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第四节奥尼尔一、生平和创作尤金·奥尼尔(1888—1953)是美国现代著名剧作家,美国现代戏剧的奠基人,表现主义戏剧的代表作家。
父亲詹姆斯·奥尼尔是颇负盛名的演员,以扮演基度山伯爵而闻名。
奥尼尔自幼随父亲所在剧团到处流动,跑遍了美国各大市镇。
戏院、车船、旅馆是他童年时代的家,舞台是他最熟悉的地方。
母亲弹一手好钢琴,所以他从小就喜欢音乐。
1906年考入普林斯顿大学,因恶作剧,翌年休学并决定不再复学。
这期间他接触了尼采学说,无政府主义及社会主义等思潮。
此后他开始了充满冒险的生活。
他曾到洪都拉斯淘过金,爱读麦尔维尔、杰克·伦敦和康拉德的作品。
他几度当水手,去过非洲、南美、英国等地,做过流浪汉,浪迹街头、海滩。
这段时期生活很艰苦,有时非常潦倒,饭都吃不上,多住在下等旅馆,接触的都是水手、码头工人、流浪汉和妓女。
1912年底因患肺结核,住进了疗养院。
住院期间,他静下心来回顾、总结自己的过去,并思考将来。
他决定从事戏剧创作。
他潜心研读了大量古希腊悲剧、莎士比亚、易卜生和斯特林堡等戏剧大师的作品,并开始写剧。
1914年他进哈佛大学贝克尔教授主持的47戏剧工作室学习一年。
1916年他加入普罗文斯顿剧社,并在小剧场上演他的独幕剧。
“普罗文斯顿”阶段是奥尼尔的思想形成阶段。
他和一批富于进取精神的艺术家们一道,致力于美国的戏剧改革,为严肃的现代戏剧开辟道路。
1920年是奥尼尔生活中的重要转折点。
《天边外》上演获巨大成功,他名扬国内外。
此后的14年里,他有21部作品陆续上演。
1936年他获诺贝尔文学奖。
1937年建“大道别墅”,在别墅中他创作了晚期最重要的几个剧本。
1953年11月病逝于波士顿的一家旅馆里。
奥尼尔一生创作了近50部剧本,除《啊!荒野》是唯一的喜剧外,全是悲剧。
其作品4次获普利策奖。
奥尼尔的创作大致可分为三个阶段。
从1913年至1920年为第一阶段,也是习作阶段,主要从事短剧创作。
The Beginning of DramaThere are many theories about the beginning of drama in ancient Greece. The one most widely accepted today is based on the assumption that drama evolved from ritual. The argument for this view goes as follows. In the beginning, human beings viewed the natural forces of the world - even the seasonal changes - as unpredictable, and they sought through various means to control these unknown and feared powers. Those measures which appeared to bring the desired results were then retained and repeated until they hardened into fixed rituals. Eventually stories arose which explained or veiled the mysteries of the rites. As time passed some rituals were abandoned, but the stories, later called myths, persisted and provided material for art and drama.Those who believe that drama evolved out of ritual also argue that those rites contained the seed of theater because music, dance, masks, and costumes were almost always used. Furthermore, a suitable site had to be provided for performances and when the entire community did not participate, a clear division was usually made between the "acting area" and the "auditorium." In addition, there were performers, and, since considerable importance was attached to avoiding mistakes in the enactment of rites, religious leaders usually assumed that task. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mimed the desired effect -- success in hunt or battle, the coming rain, the revival of the Sun -- as an actor might. Eventually such dramatic representations were separated from religious activities. Another theory traces the theater's origin from the human interest in storytelling. According to this view tales (about the hunt, war, or other feats) are gradually elaborated, at first through the use of impersonation, action, and dialogue by a narrator and then through the assumption of each of the roles by a different person. A closely related theory traces theater to those dances that are primarily rhythmical and gymnastic or that are imitations of animal movements and sounds.Eugene Gladstone O'Neill (1886 –1953) was an American playwright, and Nobel laureate in Literature. His plays are among the first to introduce into American drama the techniques of realism, associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg. Eugene O’Neil’s plays were among the first to include speeches in American vernacular. His plays involve characters who inhabit the fringes of society, engaging in depraved behavior, where they struggle to maintain their hopes and aspirations but ultimately slide into disillusionment and despair. O'Neill wrote only one comedy (Ah, Wilderness!): all his other plays involve some degree of tragedy and personal pessimism.Beyond the Horizon, 1918 - Pulitzer Prize, 1920Anna Christie, 1920 - Pulitzer Prize, 1922The Iceman Cometh, written 1939, published 1940, first performed 1946Long Day's Journey Into Night, written 1941, first performed 1956 - Pulitzer Prize 1957 The Hairy Ape, 1922Thomas Lanier Williams III (March 26, 1911 – February 25, 1983), better known as Tennessee Williams, was an American playwright who received many of the top theatrical awards. He movedto New Orleans in 1939 and changed his name to "Tennessee," the state of his father's birth. He won the Pulitzer Prize for Drama for A Streetcar Named Desire in 1948 and for Cat on a Hot Tin Roof in 1955. In addition, The Glass Menagerie (1945) and The Night of the Iguana (1961) received New York Drama Critics' Circle Awards. His 1952 play The Rose Tattoo received the Tony Award for best play.Arthur Asher Miller (October 17, 1915 – February 10, 2005) was an American playwright and essayist. He was a prominent figure in American literature and cinema for over 61 years, writing a wide variety of plays, including celebrated plays such asThe Crucible, A View from the Bridge, All My Sons, and Death of a Salesman,which are still studied[1] and performed[2] worldwide. Miller was often in the public eye, most famously for refusing to give evidence against others to the House Un-American Activities Committee, being the recipient of the Pulitzer Prize for Drama among countless other awards, and for his marriage to Marilyn Monroe. Miller is considered by audiences and scholars as one of America's greatest playwrights, and his plays are lauded throughout the world.Edward Franklin Albee III (born March 12, 1928) is a three time Pulitzer Prize winning American playwright known for works including Who's Afraid of Virginia Woolf?, The Zoo Story, The Sandbox and The American Dream. His works are considered well-crafted and often unsympathetic examinations of the modern condition. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights such as Jean Genet, Samuel Beckett, and Eugène Ionesco. Younger American playwrights, such as Pulitzer Prize-winner Paula Vogel, credit Albee's daring mix of theatricalism and biting dialogue with helping to reinvent the post-war American theatre in the early 1960s. Albee's dedication to continuing to evolve his voice — as evidenced in later productions such as The Goat: or, Who Is Sylvia? (2000) — also routinely marks him as distinct from other American playwrights of his era.。
现代美国戏剧的缔造者尤金奥尼尔作为现代美国戏剧的缔造者，尤金·奥尼尔（Eugene O'Neill）在舞台上展现人与社会之间的冲突，以及人类在追求自由和幸福过程中所遇到的困境。
他通过独特的戏剧手法和深刻的社会洞察力，为美国戏剧史上留下了丰富的遗产。
尤金·奥尼尔生于1888年，是爱尔兰移民的儿子。
他曾在普林斯顿大学短暂学习，但很快就离开学校，开始在戏剧圈中摸爬滚打。
他的早期作品受自然主义和表现主义的影响，注重刻画社会底层人物，展现他们在困境中的挣扎和追求自由与幸福的努力。
奥尼尔的戏剧作品中充满了各种冲突，包括个人内心的冲突和社会环境的冲突。
他通过刻画人物内心的矛盾和情感变化，揭示了人性的复杂性和社会现实的残酷性。
同时，他也通过表现社会环境对个人命运的制约，揭示了社会的各种弊病和人类对自由与幸福的追求。
在奥尼尔的戏剧中，舞台形象通常都是充满张力和冲突的。
他运用表现主义的手法，将现实生活中的动作和情境抽象化，以此突出人物的情感冲突和内心矛盾。
同时，他还通过生动的语言描写，刻画了人物性格的复杂性和丰富性，使观众能够深入了解角色的内心世界。
奥尼尔的贡献在于他将美国戏剧推向了一个新的高度，使之成为与欧洲戏剧相媲美的艺术形式。
他的戏剧作品不仅揭示了社会的各种问题，而且通过表现主义和自然主义等手法，为美国戏剧注入了新的生命力。
他对美国戏剧的影响是深远的，他的作品不仅成为了经典，也启发了后来的剧作家和导演，使他们能够更好地探索和表达戏剧艺术的内涵。
尤金·奥尼尔作为现代美国戏剧的缔造者，通过其独特的戏剧手法和深刻的社会洞察力，为美国戏剧史上留下了丰富的遗产。
他的作品不仅揭示了人与社会之间的冲突和矛盾，也展现了人类对自由和幸福的追求。
他的贡献使美国戏剧成为了一种独特的艺术形式，并在世界戏剧舞台上占据了重要的地位。
在历史学的研究中，宏观和微观视角各有其特色和价值。
宏观视角着眼于全局，有利于我们了解历史发展的总体趋势和大规模事件。
第2章尤金-奥尼尔尤金-奥尼尔（EugeneO'Neill，1888-1953年）美国着名剧作家，表现主义文学的代表作家。
主要作品有《琼斯皇》、《毛猿》、《天边外》、《悲悼》等。
尤金-奥尼尔是美国民族戏剧的奠基人。
评论界曾指出：“在奥尼尔之前，美国只有剧场；在奥尼尔之后，美国才有戏剧。
”一生共4次获普利策奖（1920，1922，1928，1957），并于1936年获诺贝尔文学奖。
1、【第一个高潮】1920年，奥尼尔的《天边外》在百老汇上演，并获普利策奖，由此奠定了他在美国戏剧界的地位。
奥尼尔创作的鼎盛期（1920-1938年）不仅题材和主题丰富多样，而且形式上也从早期的以自然主义为主，发展成一种糅合着象征主义、表现主义和意识流手法等现代艺术意识和技巧的新型风格。
其中《琼斯皇》（1920年）以非洲战鼓的节奏变化，呈示逃犯内心的惊慌、焦虑直至疯狂的情绪波动。
《毛猿》（1922年）广泛运用了象征手法，以邮船象征社会，大炉间象征牢笼，扬克象征人类，使作品的思想内涵更为丰富。
《大神布朗》（1925年）借用非洲黑人的面具表现人物的潜意识和人格分裂状况。
这一时期，他创作了20多部戏剧，其中很多成了美国戏剧史上的经典，重要的剧作还有《安娜-克利斯蒂》、《榆树下的欲望》（1924年）、《奇异的插曲》和《悲悼》（1931年）等。
1936年获诺贝尔文学奖。
2、【小低潮】其后12年，因身体状况不佳，他写得很慢，没有新作问世，正当人们以为他江郎才尽时，1946年他晚年的杰作《送冰的人来了》发表，他还亲自参与了彩排。
奥尼尔创作的后期（1939-1953年）也是其创作风格返朴归真的时期。
较之中期，他的写实的倾向明显强化了，但不是对早期的简单重复，而是将现实主义和现代主义融为一体，在非常生活化的场面和言行中，蕴含着深沉的悲剧性冲突。
如使他第4次获得普利策奖的自传性作品《进入黑夜的漫长旅程》（1941年），描写泰伦一家4个成员从早到晚的日常生活，他们抱怨、挖苦、争吵、倾诉又和解，似乎没有多少戏剧性，但其内蕴的张力使观众会产生一种紧张的窒息感，因为庸俗的生活对人性中美好东西的腐蚀力，在这里被自然平易而又惊心动魄地表现出来了。
