Titlebook: Eugene O’Neill’s One-Act Plays; New Critical Perspec Michael Y. Bennett,Benjamin D. Carson Book 2012 Michael Y. Bennett and Benjamin D. Car

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Introduction,t life is deeply tragic. O’Neill had, in Edward Shaughnessy’s words, “a tragedian’s mind-set”. rooted in a Catholic sensibility and fostered by knowledge of the classical (Greek) tradition.. While O’Neill lacked faith, his work “expresses in symbols” his “search for a faith” that forever eluded him.

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,Rethinking O’Neill’S Beginnings,ow anthologized in the tellingly titled ., which includes ., and most important here, . (1913). Defining them as “l(fā)ost” concedes, rather appropriately, O’Neill’s dissatisfaction with these plays. But this definition likewise endorses two troubling conclusions that inform O’Neill criticism: first, th

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,Eugene O’Neill’S , and Standard Family Roles,author O’Neill’s biography with his wife Barbara Gelb, reported in .There are several good reasons why the so-called ‘Lost Works’ of Eugene O’Neill have never been done before in New York. The production of three of them at the Key Theatre last night does not invalidate any of these reasons.”. The K

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