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목차
Ⅰ. 서 론
Ⅱ. 본론
1. 무대
2. 음향
3. 조명과 색상
4. 독백
5. 환영과 가면
Ⅲ. 결론
인 용 문 헌
Ⅱ. 본론
1. 무대
2. 음향
3. 조명과 색상
4. 독백
5. 환영과 가면
Ⅲ. 결론
인 용 문 헌
본문내용
igh, John H. The Plays of Eugene O'Neill. Carbondale: Southern Illinois University Press, 1965.
Rogers, David. The Plays of Eugene O'Neill: A Critical Commentary. New York: Monarch Press, 1965.
Sheaffer, Louis. O'Neill : Son and Playwright. Boston: Little, Brown and Company, 1968.
------- . O'Neill: Son and Artist. Boston: Little, Brown and Company, 1973.
Tiusanen, Timo. O'Neill's Scenic Images. Princeton, N. J. : Princeton University Press, 1968.
Tornqvist, Egil. A Drama of Souls : Studies in O'Neill's Super-naturalistic Technique. New Haven: Yale University Press, 1969.
Viswanathan, R. The Eugene O'Neill's Newsletter, Vol. IV, No. 3. Englewood Cliffs: Prentice-Hall, Inc., 1980.
Whitman, Charles H. (Ed.) Representative Modern Drama. New York: The MacMillan Press, 1972.
Whitman, Robert F. "O'Neill's Search for a Language of The Theatre", O'Neill : A Collection of Critical Essays. (Ed.) John Gassner. Englewood Cliffs: Prentice-Hall, Inc., 1964.
Winther, Sophus K. Eugene O'Neill: A Critical Study. New York: Russell & Russell, 1962.
The Expressionistic Techniques in O'Neill's Plays
―Centered on The Emperor Jones and The Hairy Ape―
Abstract Yong-Jae Cho
O'Neill, with The Emperor Jones as a typical expressionistic drama, gives himself to embodying well the instinctive aspect of the human soul which is unavoidably encountered by the hero Jones. He faces confrontations and struggles between the conscious world and the personal, collective and unconscious world, while in The Hairy Ape O'Neill traces his investigation to the essential matters associated with the sense of alienation and life-related problems with which modernity is generally confronted. There is no denying that, despite the fact that The Hairy Ape takes on naturalism in contents and in style as well, it is absolutely oriented toward expressionism. Seeing that the sense of alienation resulting from self-understanding by the hero Yank comes as a principal life matter, O'Neill criticizes the modern civilization for making men dehumanized and uniformed. Yank, who is the hero of this story, is not the representation of an individual with a unique character but the symbol of all the people living today deprived of humanity, and taken up with materialistic value rather than with God providing people with stability and faith. O'Neill expresses these themes very effectively with such important expressionistic techniques as ① stage: the palace of Jones, the Great Forest, the firemen's forecastle and the promenade deck and stokehole; an ocean liner, Fifth Avenue ② sound: bell, drum-beat, wind, shot, laughter, mourning, scream, chorus, voice, whistle, mechanical sound ③ lightening(color): white palace, dark Great Forest, moonlight, dim light ④ monologue ⑤ mask(phantom): white palace, dark forest, silver bullet, Congo Witch-Doctor, Crocodile, Gorilla, Formless Fears, Negro Jeff, a small gang of negroes, a white man dressed in the uniform of a prison guard, the Auctioneer, the Planter, in both plays.
Rogers, David. The Plays of Eugene O'Neill: A Critical Commentary. New York: Monarch Press, 1965.
Sheaffer, Louis. O'Neill : Son and Playwright. Boston: Little, Brown and Company, 1968.
------- . O'Neill: Son and Artist. Boston: Little, Brown and Company, 1973.
Tiusanen, Timo. O'Neill's Scenic Images. Princeton, N. J. : Princeton University Press, 1968.
Tornqvist, Egil. A Drama of Souls : Studies in O'Neill's Super-naturalistic Technique. New Haven: Yale University Press, 1969.
Viswanathan, R. The Eugene O'Neill's Newsletter, Vol. IV, No. 3. Englewood Cliffs: Prentice-Hall, Inc., 1980.
Whitman, Charles H. (Ed.) Representative Modern Drama. New York: The MacMillan Press, 1972.
Whitman, Robert F. "O'Neill's Search for a Language of The Theatre", O'Neill : A Collection of Critical Essays. (Ed.) John Gassner. Englewood Cliffs: Prentice-Hall, Inc., 1964.
Winther, Sophus K. Eugene O'Neill: A Critical Study. New York: Russell & Russell, 1962.
The Expressionistic Techniques in O'Neill's Plays
―Centered on The Emperor Jones and The Hairy Ape―
Abstract Yong-Jae Cho
O'Neill, with The Emperor Jones as a typical expressionistic drama, gives himself to embodying well the instinctive aspect of the human soul which is unavoidably encountered by the hero Jones. He faces confrontations and struggles between the conscious world and the personal, collective and unconscious world, while in The Hairy Ape O'Neill traces his investigation to the essential matters associated with the sense of alienation and life-related problems with which modernity is generally confronted. There is no denying that, despite the fact that The Hairy Ape takes on naturalism in contents and in style as well, it is absolutely oriented toward expressionism. Seeing that the sense of alienation resulting from self-understanding by the hero Yank comes as a principal life matter, O'Neill criticizes the modern civilization for making men dehumanized and uniformed. Yank, who is the hero of this story, is not the representation of an individual with a unique character but the symbol of all the people living today deprived of humanity, and taken up with materialistic value rather than with God providing people with stability and faith. O'Neill expresses these themes very effectively with such important expressionistic techniques as ① stage: the palace of Jones, the Great Forest, the firemen's forecastle and the promenade deck and stokehole; an ocean liner, Fifth Avenue ② sound: bell, drum-beat, wind, shot, laughter, mourning, scream, chorus, voice, whistle, mechanical sound ③ lightening(color): white palace, dark Great Forest, moonlight, dim light ④ monologue ⑤ mask(phantom): white palace, dark forest, silver bullet, Congo Witch-Doctor, Crocodile, Gorilla, Formless Fears, Negro Jeff, a small gang of negroes, a white man dressed in the uniform of a prison guard, the Auctioneer, the Planter, in both plays.
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