Download Three Plays: Desire Under The Elms, Strange Interlude, Mourning Becomes Electra, by Eugene O'Neill
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Three Plays: Desire Under The Elms, Strange Interlude, Mourning Becomes Electra, by Eugene O'Neill
Download Three Plays: Desire Under The Elms, Strange Interlude, Mourning Becomes Electra, by Eugene O'Neill
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From the Inside Flap
These three plays exemplify Eugene O'Neil's ability to explore the limits of the human predicament, even as he sounds the depths of his audiences' hearts.
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About the Author
Eugene O’Neill (1888–1953) is one of the most significant forces in the history of American theater. With no uniquely American tradition to guide him, O’Neill introduced various dramatic techniques, which subsequently became staples of the US theater. By 1914 he had written 12 one-act and two long plays. Of this early work, only Thirst and Other One Act Plays (1914) was originally published. From this point on, O’Neill’s work falls roughly into three phases: the early plays, written from 1914 to 1921 (The Long Voyage Home, The Moon of the Caribbees, Beyond the Horizon, Anna Christie); a variety of full-length plays for Broadway (Desire Under the Elms, Great God Brown, Ah, Wilderness!); and the last, great plays, written between 1938 and his death (The Iceman Cometh, A Moon for the Misbegotten). O'Neill is a four-time Pulitzer Prize winner, and he was awarded the Nobel Prize in literature in 1936.
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Product details
Paperback: 432 pages
Publisher: Vintage; Reissue edition (October 31, 1995)
Language: English
ISBN-10: 0679763961
ISBN-13: 978-0679763963
Product Dimensions:
5.2 x 0.9 x 8 inches
Shipping Weight: 12 ounces (View shipping rates and policies)
Average Customer Review:
4.7 out of 5 stars
12 customer reviews
Amazon Best Sellers Rank:
#247,460 in Books (See Top 100 in Books)
O'Neill is one of the best playwrites ever. So happy to go back and read these plays.
Had to get this for an honors college course. Mourning Becomes Electra is a great story. Have not had a chance to read the others however.
To date, one of my favorite things is my Eugene O'Neil book of three plays. I'm glad to have these three pieces in my library.
Only needed one play, but am delighted to have all three.The book arrived in very good condition and - as usual - in a most timely manner.THANKS!
I bought this book for school reading (Is it just me or do books seem to cost so much more now?) and it was used, but inside was free of any highlighting or annotating. Cheap price for a book that you're only going to read once.
Just as described. Got it super-fast and just in time for daughter's school project. Would definitely recommend this book to others.
O'Neill was actively channeling Greek Drama when he churned out these plays, which explains why they're so monumental and deliberate (the unkind would say occasionally stilted), and laced with sins and expiations greater than most mortal lives can contain.This much I remember from my high school English classes, but it would have been nice had this edition included a little critical introduction discussing the playwright's influences - or explaining just how in holy hell anyone ever managed to stage Strange Interlude when it's nine bloody acts long. That's 185 pages, boys and girls. Unless showrunners trimmed the thing by removing all the dialogue asides, sitting through that must have felt like sitting through Les Miserables...twice.Still, you have to give O'Neill credit for having the stones to tackle a complete re-working of Aeschylus's Orestia and create the intermittently fabulous Mourning Becomes Electra, which was easily the highlight of the three plays collected here. It's fascinating to read MBE immediately after its source material, if only because it makes you speculate what the Orestia will look like two thousand years from now when the next talented guy decides to retell it to reflect the hang-ups of his day.
This is one of these books that I had bought (second hand) thinking distractedly that O'Neill was a pretty big gap in my theater reading and that I should eventually read something that he has written. I've actually only ever seen The Hairy Ape staged, and that by The Wooster Group. If you've ever seen a Wooster Group production, you'll understand that while it is bound to be an experience, it isn't generally an experience which is not necessarily going to tell you much about the play itself. Or, more accurately, it is not going to tell you the usual things about the play itself.In any case, O'Neill.First I read Desire Under the Elms. My reaction was (honestly) a shrug and a mental het zal wel Interesting play, kind of typical melodrama from the period. (I am positive that there are O'Neill scholars out there who can explain to me why this is Not So, and why I am an unlettered barbarian. But there you go.) Insight into the Desire of Woman. Father-son epic struggle. Death. Despair.But then I got to Strange Interlude. Oh, I hated it. I hated O'Neill. I hated the coy technique of sharing the Real Innermost Thoughts of the characters. It was like he took Nina who was already in a cage-- the cage of her time, the cage of being written by a creep of an author-- and then he squared the cage by pretending to have access to her real thoughts. It is a *long* play, and reading it was like having fingers scraping on a chalkboard for its length. I hated it so much that I thought that he did Oona a favor by disowning her. I actually even hated it so much that I wanted to stage it myself so that I could pull the frame out and break it by including scenes from O'Neill's own life. It was not pretty. But I suppose that you can say at least it got a reaction from me.And then finally I am afraid that Mourning Becomes Electra got lost in my reaction to Strange Interlude. I read it. I absorbed it. But I wasn't really interested in O'Neill anymore.I do think that it would be interesting to read a biography of the man; I know vague bits and pieces about his life and it would be nice to knit those together. I also suppose that I should read the autobiographical plays at some point (The Iceman Cometh,Long Day's Journey into Night, and A Moon for the Misbegotten). But I will not rush to do it, that for sure.As to my star rating. I was a little bit undecided. I could not really argue that these plays aren't classics. What I hated about the work was his treatment of the characters so it did not feel quite fair to grade on my emotional response. On the other hand, I could not give five stars to plays that I disliked this much. So take this review as more of a guide to my reaction than the stars themselves.
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