Eugene O'Neill: A Life in Four Acts
Page 68
Strasburg, Lee, (i)
Straw, The (1919), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)n119
Strindberg, August, (i), (ii), (iii), (iv), (v)
style (of O’Neill): agitprop/propaganda avoidance, (i), (ii), (iii), (iv), (v), (vi); conventions of dramatic form, (i); detailed set designs, (i); double meaning in titles, (i); dramatic irony, (i); fusion of theatrical elements approach, (i); informal storytelling as composition, (i); melodramatic tendencies at Harvard, (i); method of writing, (i), (ii), (iii), (iv), (v); notes on modern theater, (i); novel-as-play style, (i), (ii), (iii), (iv), (v); reputed pessimistic outlook, (i); rhythm of dialogue, (i); struggle against realism, (i), (ii); study of great dramatists, (i); on theatrical production, (i), (ii), (iii), (iv), (v), (vi)n197; topical journalistic poetry, (i); tragedy and, (i), (ii); “in vino veritas” characters, (i); working class and downtrodden characters, (i), (ii), (iii), (iv), (v), (vi). See also classical drama; existentialism; expressionism; melodrama; naturalism; philosophical anarchism; philosophy; theater
suicide attempt, (i), (ii), (iii), (iv), (v), (vi)n117, (vii)n119. See also Exorcism
Suppressed Desires (Cook and Glaspell), (i), (ii), (iii)
Swinburne, Algernon, (i)
Synge, John Millington, (i), (ii), (iii)
Tale of Possessors Self-Dispossessed, A (cycle of historical plays), (i), (ii), (iii), (iv)
Tao House (California), (i), (ii), (iii), (iv), (v), (vi), (vii)
theater (American theater): American experimental theater, (i); “American Style” development, (i); American Victorian theatrical booking cartel, (i), (ii); difficulty of tragedy in, (i); European views of, (i); experimental theater after Provincetown, (i); “fourth-wall illusion” problem, (i); Great Depression and, (i); James O’Neill career, (i), (ii); Kuppelhorizont production of Emperor Jones, (i), (ii)n245; Little Theatre Movement, (i); method acting, (i); Moon of the Caribbees innovation in, (i); “new stagecraft” set design, (i); O’Neill disdain for melodrama, (i); O’Neill on modern theater, (i); O’Neill transformation of, (i), (ii); O’Neill view of critics, (i); realism in, (i), (ii), (iii); soliloquy in, (i). See also Broadway theater; cinema; classical drama; melodrama; style
Theatre Guild, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x), (xi), (xii), (xiii). See also Washington Square Players
Theatre Union, (i)
They Knew What They Wanted (Howard), (i), (ii)
Thirst (1913), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Thirst and Other One-Act Plays (1914), (i), (ii), (iii)
Thomas, Augustus, (i)
Thompson, Francis, (i), (ii), (iii), (iv)
Thompson, John Douglas, (i)n116
Thoreau, Henry David, (i), (ii)
Throckmorton, Cleon, (i), (ii), (iii), (iv), (v)
Titanic (sinking in 1912), (i)
Tolstoy, Leo, (i)
“Tomorrow” (1916), (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix)
Torrence, Ridgely, (i), (ii)
Touch of the Poet, A (1942), (i), (ii), (iii), (iv), (v), (vi), (vii)
Trifles (Glaspell), (i), (ii)
Triumvirate. See Experimental Theatre, Inc.
Tucker, Benjamin R., (i), (ii)
Twain, Mark, (i), (ii)
Tyler, George C., (i), (ii), (iii), (iv), (v), (vi), (vii), (viii)
“Uncharted Sea” (1929, abandoned), (i)
Unique Book Shop, (i), (ii)
Van Vechten, Carl, (i), (ii), (iii)
Verge, The (Glaspell), (i)
Villa, Pancho, (i), (ii)
“Visit of Malatesta, The” (1940, unfinished), (i)
Vogel, Paula, (i)
Vorse, Mary Heaton, (i), (ii), (iii), (iv), (v), (vi), (vii)n10
Wallace, Tom, (i), (ii)
Warnings (1913), (i), (ii), (iii)
Warren, George C., (i)
Washington Square Players, (i), (ii), (iii), (iv), (v), (vi), (vii). See also Theatre Guild
Wasserstein, Wendy, (i)
Watts, Richard, Jr., (i)
Wayne, John, (i)n137
Web, The (1913), (i)
Weinberger, Harry, (i), (ii), (iii), (iv), (v), (vi), (vii), (viii), (ix), (x)
Welch, Marion, (i)
Welch, Mary, (i)
Welded (1923), (i), (ii), (iii), (iv), (v)
Welles, Orson, (i)
Welsh, Robert Gilbert, (i)
West, Cornell, (i)
Wharf Theatre (Provincetown), (i), (ii), (iii), (iv), (v)n10
Wharton, Edith, (i), (ii)
Where the Cross Is Made (1918), (i), (ii), (iii)
Whitman, Walt, (i), (ii)
Whittaker, James, (i)
Wife for a Life, A (1913), (i), (ii)
Wilder, Thornton, (i)
Williams, John D., (i), (ii), (iii), (iv), (v)
Williams, Malcolm, (i)
Williams, Maude, (i)
Williams, Tennessee, (i), (ii), (iii), (iv)
Williams, William Carlos, (i), (ii)
Wilson, August, (i)
Wilson, Edmund, (i), (ii), (iii)
Winther, Sophus, (i), (ii), (iii), (iv), (v)
Wolheim, Louis, (i)
Woollcott, Alexander, (i), (ii)
Wooster Group, (i)n7
World War II: Greed of the Meek Cycle and, (i); Iceman and, (i), (ii); Moon for the Misbegotten and, (i); Nazism and, (i), (ii); O’Neill imperialism theory and, (i); O’Neill isolationism, (i), (ii); Shane O’Neill war experiences, (i)
Yale University, (i), (ii), (iii), (iv)
Yeats, William Butler, (i), (ii), (iii)
Young, Stark, (i)
Zola, Émile, (i)
Zorach, William and Marguerite, (i), (ii)