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Sagledavanja
ISSN 2217-2017
UDK 821.111(73).09–2
821.111(73).09–2 O’Nil J.
821.111(73).09–2 Vilijams T.
ID: 181548044
Marko Stolić
Dramatists of modern american theatre
In this paper we
have considered the question of American literature of the
twentieth century through the creation of the two most important
American playwrights. It has been observed breaking the dramatic
form of expression that is seen in the abolition of dramatic
conflict and in developing internal and external dramatic
action. Than is says psychological nuances of the characters,
emphasizing the dominance of sensory sensations and
pessimistic view of life in the American family and society.
KEY WORDS: Drama,
literary, psychological, internal action, external action, Eugene
O’Neill, Tennessee Williams, ambivalence
Introduction
We herein first
highlight the fact that neither the literary genres of drama, nor its
individual genres, have not provided more important
achievements within American literature. More precisely,
drama literature was always in the shadow of poetry and
prosaicism. Only with American modern literature, drama
achieves its artistic strength and high aesthtetic reaches which was
affirmed by emergence of a number of the great drama writers,1
Eugene O’Neill and Tennessee Williams being the most important ones. Their literary
achievements got them many important literary prizes. Namely,
Williams won two Pulitzer Prizes, while Eugene O’Neill was awarded
four Pulitzer Prizes (three during his lifetime and one was posthumous) as well as
the Nobel Prize in 1936. Both writers have a rich literary body of
work while their dramas are still being played on many
international stages while a number of them were transposed to
screenplays. This had multiplied their popularity.
In addition, in this
text we show what is modern,2
innovative and original in dramas of these authors. Thus we affirm
that the modernity of their creations is reflected in the
following novelties:
– Original approach
to themes absorbed from the life of American society, and before
all, from the American family as its core cell.
– Motifs of madness,
self-destruction, neurasthenia, decadence.
– Separation from
classical drama form – absence of dramatic conflicts, dynamics,
stretched out dramatic story, etc.
– Psychologically
colored dramatis personae
– Sensual sensations
acting as the interface for the expression of internal human
states.
All aforementioned
moments we find in the following segments of this work:
1. Development of
internal and external dramatic story
2. Achievement of
dramatic situation
3. Psychological
shading of characters
While in classical
dramatic play characters in action express their properties
through the dynamic play, conflicts and their (positive /
negative) conducts, meanwhile, in modern drama characters
express their inner being through dialogue, monologue, highly
expressed body moves, gestures, facial expressions and similar
movements. External dramatic story, as the originator of conflicts
and dynamism, still exists between drama heroes although in the
majority of cases it is transferred into the internal dramatic
play that is the internal world of characters. More precisely,
external and internal dramatic stories are interlaced, while the
external conflict moves inner dramatic play which concerns the
author’s attention.
External dramatic
conflict is the initial one and it serves to introduce perusers to
complex internal dramatic conflicts. Therefore, dramatic
processes get more and more complex as by changing the essence of
dramatic literature and putting the external action and dynamism
into the background, writers discover new possibilities to
express the psychological state of the characters. Verbal
processes are not enough to fully light up the mental state of
characters. There are new processes taking place such as the facial
expression, look, gesture, mimics, body moves, posture and
similar that conjure up the compound internal states of the
characters. It was overwhelming task for the director, and
especially for the actor.
Regarding themes,
these playwrights were interested in family life, and American
Puritan family was basing its tranquility on acquiring money and
creating illusion of safety with ever present regulations and
situations wherein not anyone was able to go searching for his own
fortunes on his own. However, dramas involving tragical endings
were often played out in such hermetically closed off families.
Thus, O’Neill and Williams were not interested in typical lower
middle class American families with its Puritan manners, but
chiefly those deviant ones with numerous conflicts among their
members and inside their psychical beings. Dominant are the
ambivalent feelings: love and hate, care and ruthlessness, fear
of dying and stoicism, tenderness and brutality. Inner disturbance
and fear, lostness and uncertainty affect drama heroes to such a
degree that they are always in the state of escapism, that is to say the
state wherein they escape from the unbearable reality, but the
truth is that they are permanently running away from themselves.
Factually, this escape cannot be realized so alcohol and drugs are
the means to catalyze and “achieve” this escape. When writing about
Eugene’s drama, D. Andric highlights this opposition in the
emotional life of the Tyrons: “Greed and humiliation, misery and
self-deception, vice and lies, recollections and charges are
boiling – however, it is all interlaced and glazed with that type of
silent and stable love that can forgive everyone at the end of a life
struggle which is more dignified if it is more hopeless if looked
at from the distance usually assumed by the poet or the wise man.”3
Dominant motifs are
various obsessions, evil fortunes, madness, self-destruction,
oddness, incestuousness, decadence and similar. All these
motifs are lit up through the gallery of, from the psychological
aspect, highly compound characters, neurastheniacs and
eccentrics, sensitive or brutal personalities. These processes
dismantle the illusion of the American stable family that offers a
surety to one individual, a family that is the safe haven for every
one of its members.
1. Development of internal and external dramatic story
Internal and external
dramatic story in the key dramatic accomplishments of Tennessee
Williams and Eugene O’Neill, A Streetcar Named Desire and
Long Day’s Journey into the Night, reach the
fullness of dramatic persuasiveness. Internal drama is dominant
with Eugene O’Neill while it is opposite with Williams for the
presence of external conflict between the two key heroes of his
drama which is about the gap between the desires and abilities.
Story of Eugene O’Neill’s drama has four acts and does not last long,
just one day, from eight thirty in the morning until midnight, during
the month of August in the summerhouse of Tyron family in 1912. In this
short time span so short it seems as if nothing goes on, terrible
drama of one family is untwisting while its members love and hate
each other. They cannot live without each other, constantly blaming
and arguing, while concurrently they are trying to escape the
damnation lurking over their condemned destinies. In order for an
awake to dream and to escape from the tumultuous reality into a
dreaming state, stimulatives are required. Eugene’s heroes, the
father, a provincial actor, and his two sons live on the whiskey,
while the mother is reviving her youth and forgetting troublesome
family life by injecting morphium into her veins. V. Čolanović
makes the following statement regarding the human need to escape
from the harsh reality and truth as it was so geniously rendered by
O’Neill: “It is a discrete apotheosis of man’s intention to
overcome reality as it is filled by overstrengthened struggle for
survival, bitter disappointements, and betrayed hopes. Soaked in
pure poetry, it is also author’s relief from the burden of
difficult feelings in youth.”4
One needs to mention
that this drama was published posthumously following the author’s
wish as it is autobiographic in nature as Tyron’s character
secretly portrays author’s father who was also an actor, while the
character of Mary Cavangh Tyron is based upon his mother who was trying
to become a pianist. The characters of James Tyron Jr. and Edmond
are his older brother and the writer himself.
Family of actors is
always on the move, they travel from city to city, sleeping in run down
places, while only in summertime they come to the summerhouse
trying to find the illusion of harmonious provincial family.
However, their family is going down the tubes, the most difficult
being the notion that the younger son is sick supposedly from
incurable disease, tuberculosis. Before that, the mother is
trying to kill herself by jumping of the dock after injecting some
morphium into her; however, this was only mentioned in dialogue
later on. Mother is mentally sick, thus older son and her husband
carefully monitor her reactions fearing that she can flee from
reality into her hermetic world at any moment. On the other hand, she
feels watched. She feels examined by the rest as she is often
touching hair with her rheumatic hands. Husband and son act as if
they are not interested, while in reality they are monitoring her
every word and move. Fearing for her mental health, they are hiding
the real state of her younger son from her who is well-educated and
well-read young man writing poetry.
Caught in the straits
without an exit, they are blaming each other for their bad fortune:
woman blames husband for his stinginess, sons do so too. She blames
older son for the death of her son whom she left to parents to care for
during the husband’s theater tour. She thinks that the boy
intentionally came into baby’s room although he was sick with pox.
According to mother he was jealous of his brother. She also blames
him for taking Edmund in into his world full of alcohol, steamy bars,
and insomnia. At one instance while being under influence, even
though he was very fond of his brother and scared for his health,
William affirms that he is jealous of his ten years younger brother
whom he intentionally had drawn into the world of drinking with an aim
of destructing him. Husband thinks that his wife is too much into
thinking about her origins and her unsuccessful career. In
addition, father is verbally arguing with sons while criticizing
them for overspending. They are naming him for being an old Irish
ungenerous fellow who took many joyous moments out of their lives
while they were growing up. Besides that, they are protesting that
their father is not willing to pay for a good doctor and decent
sanatorium to cure sensitive Edmund. When he is heart struck with
such criticism, the father becomes prone to give money to younger
son who is ill. Sons share money while drifting to the nearest town
and drink at various places there. Older brother goes to brothel
and comes back by streetcar fully drunk. Mother spends evening alone
in her room on the first floor. When she comes down to living room,
even though they are drunk they see that she is off her rocker not
even noticing them. She is completely fallen into her world of the
past. Only when she is told that Edmund has to go to sanatorium she
briefly comes to reality by screaming a big No!, only to fall
back to her world again.
External conflicts
among characters in drama of Tennessee Williams are sharper and
more expressive. Sister-in-law, Blanche Dibua, suddenly visits
family of an American Pole Stanley Kolakowski. Story is played out
within the short period of time as well, one summer; again, the
provincial place is in question. By the streetcar named Desire
Blanche comes to home of her sister. She does not find her at home as
she had gone to see her husband’s bowling. Stella is a small woman,
pregnant and faithful to her husband. Blanche comes with a certain
posture that reflects the individual with manners. She awaits her
sister in the house next door. When the brother-in-law saw her, he went
berserk. He was especially upset when he learned that Stella’s
family home was mortgaged. Conflicts between him and sister-in-law
develop and these external conflicts involve pregnant Stella who
is arguing with husband while trying to protect her sister.
These conflicts tend to
become physical. When Stanley brings friends / card players home,
Stella and Blanche go to cinema. They come too early while the
company is still at home. Blanche and a single guy Mitch flirt and
almost have a romance. However, Stanley does not allow his friend
Mitch to go any further than that with Blanche. Meanwhile he has found
out about her wanton lifestyle and squandering of the parents’
home. He also found that she was kicked out of school where she
worked as English teacher because she had an affair with her
student and his father. He points out to a filthy and immoral person
behind the cloak of alleged refinement. Blanche has migraine
attacks which she describes as buzzing in head at which time she hears
some distant music as well. She secretly drinks alcohol trying to ease
her problems. She stimulates herself trying to escape past and
reality. Her escape has two sides. She cannot live on from the ghosts
of the past, while she cannot foresee the future on the basis of
brute and present reality. Her future is uncertainty.
2. Development of dramatic situation
Both playwrights
develop image of the compound family relationships in dramatic
situation. Although disharmony of family members serves as
thematic basis, both authors stay away from dramatic conflict in its
true sense. Subtlety of described conflicts is remarkable,
especially with O’Neill’s drama. Highly colloquial dialogues
represent the foundation of conflict manifestation between
Blanche and Stanley in Williams’ work. It is why there are not too many
instructions in his drama and author does not need to suggest to
either director or actor what they need to do. With O’Neill,
instructions are highly extended, sometimes even a page long, which
is unusual and unnecessary at the first glance. However, compound
and highly dramatical relationships among the members of Tyron
family condition the writer to suggest how the actor has to behave,
how to express inner disturbances without saying a word as well as
the anxieties, uncertainties, fears, etc.
Dialogues are
developed as well, they are impressive and credible although
there are monologues said by Mary as she is falling into the state
of psychic paralysis losing entirely the sense for reality. Thus the
dramatic text of situation and not the drama of action is realized
from the beginning to an end in O’Neill’s drama A Long
Journey into the Night, while situation in Williams’ drama
Streetcar Named Desire is interlaced with certain events
that have dramatic composite structure only in their rudiments.
Introduction begins when Blanche comes to her sister’s home, plot
begins when brother-in-law finds about her past wanton life style,
climax and key coincide, it is the place when he physically
humiliates her, solution is when Blanche is taken to mental
hospital. There are not external story drivers with O’Neill.
Everything is played out in the dramatic situation, fear for destiny
of mother, for destiny of the youngest member of family. Love and
hate tear apart their inner beings and family is going down the
tubes. However, this is not played out before the viewers, one can
only feel it; it is the normal solution for the situation they are in.
Author let us upgrade the ending of drama and Tyron family. Omitting
a number of details out – it is the major feature of his dramatic
oeuvre and desire to near dramatic literature to other genres and
reading public. Curtain is downed as the mother is telling her long
monologue, which in fact is soliloquy before the husband and both
drunken sons. Drama has an open ending, while the reader / viewer
knows that mother is going to mental asylum, that younger son is going
to sanatorium, while the father and older son, both alcoholics,
are staying to quarrel and blame each other endlessly. At any rate, as
well as any other work with an open ending, O’Neill’s drama provides
for a number of different possibilities according to the
experience and reception of the readers.
Female characters are
especially tied to situation of uncertainty when there is no way
out. Blanche, in Williams’ work, is depicted as a character
opposite to its sister Stella. Her deviant personality is thus
more reflected. Stella is small, modest, happy with her life, plus she
is aware of the fact that she could not rely on him very much while
Blanche is not unhappy with her life, thinking that she is the person
that deserves more, but also thinking that she is the one that spent
her youth, beauty and sincerity for nothing. She is in gap with
herself. Her desire for the better, genteel manners, placing of the
accent on her French heritage and looking down on the Polish roots
of her brother-in-law create unpleasant situations, as well as
the animosity of her brother-in-law toward her, but also the
illusion from which she cannot escape that will also lead her to
destruction and madness. Moral decay of Blanche is her wrongly
estimated desire to calm down and find her peace of mind. However,
her conduct leads her to opposite direction as she cannot put up
with the currents of life. Her sister accepted to abide to her
husband following the Puritan lower middle class principles; she
also loves him dearly and justifies his actions. As she is briefly
stepping out of her rut, taking the side of her sister, she is not a
sweet little wife anymore so her husband punishes her ruthlessly.
Even though she is pregnant, he will hit her, which caused a
premature birth. This will not bother him in any sort of way, so he will
celebrate with friends. In the American society’s lower middle
class family there is a certain order of things within a family that
must be respected. As soon as she got back from the maternity
hospital, Stella clings to her husband forgetting about his
heartlessness. She sides with Stanley, leaving sister to go down
with her fortunes. After she had followed sister to hospital, she
will tell if perhaps she let sister down, trying to recollect if she was
able to help her. This dilemma is only the reflection of a fully
helpless person who is putting up with the same old relationships of
the family life that brings forth the illusion of peace and safety.
3. Psychological shading of characters
Psychological
creation of characters is the basis of American modern drama
wherein O’Neill achieved the most important results. It is why it
has been said that he was Dostoevski of drama literature. He
insisted that each of his heroes become lit from the inside. The
most memorable are female characters5
in both works, so we can underline some similarities between Mary
and Blanche. Nerves are the problem in both women as they are trying to
find salvation in escaping from the reality, one is a drug addict, and
another is an alcoholic. Mary has her family; however, she is still
lonely. Same as Blanche she feels being let down and that her youth
intentions and illusions are all gone. They both have the feeling
for gentility and elegance that are defeated by life. In the
process of creating of these literary heroes, both writers use
acoustic effects to fill and frame the feeling of waste and
hopelessness. O’Neill uses siren that announces fog. Sound is
unpleasant, piercing and unbearable as well as the fog which
suffocates and causes ominous anticipations. Tyron’s
monotonous snoring is present as well. His wife has been listening
to it since they were married which amplifies her feeling of his
indifference for her and their family. In her difficult moments,
Blanche hears nearing of a distant music which disturbs her. She is
trying to fight it off by pressing hands over her ears. But, this music
does not come from the outside; it is developing in her brain as the
part of her deranged consciousness which reminds her of youth and
loss of the only person she loved sincerely. This inner music
creates unbearable headaches which she is trying to ease with
alcohol. Gap between the illusions and desires on one side, and
the real life situations on the other, are the dominant driver of
all situations and happenings.
Stella is the
character opposite to Blanche. She is the true type of American
woman that has superficial attitude toward life. She is trying to
help her sister but at the same time she is helpless to do anything for
her. She puts up with life, she is satisfied with what life gives her,
and she compromises with all flaws of her husband’s nature as the part
of family relationships. Her short lasting revolt against Stanley
and his gambling habits will die out soon. She forgives her husband
although he hit her while being pregnant which indeed accelerated
her labor.
Male characters are
larger in numbers. With O’Neill we have an old actor and family
patriarch as well as his two sons. Old actor spent his talents playing
one hero over and over again in the drama he bought out himself.6
Aura of loser dominates over his seemingly powerful personality.
His powerful physiognomy, confident pace, firm figure, are only the
outer shell of him who in short time shows that he is nothing but the
powerless old man who was fighting troubles his entire life, who
cares about his old age, who is afraid of poverty as it is following
him like a ghost. It is why he ran to gain, to cheaply sell off his
talent, to lose his biggest treasure in such a way. When he was
exhausted by playing one role his entire life, when the public got
fed up with it, he was stunned by the terrible notion that there is no
return, that he cannot act any other roles as the public always
identified him with same character. His passion for buying land shows
that he was a loser in that field as well. His sons warned him not to buy
land nobody wants and that a local land merchant was making fun of him.
He is fond of children in one clumsy way, but he is not satsifed with
their way of living. Older son is an actor and thirtyfour year old
alcoholic without family and prospects. He was kicked out of
college only to become the part of acting world same as his father.
It was not his wish so he critizices father for having pushed him
into acting. On the other hand, father is offering excuse that his
only acquittances lie in that world and that he was able to find
employment only there. When he criticizes son for consuming
alocohol and irresponsible behavior, he also reminds that he
does not have the right to criticize as he is a heavy drinker too. He
is very thrifty as he is marking bottles for leftover drinks, but sons
are keen at adding water after they drink some. He offers drinks and
criticizes them at the same time. He puts out lights saying that he
does not want to make a rich richer referring to the power company
owners. Fear of poverty gives a measure to his entire life. He
started earning from the age of ten which made him a saver. He
withholds pleasures from himself and others. Sons explain his
stinginess in a different way. They think that his Irish origin is to
blame. Father is sensitive to his origin and takes it hard.
We can trace some
similar characters’ features with actor Tyron and Kolakowski from
T. Willliams’ work. Both are strong built and rough by nature, but
Kolakowski is younger and unscrupulous. Violent nature and
brutality are his major traits. He is soft to his wife, but only as far
as he likes it. Culmination of his brutality and eccentricity is
his way toward the sister-in-law. Intolerance constantly grows,
tensions are being enhanced and everything culminates when he rapes
her. Animal impulses come to surface, he is behaving like a
beast... His friends, gambling company, are not singled out as
individuals. It is an amorphous mass bent on alcohol, gambling,
bowling and various other activities. Inertness of their life is
full. They are satisfied with such life. Anyone who spoils the rut will
be punished, like Blanche. As soon as she came to home of her sister
and brother-in-law even before finding about her wanton life,
brother-in-law was not tender to her. His buddy Mitch has the most
respect for Blanche which is a consequence of his insecurity
because he is single living under influence of his mother.
William and Edmund live as bachelors too. This fact confirms their
insecurity, irresponsibility and incompetence to step into new
life.
Edmund is delicate,
highly intelligent young boy, sometimes sarcastic and cynical both
to himself and others.7
His flight from truth and reality is well reflected in his reading. He
reads quite a lot getting accustomed into the read of modern
authors which puts him into a direct opposition with his father who
believes that Shakespeare was the greatest. Father states that
other writers are worthless spoilers of taste of the youth also
affecting his younger son and the rest in one negative fashion.
Father opposes son regarding his reading even though
artificially so without stating real reasons against those
writers. Edmund is a loser, for he is sick and young. He appears lazy
lacking strength to fight sickness. Uncertainty huddles over his
life, even though he does not show fear. His frustrations are cured
by alcohol. He drinks whiskey as if it is medicine, even though his
doctor said no. He remembers his father gave them whiskey as
medicine when they were children which turned to habit.
Life story of all
literary heroes has justification. They blame each other
mutually, so we conclude that they are all to blame and noone is at
fault. This weaving of destiny can be endless. Emotionally
disabled and mentally worn heroes of these dramas fall into a
deeper moral abyss.
Conclusion
One could conclude
that these two American modern playwrights have reached
exceptional artistic heights. They made art of drama literature
which can be played as well as read, and they also enabled filmmakers to
peruse their material. In essence, they developed rare
psychological dramas which is hard to find even within the scope of
international dramatic literature. In addition, their
contemporary actuality proves their universality.8
With what appears to be
only a few dramatic elements, the dramatic art of their texts
becomes immeasurable. With a little action through
psychological shading of characters, both playwrights achieved such
tension that their works are read in one reading and noone is left
indifferent. With little dramatic means, achievement of their
dramas and the levels of dramatic art border with virtuosity.
Especially superior is Eugene O’Neill, one of the major American
writers, the most important playwright, at least, not only in the
ballpark of American modern literature, but internationally as
well. Although the barycenter is placed on psychology and although
dramas are modern, modernism is mostly reflected in the process, in
the methodology of expressing of dramatic story by way of the
described inner dramatic conflicts and in developing of the
dramatic situation through inhibiting of the classic dramatic
conflict. However, in addition, drama of these authors is the
realistic picture of the American society which refracts through
the picture of family, the picture of social instability,
suffering and abysses. This is why the feeling of decadence and
pessimism are dominant tones on [/in] these dramatic
accomplishments.
LITERATURE
1. Andrić, Dragoslav:
“O' Nil u vremenu i izvan njega” (predgovor), Judžin O' Nil:
Crnina priliči Elektri, SKZ; 1984.
2. Čolanović, Voja:
“Judžin O' Nil i njegova drama” (pogovor), Judžin O' Nil: Dugo
putovanje u noć, Rad, Beograd, 1964.
3. O' Neill, Eugene:
“Memoranda on Masks”, Moderna američka književnost.
Drama, Kultura, Beograd, 1995.
4. O' Nil, Judžin:
“Beleške o maskama”, Rađanje moderne književnosti. Drama
(priredila: Mirjana Miočinović), Nolit, Beograd, 1975.
5. O' Neill, Eugene:
A Long Juorny into the Night, Signet, New York, 1959.
6. Popović, V.B.:
“Psihologija ženskog”, Jungovo nasleđe, Nolit, Beograd,
1995.
7. Puhalo, Dušan:
Engleska književnost XIX-XX (1832–1950), Naučna knjiga, 1983.
8. Vilijams, Tenesi:
A Streetar Named Desire, Signet, New York, 1958.
9. Vučković, Tihomir:
Moderna američka književnost. Drama, Kultura, Beograd,
1995.
REZIME
Marko Stolić
MODERNA AMERIČKA KNJIŽEVNOST
Razmatrana su
pitanja savremene američke dramske književnosti, pa je uočeno da
tek početkom dvadesetog veka ova literatura daje dva izuzetna
književnika – Judžina O' Nila i Tenesi Vilijamsa. Iskorak iz
dramskih kanona nije novina u u ovom žanrovskom korpusu u okviru
književnosti dvadesetog veka, ali je kod ovih stvaralaca dobila
svoje osobenosti, originalne postupke, kao i tematizaciju
američkog života, posebno američke porodice u okrilju
moralnih, psihičkih i društvenih posrtanja i padova.
______________
Napomene:
1. The most important
playwrights are: Gertrude Stein, Arthur Miller, Tennessee
Williams, Eugene O’Neill, Samuel Sheppard and others. Author of
the anthology Modern American Literature has
cited these dramatists in Drama segment as the most
important ones while reaches of their artistic creations
have high aesthetic values. (Tihomir Vučković: Moderna
američka književnost, Kultura, Belgrade, 1995)
2. Eugene O’Neill spoke
about his relationship with dramatic text as well as his new
drama vision in the essay titled Memoranda on Masks: “Not
masks for all plays, naturally. Obviosly not for the plays
conceived in purely realistic terms. But masks for certain types
of plays, especially for the new modern play, as yet only dimly
foreshadowed in a few groping specimens, but which must
invertably be wrtten in the future. For I hold more and more
surely to the conviction that use of masks will be discovered
eventually to be the freest solution of the modern dramatists
problem as to how – with the greatest possible dramatic clarity
and economy of means – he can express those prolound hidden
conflicts of the mind which the probings of psychology continue to
us.“ (Eugen O Neill: „Memoranda on Masks“, Tihomir Vučković:
Moderna američka književnost, p. 15) The excerpt from the
essay on masks was translated locally in Rađanje moderne
književnost. Drama (presented by Mirjana Miočinović),
Nolit, Belgrade, 1975, p. 296–298.
3. Dragoslav Andrić: “O
Nil u vremenu i izvan njega“ (preamble ) E.: Eugene O’Neill,
Crnina priliči Elektri, SKZ, Belgrade, 1984, p. 14.
4. Voja Čolanović:
“Judžin O Nil i njegove drame“, E.: Judžin O Nil, Dugo
putovanje u noć, Rad, Beograd, 1964. p 142.
5. Popović,V.B.:
“Psihologija ženskog“, Jungovo nasleđe, Nolit,
Belgrade, 1995.
6. Because this work is
autobiographical, old actor’s character represents author’s
father. Autobiographical data reveals that his father was, in
fact, acting in the role of count Monte Cristo for a very long
time. (Wikipedia)
7. Autobiographical
nature of this literature hero is obvious. Author was living
an unsound life which caused tuberculosis and he even
attempted suicide in the age of 24. However, in 1912, in
Connecticut’s sanatorium he met his own self and his dark side
which was the turn in his life. He started writing dramas. (Wikipedia
)
8. >Eugene O’Neill’s
drama A Long Journey into the Night has been played in
Atelje 212 directed by Bora Drašković, drama Streetcar
Named Desire is on the repertoire of Subotica’s public
theater, while drama Cat On a Hot Tin Roof is played in
Zemun’s theater Madlenijanum.
nazad
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