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Piese de Eugene O'Neill

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A Moon for the Misbegotten

The three main characters of the play are: Josie, a domineering Irish woman with a quick tongue and a ruined reputation, her conniving father, tenant farmer Phil Hogan, and James Tyrone, Jr., Hogan's landlord and drinking companion, a cynical alcoholic haunted by the death of his mother. The play is set in a dilapidated Connecticut house in early September 1923. As a joke during one of their drunken bouts, Tyrone threatens to sell his land to his hated neighbor, T. Steadman Harder, and evict Hogan. Hogan creates a scheme in which Josie will get Tyrone drunk, seduce him, and blackmail him. Josie and Tyrone court in the moonlight. The scheme falls through when Josie finds out Tyrone isn't going to sell the land to Harder after all. Tyrone tells Josie the story of how, after his mother died, he traveled back East on the train, and hired a blonde prostitute for $50 a night to overcome his grief. Tyrone leaves for New York and the theater, apparently to die soon of complications from alcoholism.

A Touch of the Poet

Anul 1828, într-o tavernă rustică de lângă Boston. Un bărbat singur, ex ofițer în armata lui Wellington, cântă o melodie și își amintește sunetele tobelor unei bătălii la care a participat, nechezatul cailor și zăngănitul armelor. Se crează cadrul pentru a simți prezența unor amintiri importante. A venit în America cu soția sa Nora și fiica Sara și duce o viață cu care nu se poate identifica. Conduce o tavernă care nu prea are clienți și este marcat de pierderea onoarei și prestigiului său military, de eșecul căsniciei sale.

A Wife for a Life

The Older Man and Jack are hitting it big panning for Gold, but when the younger Jack talks of a woman, the relationship gets strained. Really it is quite silly and has all of the things we do as beginning playwrights.

Abortion

Jack Townsend is the star athlete of a large eastern university who has just pitched the winning game. His planned celebration with his fiancée and his family is forestalled by the brother of a girl Jack has made pregnant. The girl has died following an abortion, and her brother is intent on murdering her seducer. Jack valiantly takes away the brother's gun and in a frenzy of repentance uses it on himself.

Ah, Wilderness!

Is about the Miller family, presumably of New London, Connecticut and takes place on the Fourth of July, 1906. It focuses on the middle son, 17-year-old Richard, and his coming of age. Richard Miller's weapon is the intellectual heritage he has discovered through reading, and his favorite ammunition is the quotes of Ibsen, Swinburne, Wilde, and their likes. He yearns to explore life in all its different manifestations, feeling uncomfortable in his parents carefree and idyllic home. His sudden venture is triggered by a letter of rejection from his innocent girlfriend, and a surprise invitation to the infamous Pleasant Beach Hotel from a college friend.

All God's Chillun Got Wings

Widower Ephraim Cabot abandons his New England farm to his three sons, who hate him but share his greed. Eben, the youngest and brightest sibling, feels the farm is his birthright, as it originally belonged to his mother. He buys out his half-brothers' shares of the farm with money stolen from his father, and Peter and Simeon head off to California to seek their fortune. Later, Ephraim returns with a new wife, the beautiful and headstrong Abbie, who enters into an adulterous affair with Eben. Soon after, Abbie bears Eben's child, but lets Ephraim believe that the child is his, in the hopes of securing her future with the farm. The proud Ephraim is oblivious as his neighbors openly mock him as a cuckold. Madly in love with Eben and fearful it would become an obstacle to their relationship, Abbie kills the infant. An enraged and distraught Eben turns Abbie over to the sheriff, but not before admitting to himself the depths of his love for her and thus confessing his own role in the infanticide.

Anna Christie

The first act takes place in a bar, owned by Johnny the Priest and tended by Larry. Old Chris, a coal barge captain, receives a letter from his daughter, whom he has not seen since she was a 5 years old and their family lived in Sweden. They meet at the bar and she agrees to go on the coal barge with him. The rest of the play takes place on the barge. The barge crew rescues Mat Burke and four other men, who were in an open boat after a shipwreck. After not getting along at first, Mat and Anna fall in love. A confrontation between Anna, Chris and Mat. Mat wants to marry Anna, Chris does not want them to get married because he doesn't want her to marry a sailor, and Anna is upset with both of them for trying to be in charge of her. Anna tells them the truth about her life, that she was raped while living with her mother's relatives on a Minnesota farm, and then became a prostitute after her time as a nurse's aide. Mat gets very angry, and Mat and Chris both leave. Mat and Chris return. Anna forgives Chris for not being part of her childhood, and after a dramatic confrontation, Mat forgives Anna for being a prostitute after she promises never to be one again, and Chris agrees to them getting married. It turns out that Chris and Mat have both signed up for the same ship going to South Africa, and they are about to leave the next day, but promise to come home to Anna after the voyage.

Before Breakfast

The play presents Mrs. Rowland, who directs all of her comments onstage to her husband, Alfred, who is offstage in the bedroom. The unhappy Mrs. Rowland is described as shrewish by most critics as she spends the entire play berating her sensitive poet husband whose only success seems to be wooing other women. She reveals that pregnancy forced their marriage and she bemoans the extent to which they have fallen from their former selves. She condemns her husband’s drinking, his inability to get a job, even the flat in which they live. At one point, the husband’s hand reaches out to be seen onstage to accept some shaving water from the wife. As she continues, the wife reveals she’s found a letter from his lover and that she will never give him a divorce.

Beyond the Horizon

The play focuses on the portrait of a family, and particularly two brothers Andrew and Robert.In the first act of the play, Robert is about to go off to sea with their uncle Dick, a sea captain while Andrew looks forward to marrying his sweetheart Ruth and working on the family farm as he starts a family.

Bound East for Cardiff

part of The Glencairn Plays, which all feature characters on the fictional ship Glencairn -- filmed together as The Long Voyage Home

Bread and Butter

The play concerns John Brown, a young man from Bridgetown, Conn., who wants to be an artist but faces opposition from most of his family and his fiancee. Only one sister, Bessie, supports him. After he spends a year in New York studying art, the family and the fiancee give him an ultimatum to come back to Bridgetown or else. It all ends badly.

Calms of Capricorn,The

One of the three plays in a cycle of historical dramas planned by Eugene O'Neill: -A Touch of the Poet, More Stately Mansions, and The Calms of Capricorn. In ”The Calms of Capricorn”, O'Neill proposed to translate into theatrical imagery aspects of the Westward Movement, an historical phenomenon which was to alter both the individual character and the collective destiny of the American people.

Chris Christophersen

An autobiographical comedy about a Swedish seaman and his daughter.

Days Without End

The tortured hero of the play is a Faust who is his own Mephistopheles. He has been a devout Catholic; lost his faith when his parents died; turned Socialists, Communist and atheist by turns; married a woman who has been unhappily married before but who believes completely in him; and found absolute happiness in his love for her. But the black devil that is in him has made him dread what will happen to his new-found serenity if death ever robs him of his wife. It has made him afraid of a love that is almost a religion. And it has led him into a single physical transgression, which, while it has meant nothing to him, comes near to breaking up his home, killing his wife, and blighting his life. His uncle, a Catholic priest, arrives in New York and looks him up. He ends up by being a believer, by admitting the divinity of Christ, by discovering the Christ is love, and by realizing that death is now dead.

Desire Under the Elms

Widower Ephraim Cabot abandons his New England farm to his three sons, who hate him but share his greed. Eben, the youngest and brightest sibling, feels the farm is his birthright, as it originally belonged to his mother. He buys out his half-brothers' shares of the farm with money stolen from his father, and Peter and Simeon head off to California to seek their fortune. Later, Ephraim returns with a new wife, the beautiful and headstrong Abbie, who enters into an adulterous affair with Eben. Soon after, Abbie bears Eben's child, but lets Ephraim believe that the child is his, in the hopes of securing her future with the farm. The proud Ephraim is oblivious as his neighbors openly mock him as a cuckold. Madly in love with Eben and fearful it would become an obstacle to their relationship, Abbie kills the infant. An enraged and distraught Eben turns Abbie over to the sheriff, but not before admitting to himself the depths of his love for her and thus confessing his own role in the infanticide.

Diff'rent

An excellent dramatic illustration of the tragic intra-psychic struggle of its heroine Emma Crosby. The ' inner disparity' of the character denies a happy life outside and becomes the fundamental cause in shaping her destiny. The play reveals the tragic consequences of Emma's attempt to go beyond her natural horizons and of basing her life on false ideals and illusions. Emma Crosby is completely obsessed with the Puritanic ideals of life and forms up a grandiose image of herself and begins even worshipping that unattainable ' idealized image '. In the process Emma is separated from her ' actual self ' and the ' perfectionist ' in her compels the young woman to choose neurotic detachment from surrounding people as a protective device to maintain in order to maintain the integrity of her character.

Dynamo

In the first act, O'Neill establishes a conflict between the Lights and the Fifes that is marked by their religious differences and has soured into personal hatred. Reuben, however, loves Ada. And Ada, described as a flapper or 'modern woman,' likes Reuben enough to run around with him, but teases him for being weak. Throughout the play, however, she affectionately calls him "Rube," which means 'dunce.'The Lights are superstitious and shudder at lightning. On a stormy night, Fife tricks Reuben and his father into falling for a joke because they hadn't read the newspaper.Angry at having been fooled, Reuben runs away from home. He only corresponds with his parents by sending mocking postcards that he has electrocuted their god. When he does return, he is stronger, colder, and sharply rational. He ravages Ada unemotionally and repeatedly claims that electricity is the god of everything.

Fog

The play deals with the survivors of a shipwreck. However, unlike the scorching hot sun that undoes the characters of Thirst, it is a the lifeboat without oars that threatens the characters, putting them in danger of hitting an iceberg, echoing the Titanic’s fate, and, more importantly, in danger of leading their rescue ship into one. Four characters, a Poet, a Man of Business, a Polish Peasant Woman and her Dead Child, are in the lifeboat, drifting in the fog, the play’s stage directions asking that “none of their faces can be distinguished”; this continues for the first quarter of the play. With the woman and her dead child in her arms at one end of the lifeboat, the Poet and Businessman are at the other, discussing their fate, the sinking of the Starland on which they were passengers, and also telling about their lives.

Hughie

The play is set in the lobby of a small hotel on a West Side street in midtown New York during the summer of 1928. It is essentially a long monologue delivered by a small time hustler named Erie Smith to the hotel’s new night clerk Charlie Hughes, lamenting how Smith’s luck has gone bad since the death of Hughie, Hughes' predecessor.

Ile

Captain Keeney, a New England whaler, is dominated by an unconquerable pride. At the end of the two years' period his crew has signed up for, he has only a small part of his quota of "ile." The crew are mutinous and the Captain's wife is distracted from loneliness and anxiety. Only the prospect of her breakdown alters the Captain's determination to push on for the "ile," and seeing her condition he consents to sail her home; but the instant whales are sighted, he reverses his decision. The woman breaks under the strain.

In The Zone

part of The Glencairn Plays, which all feature characters on the fictional ship Glencairn -- filmed together as The Long Voyage Home

Lazarus Laughed

The story features characters and events following the raising of Lazarus of Bethany from the dead by Jesus. As Lazarus is the first man to return from the realm of the dead, the crowd reacts intently to his words. Over and over again he declares to them that there is no death – only God’s eternal laughter. The more Lazarus laughs, the younger and stronger he becomes. The more he laughs, the older and weaker his wife Miriam (who trusts him but does not understand his laughter) becomes. The subsequent scenes portray a series of tests (perhaps similar to those trials of Job) by the Jews, Romans and Greeks to try the faith of Lazarus. Consequently, members of his family are taken from him, but Lazarus continues always to laugh, even as Miriam is poisoned by the Roman Emperor Tiberius and continuing on to the very end, when Tiberius burns him at the stake.

Long Day's Journey Into Night

The action covers a fateful, heart-rending day from around 8:30 am to midnight, in August 1912 at the seaside Connecticut home of the Tyrones. One theme of the play is addiction and the resulting dysfunction of the family. All three males are alcoholics and Mary is addicted to morphine. In the play the characters conceal, blame, resent, regret, accuse and deny in an escalating cycle of conflict with occasional desperate and half-sincere attempts at affection, encouragement and consolation.

Long Voyage Home, The

part of The Glencairn Plays, which all feature characters on the fictional ship Glencairn -- filmed together as The Long Voyage Home

Marco Milionul (Marco Millions)

A poetic, floridly written satire of the 13th century Asian travels of Italian explorer Marco Polo. A satirical needle into Marco Polo’s journeys to China, ancient Persia and India, and demonstrates how he introduced paper currency and European ideology to a reluctant and skeptical public in far-away lands along the Silk Road. Polo promised to marry a beautiful Venetian woman, but after traveling to Mongolia, he was asked to escort Princess Koekecin to Persia to marry a man she’d never met, Arghun Khan of Persia, and during the journey to the Middle East she began to fall in love with the Italian explorer. When they finally arrive in the ancient kingdom, the princess is shattered when she learns the tragic truth about her royal betrothed and the fact that Polo is already engaged.

Moon of the Caribbees

part of The Glencairn Plays, which all feature characters on the fictional ship Glencairn -- filmed together as The Long Voyage Home

More Stately Mansions

The play is a continuation of A Touch of the Poet in which a sick idealist, Simon Hartford, is nursed back to health by Sara Melody the daughter of a poor and pretentious Irish immigrant. He proposes marriage and a major family rift ensues. Mansions picks up four years later, with Sara and Simon married. The now less idealistic Simon is the pawn in the battle between Sarah and his mother Deborah to control him through love. It is a battle for possession of the two sides of Simon's nature, played out against the larger canvas of corrupting influence of the industrial revolution on families whose Ids are still safely tucked in the pre-Freudian attics of their minds. In the course of this struggle Deborah loses touch with reality, Simon regresses to childhood and Sara is left in control.

Mourning Becomes Electra

The story is an update of the Greek myth of Orestes to the family of a Northern general in the American Civil War. Agamemnon is now General Ezra Mannon, Clytemnestra is his second wife Christine, Orestes is his son Orin, and Electra is his daughter Lavinia. As an updated Greek tragedy, the play features murder, adultery, incestuous love and revenge, and even a group of townspeople who function as a kind of Greek chorus. Though fate alone guides characters' actions in Greek tragedies, O'Neill's characters have motivations grounded in 1930s-era psychological theory as well. The play can easily be read from a Freudian perspective, paying attention to various characters' Oedipus complexes and Electra complexes.

Now I Ask You

Lucy Ashleigh and Tom Drayton are engaged, though Lucy’s pursuit of the latest intellectual fads has led her to think that marriage is slavery while free love offers the only true relationship between man and woman. But, Lucy’s bourgeois origins offer a conflicting view of unlicensed sex, so they marry after all. Soon, the newlyweds receive a visit from Leonora Barnes, an artist, and Gabriel Barnes, a poet, who present themselves as Bohemians living as enlightened lovers in Greenwich Village – just the sort of life Lucy’s neo-intellectualism finds right and true. The relationships among the four lead to misguided trysting, quarrels, retaliation, boredom and remorse until, a young woman presses a pistol to her body, and a shot rings out…

Recklessness

Millionaire, Arthur Baldwin discovers his wife cheating on him with the chaeuffer and sets up the driver's death just in time for the cops to bring the body to the door for the wife to see. In the end Mrs. Baldwin shoots herself and O'Neill adds on a Checkovian or Strindbergian end line.

Rope, The

The play begins with preparations by the niggardly father, Abraham Bentley, for the return of his prodigal son, Luke. Old Bentley hid the remainder of the family fortune at one end of a rope he arranged in the barn - the noose at the other end is in plain sight. He receives the young man with a mixture of obvious joy and of inarticulate urgings for Luke to hang himself. Young Bentley does not become aware of the morbid joke below the surface of his father's mutterings, and nearly kills the old man before storming out in a rage. It is the halfwitted granddaughter, Mary, who finds the gold at the end of the rope and chucks it piecemeal into the ocean.

Servitude

”Love means servitude; and my love is my hapiness” says Alice Roylston, who is editor, housekeeper, mother and lover to her writer-husband. When she finds Ethel Frazer in her house she immediately offers to step aside so that her husband’s happiness will be completed, but fortunately the ”other woman” amazed both by her self-abnegation and Roylston’s selfishness, returns to her own husband.

Shell Shock

In this brief drama, set in the grill of the Harvard Club, we learn the true story of "heroic" Jack Arnold, who saved Roylston during a battle in World War I not out of bravery, but because he thought Roylston was dead out in No Man's Land and has a pack of cigarettes on his body.

Sniper, The

The plot is set in Belgium and begins when Rougon, a sixty-five year old farmer, enters carrying the dead body of his son, a Belgian soldier, that he has recovered from a skirmish with German forces near his home. As Rougon mourns his son’s death, the village priest enters, trying to give confort. Rougon’s son was soon to be married and earlier that day had successfully urged his mother and fiancée to leave for Brussels in anticipation of a possible attack. The priest continues to try to comfort with some unhelpful ministerial responses and we see Rougon’s anger and sense of victimization grow. This anger is a part of his nature when he tells the Priest that he had promised his son he would not touch his rifle, his son fearing he would do something rash. However, when a shell-shocked young boy who had been traveling with the mother and fiancée enters and reveals that the two women were killed by an enemy artillery explosion on the road, Rougon gets his rifle and begins to shoot at a group of marching troops nearby. The Priest tries to stop him, but Rougon has passed the point of no return. Troops quickly arrive at the house, and The Captain will execute Rougon.

Strange Interlude

Nina Leeds, the daughter of an Ivy League professor, is devastated when her adored fiancé is killed in World War I, before they have a chance to consummate their passion. Ignoring the unconditional love of the novelist Charles Marsden, Nina embarks on a series of sordid affairs before determining to marry an amiable fool, Sam Evans. While Nina is pregnant with Sam's child, she learns a horrifying secret known only to Sam's mother: insanity runs in the Evans family and could be inherited by any child of Sam's. Realizing that a child is essential to her own and to Sam's happiness, Nina decides on a "scientific" solution. She will abort Sam's child and conceive a child with the physician Ned Darrell, letting Sam believe that it is his. The plan backfires when Nina and Ned's intimacy leads to their falling passionately in love. Twenty years later, Sam's "son" Gordon Evans is approaching manhood, with only Nina and Ned aware of the boy's true parentage.

The Dreamy Kid

Having being of African American descent, Dreamy, has had an unfortunate meeting with fate as he killed a white man prior to when the play was sets itself. Mammy, Dreamy’s grandmother searches long for his grandson, having her illness and old age as an excuse, but when they finally see each other, Dreamy treated her strange because of his detachment. So whenever people other than his grandma, like Ceely, an old friend and Irene his girlfriend, he’s always on edge, and his masculinity. He shows no respect for women unless they have something to say for his advantage. However, seeing his situation, him being like this and being on edge all the time and angry is not abnormal.

The Emperor Jones

The play is divided into eight scenes. Scenes 2 through 7 are from the point of view of Jones, and no other character speaks. The first and last scenes feature a character named Smithers, a white trader who appears to be part of illegal activities. In the first scene, Smithers is told about the rebellion by an old woman, and then has a lengthy conversation with Jones. In the last scene, Smithers converses with Lem, the leader of the rebellion. Smithers has mixed feelings about Jones, though he generally has more respect for Jones than for the rebels. During this scene, Jones is killed by a silver bullet, which was the only way that the rebels believed Jones could be killed, and the way in which Jones planned to kill himself if he was captured.

The First Man

Curtis Jayson is an anthropologist determined to lead an expedition to Asia to discover "the first man." Jayson is burdened by two domestic responsibilities, which he painfully and unsuccessfully tries to avoid. The first, towards a dutiful wife and assistant, Martha, is revealed in his unwillingness to father another child. A conversation discloses that the couple had experienced the tragic deaths of their two young daughters several years earlier, and had promised to honor their memory by remaining childless. The second is towards Jayson's New England family whose philistine values he blatantly flaunts. When Martha announces that she is pregnant, Jayson suggests abortion. But Martha pleads that the child, certain to be a male, will serve as a "link" between them. The outcome is a curious one: Martha dies while giving birth to a son (their "first man"); and Jayson, refusing to acquiesce to his family's wishes that he acknowledge the child, entrusts it to them instead. Then he bolts out of the door to join the expedition long since under way.

The Fountain

A retelling of the Ponce de Leon Fountain of Youth saga. It is a bit melodramatic but it has some good bits on the Native American/Explorer exploitation/extermination which was very advanced for the 1920's.

The Great God Brown

Dion Anthony and his friend William A. "Billy" Brown are sons of business partners. Both love Margaret, but she falls in love with Dion when he is presented behind a cruel and cynical mask, even though he is a sensitive artist. After the two men inherit the business, Dion retires to paint, but fails and eventually dies. Billy takes the mask and poses as Margaret's husband. By the time she finds out, the "real" Billy has faded away. Brown is accused of killing his "real" self, and only the unmasked prostitute Cybel is there to comfort him. Eventually Billy dies as well, and years later Margaret pledges her undying love to Dion's mask.

The Hairy Ape

The play tells the story of a brutish, unthinking laborer known as Yank, as he searches for a sense of belonging in a world controlled by the rich. At first Yank feels secure as he stokes the engines of an oceanliner, and is highly confident in his physical power over the ship's engines. However, when the weak but rich daughter of an industrialist in the steel business refers to him as a "filthy beast," Yank undergoes a crisis of identity. He leaves the ship and wanders into Manhattan, only to find he does not belong anywhere—neither with the socialites on Fifth Avenue, nor with the labor organizers on the waterfront. Finally he is reduced to seeking a kindred being with the gorilla in the zoo and dies in the animal's embrace.

The Iceman Cometh

The play explores a very painful emotional terrain: what people tell themselves to get through another day. Although the characters in this play are singularly broken humans, their clinging to a dignity that exists in a better tomorrow always one day away speaks profoundly to how many people get through their lives.

The Movie Man: A Comedy

A film company, the Earth Motion Picture Company, sponsors a revolution in Mexico in return for filming rights to all their battles.

The Personal Equation

The play draws a harsh portrait of a female revolutionary, an activist organizer for the I.W.W. (rendered I.W.E. in the play), and shows her leading her apolitical boyfriend into an act of sabotage which results in his being lobotomized by a bullet from his own father's gun. At play's end the would-be revolutionary feels no guilt for her role in her boyfriend's vegetation as she pledges to provide for both him and the revolution.

The Spook Sonata

Adaptation of ”The Ghost Sonata” by Strindberg. The play relates the adventures of a young student, who idealizes the lives of the inhabitants of a stylish apartment building in Stockholm. He makes the acquaintance of the mysterious Jacob Hummel, who helps him to find his way into the apartment, only to find that it is a nest of betrayal and sickness. The play centers on a family of strangers who meet for the sake of meeting.

The Straw

A sentimental play based on O'Neill's real relationship with a woman who loved him while he spent time in a sanatorium for tuberculosis. The play seems to follow the autobiographical portions pretty well. Which, of course, seems his pattern; to tell the ultimate truth if those involved are, in fact, dead. The scenes between Murray and Eileen are really lovely, and the women nurses are also very well thought out.

The Web

Rose Thomas, a prostitute, has a row with her pimp/man about her health and their living conditions. There is a certain reality to the situation and that reality, fortunately, is able to penetrate the Dick Tracy- like noir patter...

Thirst

The play opens with three survivors in a life raft of a ship that has gone down, blistered from the sun after many days adrift, out of water to drink, and surrounded by sharks with no rescue in sight. The three characters are “A Gentleman,” still in his formal evening clothes though tattered by the wreck; “A Dancer,” dressed in a short-skirted costume of “black velvet covered with spangles”; and a West Indian mulatto crew member from the ship, who opens the play by singing “a monotonous negro song to himself as his round eyes follow the shark fins in their everlasting circles,” mixed with the Dancer’s sobbing. The bulk of the play consists of conversation between The Gentleman and Dancer.

Warnings

A wireless operator who is losing his hearing is forced by poverty to take a job he can no longer perform: that of deciphering Morse Code transmissions for a luxury oceanliner. His total loss of hearing is ultimately discovered when the ship hits a derelict.

Welded

The play is a bad or painful experience, and it's quite obviously the man's sincere but unsuccessful attempt at dealing with love, truth and that which is unexplainable in life. Such a play, no matter how wide of the mark, deserves a sincere, understanding response; and to make that response requires an important sort of love in the breast of the viewer.

Where the Cross Is Made

Nat Bartlett is a young sea captain about thirty, deteriorate from a reasonably normal character to a man consumed by passion for treasure. His dialogue increasingly centers on the hidden treasure, and his actions become more uncontrolled as the play progresses. The action is set in captain Bartlett's "cabin" at the top of his house situated on a high point of land on the California coast.

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Biografie Eugene O'Neill 

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Cronici ale spectacolelor dupa texte de Eugene O'Neill

• Marea lui O’Neill s-a mutat la poalele muntelui Parâng de Simona Burtea sursa: Revista Drama
  Repertoriul pe care îl abordează Teatrul Dramatic I.D. Sârbu din Petroşani.ar fi invidiat, şi de unele teatre bucureştene. Pe lângă faptul că acolo se valorifică dramaturgii mari ai tututror timpurilor, directorul teatrului, Nicoleta Bolcă, doreşte să se întoarcă la marele repertoriu din nii ’60. Noua producţia a teatrului, spectacolul cu piesa, Anna Christie de Eugene O’Neill, aduce marea cu nisipul fin al plajei, la poalele muntelui, unde aparent nu se întâmplă nimic. Imensul fundal, pe care stă pictată marea, nisipul care umple toată scena şi practicabilele defininesc spaţiul de joc. Drama prostituatei este jucată de Nicoleta Bolcă, pe un ton uşor strident cu o afectar exagerată, pe alocuri. Apariţia Annei Christie, neaşteptată de Chris Christopherson (Rozmarin Delica), face ca scena întâlnirii dintre tată şi fiică să fie emoţionantă. Simţeam totuşi nevoia, din partea regizorului, de-a extinde spaţiul de joc. Bucata de practicabil,
  Citeste tot pe Revista Drama
• „Hughie”. Eseu despre ratare de Alina Epingeac sursa: Yorick
  Misterul este fascinant. Cu o aură în clar-obscur seduce şi te face să te apropii de el mortal, arde ca o insectă neştiutoare de lumina incandescentă până când se spulberă în faţa ochilor mult prea curioşi. Nu degeaba corola de minuni a lumii e bine să rămâne nestrivită şi inaccesibilă. Forţa de atracţie a misterului se manifestă plenar doar de la distanţă. Odată pipăit, încetează să mai fie mister, iar banalitatea sa te descumpăneşte definitiv. Misterul e greu de strunit, de ponderat şi de mânuit. E nevoie de o ştiinţă a detaliilor, de minuţiozitate de ceasornicar şi, mai ales, de renunţare la orgoliul de a-i fi stăpân. Cum nu e loc de două săbii într-o teacă, nici emfaza personală nu poate sta alături grandorii acestui principiu pe cât de atractiv, pe atât de periculos. Iar ameninţarea sa nu este gravă şi solemnă, ci dimpotrivă; cel care se ambiţionează să îi stea semeţ alături misterului nu face altceva decât să tenteze
  Citeste tot pe Yorick
• Demonstrație a rostului detaliului teatral de Ileana Lucaciu sursa: Spectator
  Alexa Visarion, un senior al teatrului nostru, personalitate artistică deosebită, cu un bogat CV construit în cinzeci de ani de activitate, debutează în teatrul independent. Este un eveniment un astfel de debut. Traduce și regizează una din cele opt piese într-un act, nejucată în România, “Hughie” a dramaturgului american Eugene O’Neill preferat și al repertoriilor noastre.
  Eugene O’Neill a fost preocupat ca tematică a pieselor sale de eșecul iluziilor umane și aceiași temă se întâlnește și în “Hughie”, dar dezvoltată în principal printr-un monolog. Piesa nu are un conflict activ, relatează prin personajul Smith, povestea vieții unui împătimit al jocurilor de noroc. Iluziile sale au fost spulberate de moartea lui Hughes care îl prețuia, recepționer de noapte al hotelului unde stă Smith. Venit de la înmormântarea acestuia, cu mintea în aburi de alcool, Smith îl întâlnește la recepție pe înlocuitorul lui Hughes,
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• Psycho. By the water de Răzvana Niţă sursa: Port.ro
  Pe marginea căzii în care soţul ei încearcă să uite de eşecuri, frustrări şi lipsa de afecţiune, o femeie susţine un monolog-rechizitoriu. Alfred e de vină pentru tot: nu îşi găseşte un loc de muncă, e delăsător, are un anturaj nepotrivit, nu-şi respectă partenera de viaţă care i-a fost mereu alături şi care şi acum se sacrifică pentru el deşi nu merită pentru că tocmai a aflat că îi este infidel etc.
  În varianta originară, personajul principal rămâne în afara scenei iar la final se sinucide fiind descoperit mort în culise. O'Neill însuşi mărturisea că prin acest monolog şi-a dorit să testeze răbdarea publicului.
  Întregul mecanism se bazează pe forţa şi impactul acumulării de informaţii, de tensiune, de energie reprimată. În montarea de la Bulandra, partenerul mut are rolul de a acutiza criza şi a amplifica teroarea unui final implacabil. Acest seism previzibil, această naştere, creştere şi explozie, această detonare în
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• Crima de la micul dejun de Oana Bogzaru sursa: Yorick
  Dezgust și scârbă, frică de ratare sau frica de a recunoaște că deja te-ai ratat, un soi de neputință amestecată cu mult dispreț față de propria-ți persoană, toate s-ar putea să coincidă cu simptomele unui episod depresiv puternic sau cu senzațiile care se nasc atunci când citești „Before Breakfast” de Eugene O’Neill. Din doar nouă pagini răzbat atât de multe frustrări, atât de multe neîmpliniri și nefericire, încât îți vine să te sufoci și nici dacă închizi ochii nu ți se șterge de pe retină imaginea lui Alfred, stând în cadă și ascultând pasiv durerea soției sale care parcă otrăvește apa din cuvinte și priviri tăioase ca o lamă de cuțit sau de ras… O căsnicie începe și se termină în nouă pagini pe care le citești cu răsuflarea tăiată, dorindu-ți să nu fii nevoit vreodată să-i vorbești celui de lângă tine cu dezgust până în pragul în care să-l ucizi lent cu propriul discurs plin de venin.
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• „Before breakfast”. Anatomia artei actorului de Alina Epingeac sursa: Yorick
  E tare greu să taci. Să taci cu adevărat. Pentru tine şi pentru ceilalţi. Şi pentru celălalt. Să taci când vrei să strigi. Pur şi simplu să taci atunci când doare. Şi să asculţi odată cu tăcerea ta. Să taci şi să asculţi. Şi să îţi vorbească ochii şi tot corpul tău să devină un instrument al muzicii triste pe care povestea de dinăuntru o compune din tăcerea ei. Dar cât de greu e să taci. Şi să asculţi. Şi să ai răbdare să simţi. Tăcerea, ascultarea şi răbdarea sunt trei surori bune care prea rar se adună la o masă în familie. Pe scenă cu atât mai rar. Şi, totuşi, din când în când îţi dau întâlnire la câte un spectacol. Şi atunci se întâmplă ceva aparte – se face linişte şi se ascultă şi se simte cu răbdare şi pe scenă, şi în sală. Şi e bine. E bine să îţi dai seama că nu ai uitat să taci şi să asculţi şi să simţi şi să îţi pese. Atunci e teatru cu bine.
  Andrei şi Andreea Grosu încearcă de
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• Un rechizitoriu de Mircea Morariu sursa: Adevărul
  Eugene O’Neill a scris „Before Breakfast“ în anul 1916. Se afla atunci la început de drum în viaţa şi în cariera de autor de literatură dramatică, de abia împlinise 28 ani şi, cu toate acestea a trecut cu brio unul dintre cele mai complexe şi mai solicitante examene profesionale.
  Acela al scrierii de piese scurte care reclamă ca, în cel mai concentrat mod cu putinţă, să dezvolţi o temă având grijă să respecţi toate etapele pe care le presupun ceea ce, în termeni de manual şcolar, se chemă „momentele subiectului“. Expunere, intrigă, desfăşurarea acţiunii, punctul culminant, deznodământul.
  Tema dezvoltată într-o partitură care are nici mai mult, nici mai puţin de 9 pagini este aceea care îl va preocupa constant pe dramaturgul american - cuplul şi vicisitudinile lui -, scrierea reprezentând o vivisecţie, o intervenţie, fără milă şi fără anestezie, în lumea dezmoşteniţilor sorţii. A celor care, din felurite motive,
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• Întâlnire cu admirabili artiști de Ileana Lucaciu sursa: Spectator
  Sunt rare astfel de spectacole cizelate la amănunt, provocatoare de emoție în care tăcerea unui personaj … “vorbește”, răspunde replicii partenerului. “Before Breakfast” (“Înainte de micul dejun”) este un astfel de spectacol cu una din dificilele piese scrise de Eugene O’Neill, preocupat întodeauna să trateze drame existențiale prin personaje realist construite. Scrisă în 1916, la început de carieră, această piesă într-un act, cu două personaje, prezintă drama degradării relației unui cuplu, când personajele trăiesc în universuri paralele și comunicarea dintre ele se distruge.
  “Versiunea scenică și regia: Andrei și Andreea Grosu” compun scenic povestea familiei Rowland analizând nuanțat evidențierea caracterelor celor două personaje cu ajutorul unor actori admirabili – Mihaela Trofimov și Richard Bovnoczki. Viziunea regizorală realistă ca stil, de “teatru adevărat” are drept rezultat un spectacol încărcat de emoție.
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• Un recital de neratat! de Sanda Vișan sursa: Adevărul
  „O camerǎ micǎ, servind de bucǎtǎrie şi sufragerie în acelaşi timp, într-un apartament de pe Strada Christopher, în New York.“, aşa începe piesa într-un act „Before Breakfast“, pe care a scris-o Eugene O’Neill pe când avea 28 de ani şi renunţase deja la douǎ facultǎţi, în favoarea literaturii, fiind activ pe boema scenǎ literarǎ din cartierul Greenwich Village, unde plaseazǎ şi aceastǎ monodramǎ.
  Pentru producţia Teatrului Maria Filotti din Brăila, prezentată diseară la Unteatru, în Bucureşti, regizorii AndreişiAndreea (legat!) Grosu nu au păstrat nimic din decorul descris în didascalii, dar au preluat tonalitatea sumbră a acestui spaţiu sărac, neutru, care poate fi ultima haltă de nicăieri, a unui tren pierdut: o masă, două scaune şi câteva obiecte de recuzită sunt de ajuns, ca suport material, pentru intensa încleştare a mecanismului recriminatoriu, pus la cale de soţia disperată de dezastrul cotidian al unei căsnicii
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