Chapter 22 American theatre three playwrights美国文学

Chapter22AmericanTheater：threemajorplaywrightsAmericanDramain20thcenturyA1920s:firstclimaxofAmericandrama—“SmallTheatreMovement”:—modernAmericandramatists:EugeneO’Neil,CliffordOdetsBPost-war:secondclimaxofAmericandrama—TennesseeWilliams,ArthurMillerC1960s:withfreshenergy—TheatreoftheAbsurd(荒诞派戏剧),EdwardAlbeeEugeneO’Neill(1888-1953)EugeneO’NeilltheforemostUnitedStatesplaywright•thefirstAmericandramatisttoreceivetheNobelPrizeforliterature(1936)•founderoftheAmericanDrama•theAmericanShakespeareEugeneO’Neill：HisLifewasbornOctober16,1888.hisfatherwasabsentmostofhischildhoodduetohisactingcareer,whilehismotherwasadrugaddict.spentmostofhistimeinhotels,neverknowingwhatatruehomefeltlike.attendedvariousboardingschoolandoneyearofcollegebeforedroppingout.Earlyoninhiscareer,hebegantodrinkmoreheavilyandbecameaddictedtoalcohol.Hefinallydecidedtostopdrinkingandbecomeawriter.AfterhisparentsdeathO’Neillbecameinterestedindramatizingthecomplicatedpatternofhisfamily’slife.ItisthenthatO’Neillbecame“thenation’sfirstmajorplaywrightandthefirsttoexploreseriousthemesinthetheater.•In1920,hisfirstfull-lengthplay,BeyondtheHorizon,producedonBroadway;•In1936,wontheNobelPrizeforliterature“forthepower,honestyanddeep-feltemotionsofhisdramaticworks,whichembodyanoriginalconceptoftragedy”;EugeneO'NeillaintroducerofrealismandexpressionismMorethananyotherdramatist,O'NeillintroducedthedramaticRealismpioneeredbytheEuropeanplaywrightsHenrikIbsenandExpressionismbyAugustStrindbergintoAmericantheater.btragedianofunderprivilegedO'Neillwasalsofamousforthebleakandtragictoneofhisplays,whichpersistentlyexaminethecrushedhopesanddreamsoftheunderprivileged.O’Neill’sexperimentsP286-287Gaveextendedandelaboratestagedirections.expressionistexperiments→sometimestheycalledforsets(布景)andperformancesthatdistortrealitytointensifyemotionandheightensymbolism.fusingancientandthemodernuseofmasksandGreekchorusExpressionism:generallyreferstoatwentiethcenturyartmovementthatbeganinGermany.Itisthetendencyofanartisttodistortrealitytoexpressemotion,especiallyangst(焦虑).expressionism,ageneraltermforamodeofliteraryorvisualartwhich,inextremereactionagainstrealismandnaturalism,presentsaworldviolentlydistortedunderthepressureofintensepersonalmoods,ideas,andemotions:imageandlanguagethusexpressfeelingandimaginationratherthanrepresentexternalreality.•TheScreambyEdvardMunch(1893)PortraitofEduardKosmackbyEgonSchieleMajorworksBeyondtheHorizon(1920)PulitzerPrize,1920TheEmperorJones,1920•TheHairyApe,1922•MourningBecomesElectra,1931•《悲悼》•TheIcemanCometh,1946•LongDay'sJourneyintoNight,1956PulitzerPrize1957THEHAIRYAPEAdramaineightscenes.producedin1922andpublishedthefollowingyear.consideredoneoftheprimeachievementsofExpressionismonstage.YankSmith,abrutishstokeronatransatlanticliner,bulliesanddespiseseveryonearoundhim,consideringhimselfsuperior.Heisdevastatedwhenamillionaire‘sdaughterisrepulsedbyhissimian（类人猿的）ways,andhevowstogetevenwithher.AshoreinNewYorkCity,Yankschemestodestroythefactoryownedbythewoman'sfather,buthisplansfail.Yankwandersintoazoo.There,feelingalienatedfromhumanity,hereleasesanape,andtheapekillshim.•（指指街对面正在修建的摩天楼——虚张声势地）看见正在修建起来的那个建筑吗？看见那种钢铁结构吗？我就是钢铁！你们住在那上面，以为你们算个人物。但是，在里面的是我，懂吧！我就是使它往上蹿的起重机！我就是它的内部和基础！对！我就是钢铁、蒸汽、烟和一切！它能活动，有速度，二十五层向上去——我就在那顶上和底层里——活动着！你们这些傻瓜却活动不了。你们只不过是木偶，我给你们上了劲，你们才会转。你们是废料，懂吧——是我们堆在一边的残渣和炉灰！现在，你们还有什么可说的？[Butastheyseemneithertoseenorhearhim,hefliesintoafury.]Bums!Pigs!Tarts!Bitches![Heturnsinarageonthemen,bumpingviciouslyintothembutnotjarringthemtheleastbit.Ratheritishewhorecoilsaftereachcollision.Hekeepsgrowling.]Gitoffdeoith!G’wan,yuhbum!Lookwhereyuh’regoin,’can’tyuh?Gitoutahere!Fight,whydon’tyuh?Putupyermits!Don’tbeadog!FightorI’llknockyuhdead![But,withoutseemingtoseehim,theyallanswerwithmechanicalaffectedpoliteness:]Ibegyourpardon.[Thenatacryfromoneofthewomen,theyallscurrytothefurrier’swindow.]THEWOMAN—[Ecstatically,withagaspofdelight.]Monkeyfur![Thewholecrowdofmenandwomenchorusafterherinthesametoneofaffecteddelight.]Monkeyfur!（可是他们好像既没有看见他也没有听见他，他勃然大怒了）流氓、猪猡、婊子、母狗！（他愤怒地转身对着他们，恶意冲撞他们，但是一点也没有碰到他们。相反，在每次接触之后，后退的倒是他。他不断怒叫）下地狱去！滚开，你们这些流氓！看你们往哪里走，看不见吗？躲开！你们为什么不动手呢？举起拳头来！别装狗熊！打吧，要不，我就揍死你们！（可是好像没有看见他似的，他们全都用一种机械的、造作的客气态度回答说：请您原谅。接着一位太太大叫一声，他们全都慌慌忙忙跑到皮货店的窗前。）那位太太（欣喜若狂、气喘吁吁地）猴皮！（全体男女跟着她异口同声用同样造作的兴高采烈的腔调：猴皮！）YANK—[Glaringfromonetotheotherofthem—withaninsultingsnortofscorn.]Huh!Huh![Withoutseemingtoseehim,theymakewidedetourstoavoidthespotwherehestandsinthemiddleofthesidewalk.][Heapproachesalady—withaviciousgrinandasmirkingwink.]Hello,Kiddo.How’severylittleting?Gotanytingonforto-night?Iknowanoldboilerdowntodedockswekincrawlinto.[Theladystalksbywithoutalook,withoutachangeofpace.YANKturnstoothers—insultingly.]Scene5ofTheHairyApeIttakesplacethreeweekslater,whenYankandLongaresearchingNewYorkfortheirrevenge.Theypassthroughcrowdsthatignorethementirelyuntiltheendofthescene,whenYankpunchesanelderlygentleman.ThegentlemandoesnotreactatalltothepunchbutisangrythatYankmadehimmisshisbus,forwhichYankissenttoprisoninscene6.ExpressionisminHairyApeYANK—[Seeingafight—witharoarofjoyashespri