{"title":"Contour in Time: The Plays of Eugene O’Neill by Travis Bogard (review)","authors":"B. Murphy, David Clare, Jackson R. Bryer","doi":"10.5325/eugeoneirevi.43.1.0069","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.43.1.0069","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"43 1","pages":"69 - 90"},"PeriodicalIF":0.3,"publicationDate":"2022-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45307105","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}
{"title":"The Last Will and Testament of Silverdene Emblem O’Neill by Alex Roe (review)","authors":"V. Joyce","doi":"10.5325/eugeoneirevi.43.1.0100","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.43.1.0100","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"43 1","pages":"100 - 101"},"PeriodicalIF":0.3,"publicationDate":"2022-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48834736","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}
{"title":"Circle in the Square Theatre: A Comprehensive History by Sheila Hickey Garvey (review)","authors":"A. Fletcher","doi":"10.5325/eugeoneirevi.43.1.0095","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.43.1.0095","url":null,"abstract":"EOR_43_1_06_Book_Reviews.indd Page 95 02/02/22 3:32 AM co-authored Mapping Irish Theatre (with Shaun Richards: Cambridge, 2013). His History of the Theatre in Ireland, 1601–2000 (Cambridge, 2002) has become a standard work. In 2021 Morash curated a series of plays for Dublin’s Abbey Theatre, Unseen Plays, and contributed to Ireland’s entry to the 2020 Venice Bienale. He is a Member of the Royal Irish Academy.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"43 1","pages":"95 - 99"},"PeriodicalIF":0.3,"publicationDate":"2022-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42491310","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}
{"title":"Magnum Opus: The Cycle Plays of Eugene O’Neill by Zander Brietzke (review)","authors":"Chris Morash","doi":"10.5325/eugeoneirevi.43.1.0091","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.43.1.0091","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"43 1","pages":"91 - 95"},"PeriodicalIF":0.3,"publicationDate":"2022-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48219414","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}
{"title":"Mort Drucker and Stan Hart, \"Strange Interlude with Hazey\" (Mad 85, March 1964); George Woodbridge and Stan Hart, \"Strange Interludes in Everyday Life\" (Mad 90, October 1964)","authors":"M. N. Armintor","doi":"10.5325/eugeoneirevi.42.2.0111","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.42.2.0111","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"42 1","pages":"111 - 124"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48612078","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}
{"title":"Creators of N and The Black Emperor: Interviews with Playwright Adrienne E. Pender and Filmmaker Arthur Egeli","authors":"R. Thornton","doi":"10.5325/eugeoneirevi.42.2.0182","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.42.2.0182","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"42 1","pages":"182 - 193"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42052946","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}
{"title":"The Louis Sheaffer Collection of Eugene O'Neill at Connecticut College","authors":"Benjamin Panciera","doi":"10.5325/eugeoneirevi.42.2.0153","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.42.2.0153","url":null,"abstract":"ABSTRACT:The Louis Sheaffer Collection of Eugene O'Neill or Sheaffer-O'Neill Collection has been at Connecticut College since 1992. Encompassing sixty linear feet of original and photocopied manuscripts, clippings, notes, photographs, and ephemera and approximately 300 editions and secondary works, it is among the crown jewels of the College's special collections. This article provides an introduction to the organization and history of the collection and notes some of its highlights.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"42 1","pages":"153 - 165"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41602250","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}
{"title":"Toward a Cinematic O'Neill","authors":"A. Bahroun, Bennet Schaber","doi":"10.5325/eugeoneirevi.42.2.0125","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.42.2.0125","url":null,"abstract":"ABSTRACT:While other modernist luminaries of his generation entertained very direct, even if often troubled, relationships with the cinema, O'Neill's relationships were more indirect, even subterranean, but perhaps more interesting for being that. From the mid-1910s until the late 1920s, O'Neill's work, which included photoplays, was very much in conversation with the cinema and the modernity it metaphorized. This conversation reached its apex with the 1926 photoplays of The Hairy Ape and Desire Under the Elms. Although never realized as films, the adaptations reveal the structural and visual analyses O'Neill brought to bear on his plays in order to liberate and enhance what were already latent cinematic energies at work in the originals. The photoplays reveal just how much of O'Neill's work contained a kind of enacted theorization of modern bodies possessed by and of images.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"42 1","pages":"125 - 152"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41628034","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}
{"title":"Unlikely Temple: Building a Theater at Tao House","authors":"E. Hayes","doi":"10.5325/eugeoneirevi.42.2.0166","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.42.2.0166","url":null,"abstract":"ABSTRACT:During the height of his popularity in the 1920s, Eugene O'Neill imagined \"a theatre returned to its highest and sole significant function as a Temple where the religion of poetic interpretation and symbolic celebration of life is communicated to human beings.\" As the artistic director of the Eugene O'Neill Foundation, I have labored for the better part of a decade to establish O'Neill's \"temple\" with productions at the playwright's former home, Tao House, in Danville, California. Directing Chris Christophersen, The Iceman Cometh, Desire Under the Elms, The Emperor Jones, A Touch of the Poet, Hughie, and Long Day's Journey Into Night in Tao House's Old Barn has been a unique artistic and spiritual experience. My goal has been to build reverence for the sacred experience of seeing O'Neill's plays a stone's throw from where he created some of his best work.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"42 1","pages":"166 - 181"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48010396","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}
{"title":"Proximity and Animal Ethics in “The Last Will and Testament of Silverdene Emblem O’neill”","authors":"Sebastian Williams","doi":"10.5325/EUGEONEIREVI.42.1.0041","DOIUrl":"https://doi.org/10.5325/EUGEONEIREVI.42.1.0041","url":null,"abstract":"abstract:“The Last Will and Testament” portrays the proximity of Eugene O’Neill and his dog, Blemie, questioning the ethical obligations that humans have toward domestic animals. Building on animal studies, I demonstrate that the style of “The Last Will and Testament” shapes the narrative’s ethics by treating Blemie as a being in himself. This article compares animal representations in “The Last Will and Testament” and The Hairy Ape, and it shows that the genre of the “will and testament” raises questions about animal communication, desire, and suffering. The article concludes by emphasizing that although “The Last Will and Testament” foregrounds the emotional reciprocity of pet-owner relationships, it can also obfuscate the long history of animal domination.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"42 1","pages":"41 - 53"},"PeriodicalIF":0.3,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49301925","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}