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O'Neill, Eugene (O `Neill Eugene)

( American playwright and Nobel Prize for Literature 1936.)

Comments for O'Neill, Eugene (O `Neill Eugene)
Biography O'Neill, Eugene (O `Neill Eugene)
photo O'Neill, Eugene (O `Neill Eugene)
(1888-1953)
Born October 16, 1888 in New York. Since childhood, was accompanied by parents, the actors in touring, replaced a few private schools. In 1906 enrolled at Princeton University, but dropped out after one year. For several years, O'Neal has replaced a number of lessons - was gold miners in Honduras, playing in the company his father, a sailor went to Buenos Aires and South Africa, worked as a reporter in the newspaper 'Telegraaf'. In 1912, tuberculosis, was treated in a sanatorium; entered Harvard University, to engage in a seminar on drama at Dzh.P.Beykera (the famous 'Studio 47')
. Two years later the troupe 'Provincetown pleyers' put his one-act plays - to the east, . at Cardiff (Bound East for Cardiff, . 1916) and Moon over the Caribbean (The Moon of the Caribbees, . 1919), . where rigid and simultaneously transferred to the poetic style of O'Neill's own impressions of marine life,
. After setting the first mnogoaktnoy drama Beyond the horizon (Beyond the Horizon, 1919), the tragic tale of frustration, he gained a reputation as brilliant playwright. The play brought O'Neal Pulitzer Prize - this prestigious prize will be awarded to Anna Christie (Anna Christie, 1922) and Strange Interlude (Strange Interlude, 1928). Emboldened, full of creative daring, O'Neill boldly experimenting, multiplying the possibility of scenes. In Emperor Jones (The Emperor Jones, . 1921), . investigating the phenomenon of animal fear, . Dramatic tension is greatly enhanced due to continuous battle drums and the new principles of stage lighting, in Hairy ape (The Hairy Ape, . 1922) strongly and vividly embodies expressionistic symbolism, in the Great God Brown (The Great God Brown, . 1926) with the help of masks approved by the idea of the complexity of the human person, in a strange interlude stream of consciousness of the characters amusing contrast to their speech; laughs in the play Lazarus (Lazarus Laughed, . 1926) used a form of Greek tragedy with seven choirs in masks, . in the Vendor ice (The Iceman Cometh, . 1946) all the action is reduced to a prolonged carousal,
. Perfect possession of traditional dramatic form O'Neal demonstrated in a satirical play by Marco-millionaire (Marco Millions, 1924) and in the comedy Oh, youth! (Ah, Wilderness!, 1932). The value of creativity O'Neill does not exhaust the technical skill - a lot more important than his desire to break through to the meaning of human existence. In his best plays, especially in the trilogy Mourning - the fate Electra (Mourning Becomes Electra, 1931), a fashion reminiscent of ancient Greek drama, there is a tragic image of man, trying to foresee his fate

. The playwright has always actively participated in the productions of his plays, . but in the period from 1934 to 1946, he walked away from the theater, . focusing on a new cycle of plays under the name Saga of ownership, . robbed themselves (A Tale of Possessors Self-Dispossessed),
. Several pieces from this dramatic epic O'Neill destroyed, the rest were delivered after his death. In 1947, was staged not included in the cycle plays Moon for the fate of stepchildren (A Moon for the Misbegotten); in 1950, published four earlier plays, under the general title of the play Lost (Lost Plays). O'Neill died in Boston (pc. Massachusetts), November 27, 1953.

Written in 1940 on autobiographical material, the play Long Day's Journey Into Night (Long Day's Journey into Night) was shown on Broadway in 1956. The soul of a poet (A Touch of the Poet), based on which the conflict between father an immigrant from Ireland, and daughter, who lives in New England, was staged in New York in 1967. Not long endured in 1967 on Broadway handling unfinished pieces Palaces richer (More Stately Mansions). In 1981 a book was published the work of Eugene O'Neill (Eugene O'Neill at Work) with drawings playwright for more than 40 productions, it discusses about a hundred creative ideas O'Neill.


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