Presented to the Department of Theatre Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy, June 1996.

Acknowledgments

It is with great joy that this author acknowledges the many teachers who directly or indirectly contributed to this dissertation. I am grateful to my dissertation committee, Dr. Robert Barton, Dr. William Davie, and Dr. Jack Watson, each of whom contributed their own skills and enthusiasm to this effort as well as enriching my life through our association. A special thank you goes to Dr. Grant McKernie without whom this document would not have been written and who combines his love for theatre, his scholarly skills and his gentle guidence to epitomize the highest goals of our profession.

I would also like to acknowledge those whose contribution to my education has led me to this point: Dr. Travis Bogard, who introduced me to the work of Eugene O'Neill and through his life work has continued to inform and delight; Dr. Rich Wattenberg, who guided me through my initial O'Neill research; and Dr. Jordan Pecile, who took me under his wing. Much credit also goes to my fellow graduate students at the University of Oregon, notably: John Rustan, Janet Gupton, Shelley Doulma, and Kevin Trudeau. What a long strange trip its been!