1930-1990. Buenos Aires: Galerna, 1995

Dennehy, Brian. ‘An interview with actor Brian Dennehy [by Sheila H. Garvey].’ Eugene O’Neill Review 31 2009 150-63

Dugan, Timothy. ‘No elms in sight.’ Eugene O’Neill Review 31 2009 103-13 (analysis of the innovative performance at the Goodman Theatre in 2009, directed by Robert Falls and starring Brian Dennehy; see also Kennedy below)

Egan, Leona R. Provincetown as a stage: Provincetown, the Provincetown Players, and the discovery of Eugene O’Neill. Orleans, MA: Parnassus, 1994. 296 pp [S88]

Eisenhauer, Drew. ‘Playing life and death in Provincetown: two new versions of Louise Bryant’s The Game, 1915 and 1916.’ Eugene O’Neill Review 33 2012 174-219 (little on O’Neill)

Fleisher, Frederic, & Horst Frenz. ‘Eugene O’Neill and the Royal Dramatic Theatre of Stockholm: the later phase.’ Modern Drama 10 1967 300-311 [M181]

Fletcher, Anne. ‘A closed shop?: Max Gorelik and the Provincetown.’ Eugene O’Neill Review 28 2006 80-100

Frenz, Horst. ‘Eugene O’Neill in Deutschland.’ Euphorion 50 1956 307-27

-----. ‘Eugene O’Neill on the German stage.’ Theatre Annual 20 1953 24-36

-----. ‘Eugene O’Neill on the London stage.’ Queen’s Quarterly 54 1947 223-30

-----. ‘Notes on Eugene O’Neill in France.’ Pp 59-72 in Manfred Durzak, ed. Texte und Kontexte: Studien zur deutschen und vergleichenden Literaturwissenschaft: Festschrift für Norbert Fuerst. Bern: Francke, 1973

Golden, Joseph. The death of Tinker Bell: the American theatre in the 20th century. Syracuse: Syracuse UP, 1967, 30-51: ‘O’Neill and the passing of pleasure’ [M126]

Granger, Bruce I. ‘Eugene O’Neill: man of  the theater.’ Pp 24-32 in Klaus Lanziger, ed. Americana-Austriaca, III. Vienna: Braumüller, 1974 [S97]

Halfmann, Ulrich. Unreal realism: O’Neills dramatisches Werk im Spiegel seiner szenischen Kunst. Bern: Francke, 1969. 191 pp

Hayes, Richard. ‘“The scope of  the movies”: three films and their influence on Eugene O’Neill.’ Eugene O’Neill Review 25 2001 37-53

Helburn, Theresa. A wayward quest: the autobiography of Theresa Helburn. Boston: Little, Brown, 1960, 256-80: ‘Eugene O’Neill, playwright extraordinary’

Highsmith, James M. ‘O’Neill’s idea of  theater.’ South Atlantic Bulletin 33 iv 1968 18-21 [M188]

Hoover, Marjorie L. ‘Three O’Neill plays in the 1920’s productions by Tairov’s Kamerny Theater.’ Theatre History Studies 11 1991 123-27 [S34]

Johnson, Katie N. ‘When strange is good: a neo-futurist Strange Interlude.’ Eugene O’Neill Review 31 2009 114-21 (the 2009 Goodman Theatre performance)

Kennedy, Jeff. ‘Desire Under the Elms in the twenty-first century.’ Eugene O’Neill Review 31 2009 89-102 (see also Dugan above)

-----. ‘Experiment on Macdougal Street: the Provincetown Players’ 1918-1919 season.’ Eugene O’Neill Review 32 2010 86-123

-----. ‘The playwright’s theatre: O’Neill’s use of the Provincetown Players as a one-act laboratory.’ Pp 17-34 in Bennett

-----. ‘Probing legends in Bohemia: the symbolic dance between O’Neill and the Provincetown Players.’ Pp 160-93 in Herrmann

Kenton, Edna. The Provincetown Players and the Playwrights’ Theatre, 1915-1922. Ed. Travis Bogard & Jackson R. Bryer. Jefferson, NC: McFarland, 2004. 224 pp (first book publication of this historical memoir by an active participant)

Kornhaber, David. ‘The philosopher, the playwright, and the actor: Friedrich Nietzsche and the modern drama’s concept of performance.’ Theatre Journal 64 2012 25-40 (37-39: ‘Eugene O’Neill and the masked actor’)

Kovács, József. O’Neill müvei Magyarországon. Világirod: Figyelö, 1961

Lewis, Ward B. Eugene O’Neill: the German reception of America’s first dramatist. NY: Lang, 1984. 222 pp (publ. diss.) [S104]

Lowe, John. ‘Creating the circum-Caribbean imagery: DuBose Heyward’s and Paul Robeson’s revision of The Emperor Jones.’ Philological Quarterly 90 2011 311-33

Lueger, Michael. ‘Women in three film adaptations of O’Neill.’ Eugene O’Neill Review 32 2010 134-47 (The Emperor Jones, The Long Voyage Home, and The Hairy Ape)

Maloney, Peter. ‘Who does little but listen: playing O’Neill’s Hughie.’ Eugene O’Neill Review 34 2013 145-66 (autobiographical account)

McDonough, Edwin J. Quintero directs O’Neill: an examination of eleven plays of Eugene O’Neill staged by José Quintero in New York City, 1956-1981. Ann Arbor, MI: UMI Research Pr., 1989. 230 pp; also Chicago: A Capella Books, 1991. 305 pp [S109]

Monteiro, George. ‘Jero Magon, stager of Eugene O’Neill.’ Eugene O’Neill Review 32 2010 125-33 (stresses puppet productions)

Morrison, James. ‘Live TV, filmed theater, and the new Hollywood: John Frankheimer’s The Iceman Cometh.’ Pp 170-85 in Murray Pomerance & R. Barton Palmer, eds. A little solitaire: John Frankenheimer and American film.’ New Brunswick, NJ: Rutgers UP, 2011

Morrison, Michael A. ‘Emperors before Gilpin: Opal Cooper and Paul Robeson,’ Eugene O’Neill Review 33 2012 159-73 (treats all three in detail)

Murphy, Brenda. The Provincetown Players and the culture of modernity. Cambridge: Cambridge UP, 2005. 282 pp

Murray, Edward. The cinematic imagination:  writers and the motion pictures. NY: Ungar, 1972, 16-35: ‘Eugene O’Neill, expressionism, and film’

Olsson, Tom  J. A. O’Neill och  dramaten: en studie kring arbetet med och  mottagandet av fjorton olika O’Neill-uppsättningar på Dramatiska teatern åren 1923-1962. Stockholm: Akademilitteratur, 1977. 272 pp [S156] (English summary, 259-71)

Orlandello, John. O’Neill on film. Rutherford, NJ: Fairleigh Dickinson UP, 1982. 182 pp [S113]

Pao, Angela C. ‘Changing faces: recasting national identity in all-Asian(-)American dramas.’ Theatre Journal 53 2001 389-409 (productions of the play and Miller’s Death of a Salesman in Peking)

Prasad, Hari M. The dramatic art of Eugene O’Neill. New Delhi: Associated Publishing House, 1987, 28-52: ‘Symbolism  of stage’

Quintero, José. If you don’t dance they beat you. Boston: Little, Brown, 1974, 215-64: ‘O’Neill-Quintero’ [S116]

Ritschel, Nelson O. ‘Synge and the Irish influence of the Abbey Theatre on Eugene O’Neill.’ Eugene O’Neill Review 29 2007 129-50 ; repr. on pp 78-94 in Herrmann

Roessel, David. ‘“What made you leave the movement?”: O’Neill. Mike Gold, and the radicalism of the Provincetown Players.’ Pp 234-49 in Herrmann

Rundle, Erika. ‘“The monkey problem”: notes on staging The Ape.’ Eugene O’Neill Review 31 2009 122-49 (the 2009 Goodman Theatre performance)

Sands, Jeffrey E. ‘O’Neill’s stage directions and the actor.’ Pp 192-205 in Moorton [S119]

Sarlós, Robert K. Jig Cook and the Provincetown Players: theatre in ferment. Amherst: UP of Massachusetts, 1982. 265 pp [S119] (see index for plays)

Sevensson, Bo. Eugene O’Neills scenanvisingar. Lund: Univ. of Lund, Research Group for the Dramatic Arts, 1969. 48 leaves (on cover: Eugene O’Neill’s stage directions)

Shafer, Yvonne. ‘O’Neill, Glaspell, and John Reed: antiwar, pro-American reformers.’ Eugene O’Neill Review 32 2010 70-85 (activities of the Provincetown Players)

-----. Performing O’Neill: conversations with actors and directors. NY: St. Martin’s Pr., 2001. 259 pp

Shaughnessy, Edward L. Eugene O’Neill in Ireland: the critical reception. Westport, CT: Greenwood Pr., 1988. 221 pp [S121]  (includes essay, 1-128; ‘Irish essays on O’Neill,’ 151-93; data on productions, 195-213); ‘O’Neill in Ireland: an update.’ Eugene O’Neill Review 22 1998 137-56 [S60]

Siegmund, Gerald. ‘Voice masks: subjectivity, America, and the voice in the theatre of the Wooster Group.’ Pp 167-78 in Johan Callens, ed. The Wooster Group and its traditions. Brussels: Lang, 2004 (part on The Hairy Ape)

Smith, Wendy. ‘From sea-chanties to the moon: a spate of intense new productions shows how Eugene O’Neill’s theatrical vision deepened as his canvas tightened.’ American Theatre 29 vi 2012 26-31

Sweet, Jeffrey. The O’Neill: the transformation of America in theater. New Haven, CT: Yale UP, 2014. 319 pp (includes a chapter, ‘Eugene O’Neill and the O’Neill’)

Tiusanen, Timo. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968. 388 pp [M152]

Törnqvist, Egil. A drama of souls: studies in O’Neill’s super-naturalistic technique. New Haven, CT: Yale UP, 1969, 47-108: ‘The human setting’ (47-77: ‘Scenery’; 77-108: ‘Lighting’)

-----. Eugene O’Neill: a playwright’s theatre. Jefferson, NC: McFarland, 2003, 26-35: ‘Page and stage’ (stage directions)

Van Leer, David. ‘The showman cometh: rescuing Eugene O’Neill from the library.’ New Republic 20 Nov 13 1989 29-33

Weinstein, Katherine. ‘Towards a theatre of creative imagination: Alexander Tairov’s O’Neill productions.’ Eugene O’Neill Review 22 1998 157-70 [S69]

White, Leslie. ‘Eugene O’Neill and the Federal Theatre Project.’ Resources for American Literary Study 17 1990 63-85 [S70]


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