By Horst Frenz, Susan Tuck
O’Neill’s performs were translated into virtually all significant languages and feature got awesome performances in lots of nations. His influence has been such that for the reason that 1922, according to Tuck, “there has been an outpouring of opinions concerning the guy, his experimental paintings, his common characteristics, his philosophical probings, his language, his dramatic process, and his forerunners within the theater, American in addition to foreign.” As those 30 essays point out, O’Neill used to be actually a world determine, stirring remark from all elements of the world.
O’Neill’s inventory rose significantly in 1936 while he got the Nobel Prize. His choice was once applauded in Scandinavia because it proven the critiques of his paintings held in Sweden, Denmark, and Finland. The Nobel Prize additionally triggered the critics of France to reevaluate his paintings, this time even more favorably. Summing up, Tuck notes that the “articles during this anthology mirror real makes an attempt to offer O’Neill as faithfully as possible during the global. O’Neill’s performs are not,” she observes, “for anyone time or anybody position, as indicated via the years the essays span (1922–80) and the variety of nations they signify [17 in all].”
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Extra resources for Eugene O'Neill's Critics: Voiced from Abroad
In Czechoslovakia this play also provoked controversy. When Frank Tetauer translated it in 1927, he replaced "desire" with "farm": Farma pod jilmy. ) On the whole, however, O'Neill fared well in England: successful productions of The Emperor Jones, All God's Chillun Got Wings, and Mourning Becomes Electra secured the American dramatist's British reputation. And, as reviews by Kenneth Tynan indicate, The Iceman Cometh and Long Day's Journey into Night met with acclaim when they Page xvi were produced in London in 1958.
Eugene O'Neill" and appeared in The Observer, 1June 1924. The essay is reprinted with the permission of the publisher. Beyond the Horizon Versus Gold (1924) Mr. Eugene O'Neill's work has already shown such high promisemany would say such high achievementthat the publication of a Page 12 new volume of his plays is an event of not inconsiderable importance, and from the pile of books of plays and books about plays which awaited me when I returned from a few weeks' holiday I almost unhesitatingly chose his volume as the one which would most obviously interest my readers.
Clark and published in The Freeman of 21 March 1923. The item following that article is an excerpt from Hofmannsthal's "Vienna Letter," published in The Dial 74 (1923), 283. Dramaturgical Reflections (1922) It was at the Salzburg Festival last summer that I first heard the name of Eugene O'Neill. Max Reinhardt was producing one of my plays Page 4 there; a sort of mystery, a synthetic or symbolic handling of allegorical material, mounted in a church. There were a few Americans in our audience, who aroused my curiosity merely by relating the plots of The Emperor Jones and The Hairy Ape.