O'Neill, Eugene
(New York, N.Y. 1888-1953 Kap Cod bei Boston) : Dramatiker, Nobelpreisträger
Name Alternative(s)
O'neill, Eugene Gladstone
Subjects
Index of Names : Occident
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Literature : Occident : United States of America
Chronology Entries (58)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1903-1953 |
Eugene O'Neill allgemein. The Eugene and Carlotta O'Neill Library. Special Collections. C.W. Post Campus / Long Island University, Brookville, New York http://www2.liu.edu/cwis/cwp/library/sc/oneill/holdings.htm. Ackerman, Phyllis. Ritual bronzes of ancient China [ID D28786]. [Signed Carlotta Monterey O'Neill, 28.12.1945 New York]. Binyon, Laurence. The flight of the dragon [ID D28761]. [Signed Eugene O'Neill]. Bland, John Otway Percy ; Backhouse, E. China under the empress Dowager [ID D2870]. Boerschmann, Ernst. Picturesque China [ID D446]. Brinkley, Frank. Japan and China [ID D28783]. Chuang Tzu : mystic, moralist, and social reformer. Translated from the Chinese by Herbert A. Giles [ID D7731]. Creel, Herrlee Glessner. The birth of China [ID D9969]. Crosby, Oscar Terry. Tibet and Turkestan [ID D2766]. [Signed Carlotta Monerey, 1927]. Fung, Yu-lan [Feng Youlan]. A history of Chinese philosophy [ID D10069]. [Signed by Carlotta Monterey O'Neill, Boston Dec. 2 1952]. Douglas, Robert K. China [ID D2443]. Grantham, A[lexandra] E[thelred]. Hills of blue [ID D28779]. Hill, A.P. Broken China [ID D28792]. [Signed Eugene O'Neill & Carlotta Monterey, Shanghai 1928]. Hobson, Robert Lockhart. Chinese art [ID D28784]. Hsiung, Shih-i [Xiong Shiyi]. Wang Pao-chuan : Lady precious stream [ID D28788]. Lao-tzu. Tao-tê-ching : Lao-tzu's tao and wu wei. Transl. by Dwight Goddard [ID D28778]. Johnson, Reginald Fleming. Twilight in the forbidden city [ID D3330]. Li, Po. The works of Li Po, the Chinese poet, done into English verse by Shigeyoshi Obata [ID D13279]. Lin, Yutang. The importance of living [ID D14759]. [Mr. & Mrs. Eugene O'Neill – compliments & warmest regards from Ling Yutang, Nov. 25, 1937]. Lin, Yutang. My country and my people [ID D13801]. Mowrer, Edgar Ansel. Mowrer in China [ID D8748]. [To Mr. & Mrs. Eugene O'Neill, this slight testimony of a great admiration. Edgar A. Mowrer]. Norton, Henry Kittredge. China and the powers [ID D28455]. [Signed Carlotta Montery, April 27 1927]. Nott, Stanley Charles. Chinese jade throughout the ages [ID D28785]. [[Inscribed : To Carlotta - with all my love ! Gene, Lafayette July 37]. Payne, Pierre Stephen Robert. Forever China [ID D28781]. [Signed Carlotta Monerey O'Neill, New York Febr. 19th]. Reid, John Gilbert. The Manchu abdication and the powers, 1908-1912 [ID D28780]. The sacred books of China : the texts of Taoism. Transl. by James Legge [ID D2559]. Sherap, Paul. . Tibetan on Tibet [ID D28782]. [Signed Carlotta Monterey, 1927]. Smith, Arthur Henderson. Chinese caracteristics [ID D2512]. [Signed Carlotta Monterey, Oct. 1st 1921]. Sze, Mai-mai. Silent children : a novel. (New York, N.Y. : Harcourt, Brace, 1948). [Inscribed by the author : from Mai-mai, New York, March 3, 1948]. Werner, E.T.C. Myths and legend of China [ID D27281]. The wisdom of China and India. Ed. by Lin Yutang [ID D28787]. [Zhao, Ziyong]. Cantonese love-songs. Transl. by Cecil Clamenti [ID D28790]. [Signed Eugene O'Neill]. Sekundärliteratur 1982 / 1992 James A. Robinson : Any treatment of O'Neill's relationship to Oriental mysticism must begin with the catholic faith in which he was raised and confirmed. His indoctrination as a boy in the dominant religion in the Western world inadvertently prepared his for his interest as a man in Oriental mystical faiths. In the sacred texts of Taoism, O'Neill not only found confirmation of his own mystical intuition that a dynamic universal force (Tao by Laozi) united man and the universe but also discovered an encouraging variant of his own dualistic tragic vision as well. 1988 / 1992 Liu Haiping : 1949-1979, O'Neill's works were little read and there were no performances or new translations of any of his plays. O'Neill's name was almost forgotten in China. To Chinese scholars and critics, O'Neill represented an unexplored mystery ; his life and career, as well as his individual plays, all crammed and crowded with drama, seemed inexhaustible subjects for interpretation and reinterpretation. The knowledge that O'Neill attached great interest to Chinese history and culture and that Orientalism, especially Taoism, formed a distinctive aspect of his art further endeared him to Chinese readers and critics. As a result, the 1980s saw no fewer than one hundred-and fifty articles on O'Neill and his plays carried in various kinds of literary and theatre magazines. 1992 Virginia Floyd : The most significant single factor in O'Neill's early life, in that it affected his development personally and dramaturgically, was his rejection at age fifteen of Catholicism. His natural mystical nature was nurtured in later years by his selective reading of and developing understanding of Taoism. In the period when O'Neill sought a replacement for his lost faith, he turned to and found a meaning for existence in Laozi. The Chinese mystic continued to influence the author in the early 1920s, while he was recording notes for plays made prior to the period of his early research in 1925 for the projected work on Shi Huangdi. Recording new information on Taoism, O'Neill became fascinated by the female and male forces, the 'yin' and 'yang' principles, as they related to Taoism and by the way Laozi 'fused mysticism and pragmatism into a philosophy' through 'which he believed all men could discover their lives to be peaceful, useful and happy'. Although O'Neill never completed a scenario for 'Shi Huangdi', he continued his exploration of Taoism, working sporadically on this material from 1925 to 1934. 1992 Long Wenpei : I. The period between the 1920s and 1940s witnessed the first crest of popular interest in O'Neill in China. Among the plays translated and published, some fifty critical essays written about O'Neill appeared in Chinese newspapers and periodicals. Several critics looked upon him as 'a poet, an observer of human nature', who 'inspires man in his striving upward and to seek light even in crimes and insults'. Other critics observed that his plays were different from those written by Ibsen and Shaw, who portrayed their characters in terms of social relationships while O'Neill depicted his as isolated entities. Still others regarded O'Neill as 'an important promoter' in the history of American drama, who 'has smashed many of the set rules of the stage, but never violated the fundamental principles of drama. II. The second period, the 1950s through the mid-1970s, saw O'Neill's popularity in temporary suspension in China. Because of the international political situation in the 1950s, the channels of cultural exchange between China and the West narrowed, and criticism of Western literature became biased. All contemporary Western writers whose works were not obviously directed against capitalism were largely ignored. O'Neill's plays were laid aside and neglected. None of his later plays were translated, nor were his critical essays published, to say nothing of producing his plays on the Chinese stage. III. The third period, the late 1970s to the present, constitutes the second crest of O'Neill's popularity in China. During this period great changes took place in our objective and subjective worlds. The policy of openness and reform adopted by the Chinese government since 1979 has put an end to the period of a closed society and ushered in a new stage. Since then, China has been a scene of bustling activity in literary and art circles. With the improvement in Sino-American relations, cultural exchanges between the two countries, after more than twenty years of stagnation, have been revived. O'Neill fans once again have access to most of his plays and to research literature by scholars from various parts of the world. Riding the waves of this Sino-American rapprochement are a great number of Chinese artists and scholars who have either visited America or taken part in O'Neill conferences and symposiums. American experts and scholars also have visited China. O'Neill has been included in the curricula of Chinese universities. Wherever there is a course in American literature, there is a chapter for O'Neill ; and some universities offer 'O'Neill and contemporary American drama' as an elective course. 1994 Lee Sang-kyong : At the beginning of the 20th century a number of intellectuals of the Western world discovered the spiritual world of the East. They started to look for spiritual regeneration in the mysticism of Buddhism, Hinduism and Taoism. O'Neill was no exception. Even in his youth he felt quite attracted by this spiritual direction and under the influence of theosophy he turned more and more towards Eastern mysticism. He became increasingly interested in philosophers and poets who had been inspired by the Eastern ideas and literature such as Schopenhauer, Nietzsche, Jung, Emerson, Strindberg, Yeats, Maeterlink, and Lafcadio Hearn. To deepen his knowledge in Eastern religions he began in the twenties to read books like 'Buddha and the gospel of buddhism' by Ananda K. Coomaraswany (London 1916), 'Six systems of Indian philosophy' by Max Müller (London 1919), and 'The texts of taoism' by James Legge. His deep interest is reflected in the content and form of his plays of the twenties, such as 'The fountain', 'Marco millions', 'The great god Brown', 'Lazarus laughed', and others. O'Neill's popularity in the Orient was probably due to the fact that structure and content of his dramas were strongly by Taoist spiritualism. The Orientals felt especially moved by the sensitive presentation of feelings, by his mysticism and the tragical conflict situations of his dramas. |
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| 2 | 1918-1920 | Notebook 'Reincarnation' by Eugene O'Neill : "Idea for long play – reincarnation – oldest civilization, China 1850 – modern times during war – South Sea Island, 1975 – same crises offering a definite choice of either material success or a step toward higher spiritual plane – Failure in choice entails immediate reincarnation and eternal repetition in life on this plane until spiritual choice is made." |
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| 3 | 1918 |
O'Neill, Eugene. Beyond the horizon : a play in three acts. (Provincetown, Mass. : 1918). http://www.bartleby.com/132/11.html. ROBERT [Mayo]. "No, I oughtn't. You're trying to wish an eye-for-business on me I don't possess. Supposing I was to tell you that it's just Beauty that's calling me, the beauty of the far off and unknown, the mystery and spell of the East, which lures me in the books I've read, the need of the freedom of great wide spaces, the joy of wandering on and on—in quest of the secret which is hidden just over there, beyond the horizon ? Suppose I told you that was the one and only reason for my going ?" |
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| 4 | 1920 |
Performance of The emperor Jones by Eugene O'Neill, Nov. 1, 1920 by the Provincetown players in the Playwright's Theater in New York. Hong Shen watched one performance. |
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| 5 | 1922 |
Letter from Eugene O'Neill to Kenneth Macgown. Sept. 23 (1922). O'Neill wrote, that his family's "plans for the winter remain chaotic. We will probably, in a fit of desperation wind up in China. I'd like that too, while Europe somehow means nothing to me." |
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| 6 | 1922 |
Mao, Dun. [News of foreign literature]. In : Xiao shuo yue bao ; vol. 13, no 5 (1922). "In drama, the new playwright Eugene O'Neill wins great popularity and deserves to be a genius in American theatre." First mention of O'Neill in China. |
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| 7 | 1922-1925 | Eugene O'Neill made an extensive study of Chinese history, religion, art and poetry in preparation for his composition of Marco millions. |
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| 8 | 1923 |
Hong, Shen. Yama Chao = Zhao Yanwang. In : Dong fang za zhi ; vol. 20, no 1-2 (1923). = In : Hong Shen xi qu ji. (Shanghai : Xian dai shu ju, 1933). [Geschrieben 1922]. Performance of The Yama Chao = Zhao Yanwang by Hong Shen. Adaptation of The emperor Jones by Eugene O'Neill. Hong Shen played the main role. In the newspaper 'Ching bao' reported that the performance was a failure because the audience couldn't understand it and even regarded the actor as a maniac. Hong Shen : "Zhao Yanwang is intended to show that society should be held responsible for the sins of the individual. No one in the world is born morally good or bad. Both the good and the bad are products of their environment. Nor is there anyone who is perfectly good or absolutely bad, for human behavior is rather complicates. But why is Zhao like this ? If we can study his life story and the stories of people like him, we will find they might all have suffered seriously from maltreatment and unhappy experiences, especially when they were too young to resist." "The first scene is somewhat splendid – the language, in particular, is condensed and the dialogues are full of vitality. From the second scene on, he borrows the background and facts from Eugene O'Neill's The emperor Jones, such as circling in the forest, becoming delirious and seeing hallucinations and being chased with people beating the drums, and so on. Apart from the meaning of its subject matter, nothing else in the play is worthy of mention" Cheng Fu-tsai : Although Hong Shen is fiercely attacked for his imitation of O'Neill's play, his adaptation is undoubtedly a creation of his own rather than a mere mimicry of the American prototype. He has not just incorporated the expressionistic devices into his own play, but has striven to make the play represent and reflect the social and political situation of China in the 1920s. His attempt at externalizing the psychological fear of an escaped convict in modern Chinese drama is unmatched. Thus, the creation of The Yama Chao has achieved a certain degree of success in early modern Chinese drama. From one of Hong Shen's admissions it ensues that for eight scenes of the drama he utilized the 'background and the facts' from The emperor Jones by Eugene O'Neill, and only the first scene, according to him, 'is essential, its style is cohesive and selective, the dialogue is impressive', hence, only this part of the drama is really original. The Yama Chao borrowed from its American prototype the theme of money, the division of scenes, the use of soliloquies and the psychological treatment of hallucinations in a forest setting. Act three is an adaptation of the forest scenes from The emperor Jones. The Yama Chao follows in scene division, motif, and technical devices. Hong Shen found O'Neill's symbolic treatment of social and individual ills in The emperor Jones congenial to his own purpose of staging social reform : the predominantly male cast in O'Neill's play attracted Hong Shen. Hong, Shen : "I am extremely disgusted at the male's impersonating female characters. It is perhaps because I have read too much of Freud's works on abnormal sexuality. Every time I see a man putting on the make-up of a woman, I really feel like having goose-pimples all over me. But I still want to stage a play, and consequently the only thing I can do is to write a play which does not require female characters at all. This is one of the reasons why I made up my mind to borrow the form of Eugene O'Neill's The emperor Jones when the subject-matter of The Yama Chao was decided upon". [In : Zhongguo hua ju yun dong wu shi nian shi liao ji. Tian Han [et al.] zhu. (Beijing : Zhongguo xi ju chu ban she, 1958). 中国话剧运动五十年史料集]. |
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| 9 | 1923 |
O'Neill, Eugene. The fountain. In : O'Neill, Eugene. The great god Brown ; including The fountain, The dreamy kid and Before breakfast. (London : J. Cape, 1923). http://gutenberg.net.au/ebooks04/0400121h.html. "There is in some far country of the East – Cathay, Cipango, who knows – a spot that nature has set apart from men and blessed with peace. It is a sacred grove where all things live in the old harmony they knew before man came. Beauty resides there and is articulate." Lee Sang-kyong : Taoist influence : Spring water in its process of circulation is a symbol of the natural course of all earthly things. Spring water evaporates up to the sky and returns to earth, this means the realization of unity between the sky (yang) and earth (yin). The 'Fountain' is located in the Far East of his dreams. O'Neill's longing for the Orient is clearly expressed in his idealistic view of the countries Cipango and Cathay where all things are in harmony and all hearts rest in tranquility. James A. Robinson : The fountain hints at a Taoist influence in its repeated allusion to China as the home of the legendary fountain. During Juan's vision, the Chinese poet appears as the originator of the fountain myth. Juan Ponce de Leon's quest for youth accords with Taoist values and practices. Taoism idealizes the youthful virtues of simplicity and spontaneity, and its central purpose of prolonging life through conservation of energy became translated into various occult practices designed to restore one's youth. By far the most vital Taoist contribution to the play lies in its rhythmic reconciliation of opposites. Juan's climactic vision and the play's imagery illustrate the Taoist treatment of apparent opposites as yin and yang, which by their cyclical alternation symbolize the dynamic unity of reality. O'Neill was constantly plagued by conflicting impulses. In regard to Christianity, he deplored the historical intolerance of the Church, yet believed in Christian values. His disillusion with institutionalized Christianity helped the exploration of Oriental thought apparent in the play's climax and resolution |
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| 10 | 1924 |
Yu, Shangyuan. Jin ri zhi Meiguo bian ju jia Aoni'er [ID D28770]. Yu discussed the introduction of Eugene O'Neill into China and gave brief synopses of a number of O'Neill's plays, including 'Beyond the horizon', 'The emperor Jones', 'Anna Christie', 'The hairy ape', and 'The first man'. He categorized them as plays ranging from symbolism, realism, psychology, and expressionism to the discussion of social problems and the portrayal of characters. In addition to summarizing the mentioned plays, Yu also tried his hand at assessing O'Neill's contribution to drama by commenting 'O'Neill's writing style as wee as his characters thrives with vitality. His dramatic technique is extraordinary and he always creates something new'. With Walt Whitman, American poetry can be seen as full-grown ; with O'Neill, true American theatre appears on the world stage'. |
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| 11 | 1927 |
O'Neill, Eugene. Marco millions : a play [ID D28771]. Quelle : Polo, Marco. The book of Ser Marco Polo, the Venetian. Transl. and ed. by Henry Yule [ID D5467]. Bai Niu : In Marco millions, O'Neill utilizes the myth of Chinese characters to negate Western values. But since the motivation of the myth is the advocacy of change within the West, we find that O'Neill is reluctant to mythify the East to the extent of perpetuating the status quo of the West. As a result, here and there the real history of the Chinese characters breaks through the mythical confines. In this way, the use of myth helps create a complicated vision instead of a naïve contrast between the East and West. O'Neill approached the Marco Polo story with an initial intention to satirize and criticize greedy American businessmen. In talking about his plans about Marco millions in his Selected Letters, O'Neill writes : 'The child will be either a surprising satiric Beauty – or a most gawdawful monster'. O'Neill found the mythologization of Chinese elements an effective way to conduct his criticism, since myth by definition could conceal his motivation in such a way that his attack on American materialism could appear to be unquestionable and thus more powerful. All the central Chinese characters are apparently mythologized, representing values, Oriental wisdom, mysticism, and spirituality, opposed to the Polos' stupidity, superficiality, and materialism. In mythologizing the Chinese figures, O'Neill does offer some dynamics to the characterization of Marco Polo. The Chinese characters highlight Marco's material greed, insensitivity, ignorance, and triteness from three perspectives : Kublai's increasing mockery and criticism, Chu-Yin's disenchanted probe into his potential to change, and Kukachin's gradually intensified sense of disappointment, embarrassment, and despair. Between Kublai and Marco is a conflict between soul and flesh. As the emblem of Taoist doctrines, Chu-Yin is detached and only an observer of Marco. Kukachin's nor a non-conflict like Chu-Yin's ; it is a process passing from eager erotic involvement to total disengagement. Marco is totally unaware of Kublai's cynicism and criticism. His rather consistent cocksureness reveals his ignorance of anything spiritual. He is so blinded by his single-minded pursuit of material wealth that he interprets other people's remarks strictly along material lines. Instead of making direct confrontations with Marco, Chu-Yin observes him from a distance. He advises Kublai to let Marco develop naturally by himself. He wants to probe this representative of the West and find out whether Marco can change so as to realize his potential for wisdom and to achieve harmony with Tao. What Chu-Yin finally finds in Marco is all the qualities opposed to his Taoist doctrines. Serving as a foil, Marco's failure strengthens the validity and wisdom of Taoist thoughts. Another point of contrast illustrated through Chu-Yin is the distinction between humility and arrogance. Chu-Yin embraces the idea of humility. Marco's world is entirely controlled by money. So far as he is concerned, one can measure love only with gold and view beauty only with a mirror made of pearls and silver. Kukachin is another emblem of Oriental spiritual values, she contrasts Marco's triteness and insensitivity through her poetic nature and sensitivity. O'Neill accentuates the correlation between the quality of language and spirituality through the contrast between Kukachin and Marco, which is, first of all, an opposition between the poetic and prosaic. Kukachin's world is a poetic realm. She simply speaks poetry, while Marco is incapable of using any poetic diction, and even his 'poem' is imbued with monetary terms. For Kukachin, life is meaningless without love. If one realizes the spiritual value of love, for him or her, the difference between life and death is not that significant, if it exists at all. Kukachin is the only Chinese character who once had a positive impression of Marco. According to her own account, she had observed all Marco's instinctive, mostly unconscious, kind behaviors and innocent remarks and interpreted them as spiritual manifestations. In actuality, it was love that drove her to Marco's defence. She still believed in Marco's soul, and it was only two years later when the journey came to its end that she painfully realized that Marco was incorrigibly acquisitive, and to him, spirituality and sensitivity were incomprehensible foreign qualities. Bayan, Kublai's general is basically a warmonger and cannot live in peace for an extended period of time. He becomes restless and helpless because 'everywhere in the East there is peace'. The only thing which would occupy him is war. O'Neill's mythologization of the East has created a total negation of the West. Although this total negation fulfills O'Neill's intention to criticize the materialism of the West, it would rule out any possibility for reform, since the total negation is the real myth. Lee Sang-kyong : The Taoist idea of a dualistic world becomes the essential characteristic of Marco millions. The dualism of all earthly phenomena finds its expression not only in the antithesis of male and female, life and death, to be or not to be. The Yin-Yang-principle of Taoism is also expressed in the Western and Eastern life styles such as the modest cheerfulness of the Eastern people and the rough pragmatic life struggle of the Western people. Through his occupation with the Orient, O'Neill was more and more convinced, that Oriental wisdom could offer a hopeful alternative to the Western world's materialistic society. Marco Polo is the personification of the Western dream of materialistic success, and the Chinese empror Kublai Khan is very disappointed of Marco's materialistic attitude. The emperor seed in Marco – who is the representative of Christianity – the spiritual abnormity of the West, as O'Neill repeatedly discloses in the course of the plot. In a romantic romance with Kukachin, the granddaughter of Kublai Khan, Marco feels the magnetic power of the East. For him, wealth and power are more important than feeling. Even the Taoist wisdom of Chu-yin, the emperor's counselor, does mean anything to him. For him, the Orient's wisdom and beauty, embodied by Kublai Khan and Kukachin, are ridiculous and inconsistent. But Kublai, interested in the spiritual development of man, intends to initiate a dialogue about the existence of soul between one hundred wise men of the West and wise men of Buddhism, Taoism, and Confucianism. Marco is only deeply impressed by the 'millions upon millions of worms' of the silk industry which could produce 'millions upon millions of capital'. O'Neill shows with irony the contrast between the Western materialism and ancient China's aestheticism during Marco Polo's time, pointing out the antithesis of the Westerners' materialistic greed and the mystic wisdom and splendor of Kublai Khan's court. He wants to show the fundamental difference between the Taoist East and the superficial and pragmatic Western civilization. The two opposite world views are represented by two characters : Marco Polo stands for materialism, rationalism, pragmatism, and Princess Kukachin is the living example of idealism and intuitive mysticism. Chu-yin, the counsellor is the only character who is untouched by all the events and remains in harmony with the teaching of Laozi and Zhuangzi. Horst Frenz : O'Neill's interest in the East is most evident in Marco millions. The presentation of a mercantile Marco sent and sanctioned by the Pope as a wise man to represent the wisdom of the West to the East is full of irony. Marco is beyond redemption ; he is totally untouched by the spiritual beauty of Kukachin, the the Taoist wisdom of Chu-yin never reaches his philistine mine. The short exchange of remarks between Chu-yin, the subtle sage of China and Marco, the rash philistine emissary from Venice, sums up the difficulty of an understanding between East and West. The shallowness of the action-oriented West prevents Marco from comprehending the subtleties of the East whose wisdom lies in a quiet observance of the true course of nature, in an attitude of wise passiveness so characteristically Taoist. The scenes, in which Marco establishes a new tax system, introduces printed money, and discovers that gunpowder, up to now used by the Chinese only for fireworks, can be employed for destructive purposes, are filled with biting satire. In a remarkably subtle manner, O'Neill manages in various ways to point out the basically irreconcilable differences between Taoist wisdom and the superficiality of Western civilization. James A. Robinson : Marco millions follows the lines of conventional Western tragedy, which assumes a dualistic universe of irreconcilable conflict – though here, rather than God or nature defeating man, it is West destroying East. Underlying the East-West conflict of the action is a similar conflict within O'Neill, whereby Western dualism ultimately triumphs over the harmonic view of the universe O'Neill discovered in Taoist thought. The play's Eastern elements represent the dramatist's suspicion that at the deepest level, man and world and cosmos were integrated and serene ; but his pessimistic modern-Western side seems reluctantly convinc4ed that man and universe are in hopeless conflict, a conflict reflected in the irreconcilable opposition of Oriental and Occidental cultures. The similar stage groupings and character types symbolize the profound identity between different cultures that makes understanding possible. The response of Marco emphasizes cross-cultural conflict. The farther he journey East – through lands whose mystical creed preach tolerance and renunciation – the more intolerant, ethnocentric and materialistic he becomes. As a prime 'example of virtuous Western manhood', Marco learns nothing from fifteen years in China, pointing up an apparently unbridgeable gap between East and West. His materialism intensifies. The relationship between Kukachin and Marco dramatizes the polarity of the conflict between East and West. Marco exudes intolerance, while Kukachin radiates the supreme tolerance of one who loves a totally different person. Marco loves the treasures of this world, while Kukachin transcends them. Kukachin, who is feminine, passive, and spiritual, corresponds to the 'yin' principle in Chinese thought. The Occidental Marco corresponds to 'yang', the masculine, rational and active principle. The monistic Taoist influence on the play extends to O'Neill's portrait of Kublai Kahn. The Emperor, called 'Son of heaven, Lord of the earth', harmonizes the masculine rationality and aggressiveness of the West, and the feminine intuition and passivity of the East. Khan's Taoist harmony is upset by Marco and his effect upon Kukachin. Only one Chinese character remains unperturbed, and consistently maintains the detachment of the Oriental sage : Chu Yin, Khan's advisor. His advice accords with the teaching of Laozi and Zhuangzi. James S. Moy : O'Neill sought to contrast the obsessive materialism of a Babbitt-like character with a positive representation of a romanticized historical China. Despite the clear comic intent of the piece, one could assume that the Chinese world at least receive a 'positive', if not 'realistic', portrayal within this framework. O'Neill was successful in his satirical portrayal of the Venetian trading family, his use of the Orient proves problematic. His characterizations of the Chinese are intended to show subtle differences. In designing his imaginary marginality called China, O'Neill fell into the trap of stereotyping the Orient, thereby displacing/erasing the reality while China disintegrated into representation. Li Gang : The Taoist influence in Marco millions has been studied by quit a few critics in both the East and the West. They all seem to agree that the Taoist influence permeates almost every aspect of the play : theme, structure, characterization, dialogue, and setting. |
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| 12 | 1928 |
Wang, Duqing. Guo qing qian yi ri. In : Chuang zao yue kan ; vol. 2, no 4 (1928). [Before the national day]. 国庆前一日 The play is indebted to Eugene O'Neill's Before breakfast. The main difference between this play and its American model lies, as their titles suggest, in motifs : while O'Neill's play treats a domestic theme of love and hate between a married couple, its Chinese adaptation deals with a social and revolutionary subject. The basic form is exactly the same as that of Before breakfast : a monologue addressed to a non-speaking, unseen character in the next room. It borrows the form but tells a different story, and it lacks the passion, irony and psychological insight we find in O'Neill's play. |
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| 13 | 1928.11.06-1928.12.12 |
Eugene O'Neill in China. Eugene O'Neill went together with Carlotta Monery, (who later became his third wife, July 22, 1929), first to Europe and then to the Far East, following Marco Polo's route of 1271. They arrive in Hong Kong Nov. 6 and reach Shanghai Nov. 9. They kept their arrival in Shanghai as a secret, but a few days later, Nov. 22, 1928, Alfred Batson, reporter of the North China daily news wrote : "Arriving in Shanghai with his characteristic aversion to publicity, Eugene O'Neill has been recuperating in a local hotel from a severe indisposition contracted recently in Singapore by underestimating the force of the sun's rays while bating". After discussing Strange interlude as 'daring innovation' in playwriting, Batson talked about a few earlier play, briefly sketches O'Neill's career, and concluded : "The world trip was taken to establish new contacts and see more of life under varied conditions. While in Shanghai he is anxious to live quietly and to regain his health…" He registered at the Astor House Hotel. One report held that he announced to his fellow drinkers that he was Eugene O'Neill the playwright and didn't care who knew it. He was sick and tired of traveling and was missing for about two weeks. When he was found, he was deathly ill from alcohol and a bad case of bronchitis. O'Neill was taken to a hospital of Shanghai for treatment and placed in the hands of Dr. Alexander Renner, an Austrian psychiatrist. On December 10, news of his illness was flashed around the world. The New York Times reported on Dec. 11 that he was 'improved'. By this time, he was undergoing treatment in his hotel room in the Astor House. A Chinese student visited him in the hospital and brought him a wooden statue of a Chinese goddess as a gift. O'Neill kept this figurine as a talisman for the rest of his life. O'Neill described the trip to China as 'the dream of his life', and as 'infinitely valuable' to his future work. The China experience had 'done a lot for his soul'. Forty, he said, was the 'right age to begin to learn. I have regained my sanity again'. He did not find the expected 'peace and quiet' in Shanghai, and the trip, he felt, left in his mind 'a million impressions' that were hard to digest. He was 'deadly ill of being a public personage' and being written about by 'the murderous reporters'. He left the Astor House on December 12 and was traveling as 'the reverend William O'Brien' on the German steamer 'Koblenz'. |
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| 14 | 1929 |
Zhang, Jiazhu. Aoni'er [ID D28772]. Editor's introduction : "O'Neill, the greatest modern American playwright, came to Shanghai on a tour recently. He was interviewed several times at his residence in a hotel by Zhang Jiazhu, who was kind enough to write for us the following article. It is basically a translation from B[arret] H. Clark, from which we can get some basic ideas and facts about the American playwright. It is our intention to include another article on O'Neill in the next issue of this magazine." [This article never appeared]. Zhang related how he had taken advantage of Eugene O'Neill's visit to China and interviewed him at his hotel in Shanghai for several times. Basing his article on B.H. Clark's essay, he gave a thorough introduction of the playwright, dealing with his life, his character, his artistic creation and his plays. In Particular, Zhang mentioned the role that O'Neill played in the Provincetown Players as well as the staging of some of his early plays, such as Bound East for Cardiff and Thirst. He also made mention of O'Neill's reputation in Europe and the production of his plays in Japan. Zhang asserts that Hong Shen's The Yama Chao is an adaptation of O'Neill's The emperor Jones. Zhang Jiazhu a rencontré Eugene O'Neill vraisemblablement à plusieurs reprises, au cours du séjour à Shanghai en 1928. C'est à la suite de ces rencontres qu'il rédige son article. L'influence d'O'Neill s'est alors déjà largement répandue parmi les hommes de théâtre chinois. Après une description d'O'Neill, dépeint comme un personnage très observateur mais peu enclin à se livrer, Zhang se consacre à l'artiste et à sa biographie. L'artiste est présenté comme un poète, un observateur de la nature humaine qui conçoit la vie tout à la fois comme une tragédie et une aventure extraordinaire. O'Neill est aussi un auteur qui place ses exigences en matière de création au plus haut niveau. Son expérience de la vie et ses recherches constantes dans le domaine de l'expression théâtrale sont les deux points sur lesquels Zhang insiste plus particulièrement. Zhang ne place O'Neill dans aucun mouvement littéraire, considérant qu'il est en constante évolution. En cela, il suit l'opinion d'O'Neill lui-même qui dit à l'époque avoir encore beaucoup à apprendre. Pour preuve de l'inventivité du dramaturge, Zhang cite sa comédie Marco millions, qui vient d'être jouée en Chine pour la première fois avec succès, alors que la plupart des critiques dramatiques américains considéraient à cette époque O'Neill comme incapable d'écrire une comédie. Après une brève introduction admirative de Zhang pour l'homme et ses talents de dramaturge, l'article retrace de façon circonstanciée l'existence d'O'Neill (naissance, environnement familial, formation), mettant l'accent sur son parcours dans le monde dramatique et sa formation, de ses premiers essais en tant qu'acteur au prix Pulitzer accordé à Beyond the horizon, en passant par son travail avec les Players de Greenwich Village. Zhang s'attache surtout à montrer la recherché constant d'O'Neill ou les thèmes dont il traite. Ce qui l'intéresse, c'est O'Neill en tant qu'individu et surtout en tant que dramaturge, la façon dont il s'insère dans la société, son rapport aux hommes et au monde. |
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| 15 | 1929 |
Bei xin ; vol. 3, no 8 (Shanghai : Bei xin shu ju, 1929). Bei xin carried an account of Eugene O'Neill's life and creative career which had a brief editor's note connecting it with his recent visit to China. From then on, O'Neill's name bagan to appear in Chinese newspapers and magazines with increasing frequency. His plays were translated and published both in magazines and in book form, and were performed by both professional and amateur theatrical groups. |
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| 16 | 1929.05.3-5 |
Note in Eugene O'Neill's dairy of May 3 to May 5. He planned to write a Chinese play about Shi Huangdi, the emperor who was building the Great wall. He was probably fascinated by the emperor's quest for immortality. Unfortunately, he never wrote the play, only a sketch of the intended play is preserved in the Beinecke Library of Yale University. |
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| 17 | 1929.10 | Eugene O'Neill sailed to Shanghai on the S.S. 'André Lebon'. He noted an idea for a play called Unchartered sea, which would depict the romance between a beautiful young woman, apparently Chinese, of the East and an American poet from the West. They are viewed as pariahs by the prejudiced bourgeoisie. O'Neill writes of 'the conflict of races on board, the trend of the races of the world struggle today, the essential characteristics, the awakening of the East to the West'. |
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| 18 | 1929.11.09 | Eugene O'Neill and Carlotta arrived in Shanghai on November 9, 1929. |
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| 19 | 1930 | Performance of Bound East for Cardiff by Eugene O'Neill in China. |
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| 20 | 1930 |
Gu, Jianchen. Shen dong. (Shanghai : Xian dai shu ju, 1930). 紳董 Adaptation von The emperor Jones von Eugene O'Neill. |
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| 21 | 1930 | Performance of Ile by Eugene O'Neill in the Department of Drama, Beijing University under the direction of Xiong Foxi. |
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| 22 | 1931 | Performance of In the zone by Eugene O'Neill by an amateur drama group at Laodong University in Shanghai. |
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| 23 | 1932.03.20 |
Huang, Ying. "On O’Neill's plays". In : Qing nian jie ; March 20 (1932). "These plays show that there exist two different worlds within each nation, one being heaven, the other hell, and people living in hell usually deserve more of our respect and love.” |
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| 24 | 1932.06.24 |
Letter from Eugene O'Neill to Frederic Carpenter. June 24 (1932). O’Neill admitted, that at one time he felt the need to grasp Oriental thought in order to acquire some philosophical background for his writings, did quite a lot of reading in Oriental philosophy and religion but did not make an intensive study of the field. The letter concludes with the revealing statement : "The mysticism of Lao-tse and Chuang-Tzu probably interested me more than any other Oriental writing." |
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| 25 | 1933 |
Hong, Shen. Hong Shen xi qu ji. [O'Neill and Hong Shen]. [ID D28773]. The fictive conversation between two representatives of modern American and modern Chinese literature takes place in January 1933 and their meeting place are the opposite shores of the Pacific Ocean. The conversation turns around the question of imitation and originality in the dramatic work and concerns mostly O'Neill's Mourning becomes Electra. At the start Hong Shen reproaches O'Neill with having unduly copied Aeschylus and his Oresteia. Nonetheless, his admiration belongs to O'Neill for he writes ; "I like very much to read your plays. They explain the oldest affairs and conflicts with the aid of the latest scholarly notions. This is very correct and I admire you for it". Yet despite this admiration, O'Neill seems in this conversation to be no more than the speaker of Hong Shen's ideas. O'Neill appears as an older school-fellow. Hong Shen accepts to be instructed by him, but in reality O'Neill says only what suits Hong Shen's ideological and artistic design. This then is equivalent to asserting that the statements in this dialogue are Hong Shen's own statements. Hong Shen writes : "Food and love are to great needs in human life : man cannot avoid satisfying these two physiological needs. Numerous writers from ancient until modern times have described various murders committed to provide food. But few have described this truthfully and deeply. There are many who have described murders for the sake of love ; however, there the relationships are usually distorted or delineated superficially. It would be very difficult to find one who can describe these conflicts as deeply as did O'Neill." |
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| 26 | 1934.01 | Performance of Beyond the horizon by Eugene O'Neill in Shanghai under the direction of Zhao Dan. | |
| 27 | 1934 |
O'Neill, Eugene. Days without end. (New York, N.Y. : Random House, 1934). FATHER BAIRD : …And what do you think was his next hiding place ? Religion, no less - but as far away as he could run from home - in the defeatist mysticism of the East. First it was China and Lao Tze that fascinated him, but afterwards he ran on to Buddha, and his letters for a time extolled passionless contemplation so passionately that I had a mental view of him regarding his navel frenziedly by the hour and making nothing of it ! Virginia Floyd : The philosophical and religious stages chronicled in Days without end for a novel's eighteen-year-old college student are identically those of O'Neill at that age when he attended Princeton. In his search to replace a lost faith, the student, like O'Neill tried the mysticism of the East. |
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| 28 | 1934.06 | Performance of The emperor Jones by Eugene O'Neill, produced at a special drama festival to celebrate the formation of a league of university and college drama club in Shanghai. |
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| 29 | 1934.10 |
Xie dai ; vol. 5, no 6 ; Oct. (Shanghai 1934). "Of all the present-day literatures in the world, the American is the only one, besides that of the Soviet Union, which can be called 'modern' in the true sense of the word. Today's United States is an example of the possibility of establishing an independent national literature in the 20th century. What a great encouragement it is to our Movement [New culture movement] which has cut off all its ties with the past tradition and is struggling to form a new and independent literature." In addition to Hong Shen's criticism of Mourning becomes Electra, O'Neill's Rope was considered 'flat' by its translator Yuan Changyin for employing 'surprise' rather than 'dramatic irony' as its main device. |
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| 30 | 1936 | Eugene O'Neill and Carlotta talked with Somerset Maugham at their home 'Casa Genotta' on Sea Island, about the possibility of making another trip to China and he ordered a book about Beijing, that had been recommended by Maugham. |
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| 31 | 1936 |
Zhongguo xin wen xue da xi. Zhao Jiabi zhu bian. (Shanghai : Liang you tu shu gong si, 1936). [A comprehensive anthology of modern Chinese literature]. 中國新文學大系 Hong Shen : "[Professor George P. Baker] has been teaching at Harvard for more than twenty years since I arrived there. He has countless outstanding students in dramatic circles, and [Eugene] O'Neill is one of them. His dramatic course, called English 47, is known throughout America." |
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| 32 | 1936 |
[O'Neill, Eugene]. Qi yi de cha qu. Wang Shiwei yi [ID D28718]. Zhang Menglin writes in the preface that one of the constant themes in Eugene O'Neill's plays is the conflict between a man's inner and outer selves, and that tragedy occurs when the protagonist becomes aware of the conflict, acts to resolve it, and realizes in the end his inability to do so. |
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| 33 | 1936.05 | Performance of Before breakfast by Eugene O'Neill by Zhongguo lü xing ju tuan (Chinese Touring Drama Troupe) in Nanjing. Performed by Bai Yang, translated by Fan Fang (1927). |
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| 34 | 1936 |
Xiao, Qian. Aoni'er. [O'Neill]. [ID D28774]. "Never caring what theme or style is in vogue, O'Neill moves on persistently to create an art of his own. Everything he wrote smells of nothing but O'Neill. Though nearly every one of his plays is realistic in appearance, the basic tone is always romantic. In his plays an inexplicable feeling of poetry is mingled with serious contemplation of life." Xiao Qian, while praising O'Neill for the grit, seriousness and originality displayed in his dramas, stated explicitly that he did not consider the playwright's view of life acceptable and that those with different social and cultural backgrounds should have their own view of life. |
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| 35 | 1937 |
Yuan, Changying. Shan ju san mo. (Shanghai : Shang wu yin shu guan, 1937). (Zhongguo xian dai xiao pin jing dian). 山居散墨 The resemblance between The emperor Jones by Eugene O'Neill and Zhao Yanwang by Hong Shen was first discovered, studied and made public by Yuan Changying. There followed a hot debate between Yuan and Ma Yanxing, a student and friend of Hong Shen, who tried to deny the kinship between the two plays. |
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| 36 | 1937-1944 |
Eugene O'Neill in Tao House, California. Liu Haiping : O'Neill built a new home in California and named it 'Tao House'. It faced eastward, with black Chinese tile on the roof, bright Chinese red paint on all the windows and interior doors, and a Chinese-style brick walk twisting and winding behind, 'to ward off devils'. The naming of Tao House was the result of his long study of the intellectual and spiritual ideas of the East. The house is filled with Chinese motifs and décor. In O'Neill's late plays written at Tao House, Taoism becomes, more than any other philosophical or religious system, an integral part of their ideas, style and structure. The Tao House was more than just a name for a home, it meant a way of life and a mansion for his soul. The eight years he spent at the isolated Tao House were very much like those of a Taoist hermit striving for full wisdom in secluded meditation. It is obvious that when O'Neill wrote his final plays, the Taoist ideas he embraced were no longer something he just copied, but something he had long pondered and even personally experienced. Taoism is now softly infused into the ideas, characterization, style and structure of these plays. The element of Taoism contained one of the basic qualities that make these works uniquely distinct from the author's earlier work and make them even 'existentially' modern today. One salient characteristic of all his late plays is the interfusion and indenticalness of contraries, which results in rich ambiguity in their style, characterization and themes. These dramas display a curious mixture of past and present, comedy and tragedy. The plays echoes a very unique notion of Taoist teaching, especially that of Zhuangzi. The notion of the relativity of all values and the identity of contraries ties in with the traditional Chinese symbolism of Yin and Yang. It sums up all of life's basic oppositions : shady-sunny, female-male, negative-positive, evil-good, death-life etc. In Taoist perspective, life and death are not in opposition but are merely two aspects of the same reality. Death is seen as the natural result, and also a new beginning of life. In his late plays, O'Neill adopted a similar attitude. Death is something natural, to be neither feared nor desired. O'Neill's rejection in his late plays of dualism, especially that of dream and reality, recalls what is probably the most famous parable about dream and wakefulness in the Taoist tradition. |
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| 37 | 1938 | Performance of Before breakfast by Eugene O'Neill in Shanghai. |
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| 38 | 1941 |
Li, Qinghua. Yao wang : san mu ju. (Chongqing : Tian di chu ban she, 1944). 遥望 : 三幕劇 Adaptation of Beyond the horizon by Eugene O'Neill in Chongqing. The adaptation was set in a Chinese village, retained much of the original plot and characterization. Two young cousins, one a romantic poet and the other a practical farmer, fall in love with the same girl in the neighborhood. The triangle leads to the mismatch of the poet and the girl and mismanagement of the farm, on the one hand, and the self-imposed exile of the elder cousin, the practical farmer, on the other. The play ends in similar disillusionment in life for all three characters involved. The major alteration mad in the Chinese version lies in what it is that lures mankind beyond the horizon |
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| 39 | 1947 | "O'Neill and The iceman cometh". In : Wen yi chuan jiu ; Febr. (1947). Article about the production of The iceman cometh on Broadway in October 1946. |
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| 40 | 1948 | Hamilton Basso visited the penthouse of Eugene O'Neill in New York and described it in a subsequent article : "It is furnished with things O'Neill has gathered all over the world. The dominant note is Chinese. A small, heavy, vagely catlike stone animal, turned out by a Chinese sculptor a few centuries before Christ, greets visitors as they enter, and there are ancient Chinese prints on the walls of the living room". | |
| 41 | 1957 |
Wai guo wen xue can kao zi liao [ID D28810]. Includes mostly essays translated from critics in the Soviet Union. Eugene O'Neill was labeled 'a corrupted element in the American literary circle' and his plays were said to be 'full of totally decadent ideas of life, inhuman and one hundred percent fascist'. |
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| 42 | 1961 | Entry about Eugene O'Neill in the trial edition of Ci hai. He was referred as 'a well-known and prolific American playwright, his outstanding plays include Beyond the horizon, The emperor Jones, The hairy ape, and Strange interlude. These plays reflect various problems of American capitalist society, such as murder, poverty, power of money and racial prejudice. However, these plays are extremely pessimistic and despairing, full of decadent sentiments. |
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| 43 | 1978 |
[O'Neill, Eugene]. Chang lu man man ru ye shen. Shi zheng ju zhu ban, Xianggang hua ju tuan di er ji yan chu. (Xianggang : Shi zheng ju, 1978). Hong Kong Repertory Theatre. = O'Neill, Eugene. Long day's journey into night. [Theaterprogramm] 長路漫漫入夜深 |
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| 44 | 1981 | Performance of Anna Christie (Act 3) by Eugene O'Neill by the Directing Department of the Central Academy of Drama in Beijing and Shanghai. Broadcasted by the China Central Television Network. |
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| 45 | 1981-1982 | Two Symposia on Eugene O'Neill by the Chinese Theatre Association. Young and middle-aged playwrights from around the country took part. Cao Yu lectures on both occasions on O'Neill's dramatic art. | |
| 46 | 1982 | Performance of Anna Christie by Eugene O'Neill by the Central Academy of Drama and the Changchun hua ju yuan (Changchun Drama Troupe). |
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| 47 | 1983 | Performance of Beyond the horizon by Eugene O'Neill by the Shanxi hua ju yuan (Shanxi Drama Troupe) under the direction of Xie Kang. Broadcasted by the Shanxi Television Network. |
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| 48 | 1983 | Performance of Anna Christie by Eugene O'Neill by the Shaanxi hua ju yuan (Shaanxi Drama Troupe). |
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| 49 | 1984 | Performance of Long day's journey into night (Act 4) by Eugene O'Neill by the Central Academy of Drama under the direction of Zhang Fuchen |
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| 50 | 1984 | Performance of Tai yuan = Beyond the horizon by Eugene O'Neill. |
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| 51 | 1984.10.16-21 |
Performance of Andi : Adapation of Anna Christie by Eugene O'Neill. Produced by the Chinese Theatre Association in Beijing, Lui Housheng, president, in association with the Central Dramatic Academy ; adapted by Huang Zongjiang ; directed by George C. White. Ma Shu Yun as Anna and Bao Guo An as Old Chris. Broadcasted by the China Central Television Network. Andi has been sent to Harbin, rather than St. Paul, Minnesota, when her mother died. Her father was now a Fujian sailor and her irish suitor a catholic convert from Canton. Huang Zongjiang explained how he had produced the adaptation : "I have admired the great Ameri¬can dramatist Eugene O'Neill since my youth. When I visited O'Neill's birthplace in the summer of 1980, I had the honour of meeting George White, chairman of the O'Neill Thea¬tre Centre, who expressed to me the hope that he might help direct Anna Christie in China. Four years later, his wish came true. It was a most exciting prospect. Long ago George White asked me to adapt Anna Chri¬stie into a play with a Chinese fla¬vour. I was very hesitant, although earlier adaptations of other foreign dramas into Chinese had been successful…Although the characters and plot in Anna Christie might be found in China, their thoughts, language and features were different, and I was afraid it would not be easy to adapt. But I greatly admired White's wish to sinicize the play and could not refuse him. So, with the help of the teachers and students at the Central Institute of Drama, I made an adaptation based on the original English version and a Chinese translation. However, I didn't produce it until it came time for rehearsal. Is has its imperfections. This is 'a Western meal eaten in the Chinese manner'. I don't need to say any more about its significance, but there is one thing I would like to add : a vast ocean separates our two peoples, but it links us together too, and I bless each of the white sails on it." George C. White : "It is impossible to adequately express my feelings toward the experience I had directing Eugene O'Neill's Anna Christie in Beijing. Aside from the exotic aspect of the venture itself, the excitement of accepting and meeting a challenge of formidable proportions, it was the window through which I was permitted to view a theatrical world strangely similar yet totally different from our own, a world burgeoning with rejuvenated enthusiasm following the fallow years of the so called 'Cultural revolution'. It is a world interested in retaining much of its ancient past, yet anxious to push on into the era of modern drama. In 1980 we had been invited by the Chinese Theater Association to become acquainted with the contemporary Chinese theater scene with the long view of fostering theatrical exchange. In succeeding summers (with the exception of 1982), the O'Neill Center hosted Chinese delegations, all of which were led by noted playwright and film writer Huang Zongjiang. In the fall of 1983 I was officially invited by Mr. Liu Housheng, director of the Chinese Theater Association to direct an O'Neill play of my choice in Beijing the following October. Based on my experience in 1980 and discussion with Mr. Huang, Anna Christie seemed the logical choice. I felt that the story of an old sailor forced to send his only daughter away, unable to care for her after her mother's death, and her subsequent decline into prostitution would strike a responsive and sympathetic chord in audiences only a generation away from the feudal era in China when daughters were sold to landlords or houses of prostitution as preferable alternatives to starvation. In Act three, Anna, in an impulsive moment of passion toward Matt Burke, takes his head in both her hands and holds his face close to hers, staring into his eyes. Then she kisses him full on the lips. This moment would be a problem. The solution to the problem finally lay in the fact that we were doing a Chinese adaptation. Not only is kissing never done on a Chinese stage, it would never be done to a lover by a daughter in front of her father. I concluded that a passionate embrace would serve the same dramatic function ." |
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| 52 | 1986 | Performance of Shen yang = Desire under the elms by Eugene O'Neill by the Shenyang hua ju juan (Shenyang Drama Troupe). Broadcasted by the China Central Television Network. |
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| 53 | 1986 | Performance of Homecoming from Mourning becomes Electra by Eugene O'Neill by the Central Academy of Drama in Beijing. Broadcasted by the China Central Television Network. |
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| 54 | 1988.05.05-07 | National conference on Eugene O'Neill for graduate students in Tianjin. |
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| 55 | 1988.06.06-14 |
International Conference 'Eugene O'Neill – world playwright' for his hundredth anniversary of his birth, co-sponsored by Nanjing University and the Eugene O'Neill Society at Jinling Hotel in Nanjing, June 6-9. O'Neill theatre festival June 6-14 in Nanjing and Shanghai ; initiated and organized by Liu Haiping. The festival belonged to a composite project that included the international symposium and a book exhibit, with over a hundred scholars, critics and theater professionals from China, Japan, India, United States, Britain, Germany, Belgium and the Soviet Union. Co-sponsored by the Nanjing University, the Jiangsu Culture Bureau, the Nanjing Television Network, the Jiangsu International Culture Exchange Center and the non-government Amity Foundation in Nanjing ; the Shanghai Culture Bureau, the Fudan University, the Shanghai Academy of Drama and the Shanghai Culture Development Foundation in Shanghai. The festival consisted of ten professional and two amateur productions of O'Neill's plays. Cao, Yu. Letter of greeting from the People's Republic of China to the Conference. Dear Professor Haiping Liu, Thank you for your kind invitation to the international conference in commemoration of Eugene O'Neill's centennial. I would indeed like to attend, yet I very much regret to say my poor health prevents me from coming to Nanjing. I hope you will understand and forgive me. I am so glad to learn that the conference is extremely well planned and prepared. I can imagine how much time you and your colleagues must have put into it. But you can be assured that the conference will be a great, unprecedented event in the history of the exchange of drama and theatre between China and the United States. It will, I am sure, win glory for the academic and theatrical circles. As for the papers to be presented at the conference, I hope they can be collected and published later as a book, so that other people, either O'Neill scholars or those merely interested in him, might also benefit from the conference and have a better understanding of this great dramatist's work. I avidly look forward to such a publication. Thank you for inviting me to be an honorary adviser to the conference. I accept the honor with gratitude. Best wishes for the success of the conference. Sincerely, Cao Yu, President Chinese Dramatists' Association. Speech by Huang Zongjiang at the Conference : "I am not an expert or scholar on O'Neill like you. I am only a fan of Eugene O'Neill. When a high school student, I read the early translations of O'Neill's plays and Beyond the horizon by Gu Yuocheng. How I dreamed of going beyond the horizon ! Then I went to college but did not finish it, just like Eugene O'Neill. I went onto the stage, became a professional actor, then a sailor, again following in the footsteps of Eugene O'Neill. There was World War II, of course. Patriotism. But I became a sailor mainly because of Eugene O'Neill. When the war was over in 1946, I went back to college, but was still unable to finish. I got TB, just like O'Neill. When my first play was published and performed, I thought I was a Chinese O'Neill. Then came the liberation in 1949. We were isolated. You call it iron curtain or bamboo curtain ; anyway there was a curtain. So, I accused and condemned Eugene O'Neill in this or that way. Then came the Cultural Revolution. I was persecuted, of course, as you can understand. The chief crime I was accused of was my worship for Eugene O'Neill. Then, when the Cultural Revolution was over, I was invited to visit the United States. It so happened that the sponsor of my trip was the Eugene O'Neill Theatre Center in Connecticut. You might wonder what we accused or condemned Eugene O'Neill of in those years. The first thing was his fatalism. The second was his pessimism. But it seems to us now, whether a fatalist or not, whether a pessimist or an optimist, O'Neill depicted life sincerely. I think the most important thing we have learned from Eugene O'Neill is that we are still learning. Another accusation was that O'Neill is not a realist in his art. Probably you cannot even understand why that was a problem in China. You know we advocated revolutionary realism. If you were not a realist, you were not a revolutionary ; you were a counterrevolutionary. I think O'Neill used expressionism, symbolism, modernism, even absurdism, to make the reality he presented more real. Again, what we have learned from O'Neill is the fact that we are still learning. That is my, or our, long voyage home from beyond the horizon, my life's journey into day. It is such a bright day now that we can have this bright international conference. I think you know what it means to me, to you, and to the whole world." Ile as an adaptation in Western-style opera by the Shanghai ge ju yuan (Shanghai Opera Company). Mourning becomes Electra by the Shanghai yue ju yuan (Shanghai Yue Opera Company), directed by Jiao Huang and Lou Jicheng in Beijing ; Jiao Huang as Brant and Orin, Lou Jicheng as Mannon, Lu Shichu as Lavinia. A group of students from the Shanghai Academy of Drama staged a less realistic version of the performance under the direction of Zhang Yingxiang. Beyond the horizon as performance ; under the direction of Xiong Guodong in Nanjing. Xiong announced in the program : "The communication between O'Neill's dramas and us can easily be established. The stories and the dramas seem to be happening around us. We ourselves even seem to be the very characters in the dramas. How successful we produce the play Beyond the horizon finally depends on how profound we can understand our life and the humans." The production was reset in the 1920s in a Southern Yangzi river village near Suzhou. The architecture, furniture, costume and cultural idiosyncrasies of the locale and the time lent realistic, even naturalistic, details to the nativized adaptation. The setting employed woodenware from farmhouses in Jiangsu countryside. Some of the Chinese audience reacted to the adaptation divergently, while some welcomed its Chinese consciousness and enjoyed its portrayal of the Chinese rural life, others criticized it as having gone to an extreme. Speech by Xiong Guodong at the festival : "For the cast and staff, this is our first experience with an O'Neill play. I should say we had a spiritual meeting with Eugene O'Neill. In staging this play, we found not only O'Neill but also ourselves. Whenever I read the play, I always had a strange feeling as if I saw O'Neill standing beyond the horizon looking at me, and sometimes as if I were standing over there looking at him. I came to see that each of us stands at once on both this side of the horizon and beyond it. From this revelation, I decided to adapt the play to a Chinese background, by putting it in the milieu of a rural village in the low reaches of the Yangzi river and let each of the characters bear a Chinese name. I hope that by doing so, it can help eliminate the distance between my Chinese audience and the American play. It is my understanding that although the play is entitled Beyond the horizon, the real emphasis is laid on this side of the horizon. It portrays successfully many true-to-life characters. So, I said to my cast and staff that we should do likewise on the Chinese stage. We strive to represent quite realistically Chinese rural life. That is why we use so many authentic stage properties and costumes. In fact, the cast and staff spent several weeks in a village in the Yangzi Delta experiencing daily life before we actually began rehearsals. People in different cultures behave differently. The ways to show love and hatred vary from culture to culture. So, we have made a lot of changes from the original script. We read each scene in O'Neill's play again and again and tried to make out what O'Neill meant by this or that, and then figured out ways to render it in the language of the Chinese theatre." The emperor Jones in form of a ritualistic dance by the Jiangsu Drama Troupe, under the direction of Feng Changnian, literary advisor Liu Haiping, choreograph Su Shijin, designed by Wang Zhengyang in Nanjing, Cai Wei as Brutus Jones. Second production of The emperor Jones by the Chinese Dramatists' Association in Beijing. Feng decided to bring into a single work elements of spoken drama, mime, music, dance, plastic arts and gymnastics. The production reduced the play's spoken language and psychological elements to the minimum and applied a ritual-like performance combining dance and pantomime instead. The dance chorus wore black or white leotards and featureless masks of the same color in order to 'give prominence to the main character and augment the production's style'. Speech by Feng Changnian at the Conference : "I have always been an admirer of Eugene O'Neill. I had the idea of producing The emperor Jones even when I was a student at a drama school. So, this production has fulfilled my long-cherished dream. The emperor Jones is a play with a long production history both in China and in the West. So the crucial thing for me is to find a new theatrical approach. Whenever I read the play, I am always struck by the horror of the dark, primitive forest, the suffocating drumbeat of the African tom-tom, the mysterious atmosphere and the simple grandeur of the play. I am also fascinated by the play's deep probe into the psyche of its characters, the elaborate sets of symbols, and the philosophical and psychological ramifications of the play. It seems to me that a realistic, conventional theatrical approach is absolutely inadequate. So, I felt I had to use more expressive means to do the play justice. Hence the new form – pantomime-dance – of this production. Another consideration in choosing this form is the Chinese audience. Since the form is a good mixture of action, pantomime, music and dance, it is in a sense similar to the form of Beijing opera, though our performance is much more abstract and modern than the traditional art. I think, therefore, it is an effective way to bring O'Neill to the Chinese theatregoers. To put it in a nutshell, the main emphasis of our performance is the overall mood and atmosphere created by the pantomime-dance based on the psychological truth of the protagonist Emperor Jones, which can be very different from the logic of our day-to-day life. For example, in certain scenes, we see human bodies or clotheslines hanging from tree branches. This is used to reflect Jones' state of mind. It is expressionistic, rather than realistic. The second emphasis of our production is the symbols ; for instance, the use of the cross in two scenes. The third emphasis lies in the treatment of time and space. At times, we try to blur the line between reality and illusion, or to juxtapose the real and the illusory, so as to effectively show the reality in Jones' illusion and the illusion in his reality. An example comes from the scene in which the Emperor is encircled by the natives running at a dizzying speed, each with a flaming torch in hand. Another point is that throughout the performance we try to maintain a delicate balance between pantomime and dance, relying on the traditional language of the theatre and our real life." The great god Brown by the Shanghai Youth Drama Troupe, under the direction of Hu Weimin, designed by Li Rulan in Shanghai, Zhang Xianheng as William Brown, Ren Guangzhi as Dion Anthony and Song Ruhui as Cybele. The production had opened at a university auditorium on May 28 and had eleven performances at the Changjiang Theater. With full use of symbolic masks. The actors wore plastic masks covering only part of their own features. The masks should 'represent the duality of human mind and disclose the truth of human nature'. Macro millions under the direction of Jackson Phippin. Long day's journey into night by Qian xian hua ju tuan (Drama Theatre of the Nanjing Military Subarea of the People's Liberation Army), under the direction of Zhang Fuchen, in the translation by Jiang Hongding. Speech by Yao Yuan at the festival : "We feel proud that this is the first American play ever done by our company, and it also marks the premiere of Long day's journey into night in China. I believe the Nanjing/Shanghai O'Neill theatre festival and this production will have great impact on Chinese life. With his integrity and insight as a true artist, O'Neill helped create the American drama and thus won high respect from people all over the world. Though China and the United States have different social systems and different political faiths, the Americans and the Chinese belong to the same human race. We are all thinking of ways to solve our common problems. Human beings have always been seeking light in darkness. It is the good artist, intellectuals, and so on, who hold the torches to light the human path. And Eugene O'Neill is one of them. It is based on this knowledge that we present O'Neill's masterpiece on the Chinese stage." Mourning becomes Electra in Yue opera, an interpretation of Hugie by the Shanghai Youth Theater in Nanjing. Hugie by the Shanghai Youth Drama Troupe, under the direction of Hu Weimin, in the translation by Liu Haiping in Shanghai. The Shanghai production differs from the American one not only in costume and language, but also in theme and style. Taking place in 1928 as the original play, the Chinese version of O'Neill's one-acter underwent transplantation from New York to Shanghai. The settings, costumes and sound effects contribute to a sketch of the mesmerizing Chinese city in the 1920s. Jiao Huang and Lou Jicheng cast as night clerk and gambler, appeared in traditional attire and adopted comic devices of the Chinese folk art of cross talk. Ah, wilderness. Student productions by Nankai University in Tianjin, Fudan University in Shanghai and Beijing University. |
|
| 56 | 1989 | Performance of The great god Brown by Eugene O'Neill under the direction of Mou Sen and his Qing wa shi yan ju tuan (Frog Experimental Troupe) in Beijing. Mou Sen turned the play into a not necessarily perfect but definitely formal and solemn ritual : "Its masks failed to reveal the characters' profound fear and helplessness while they juggled their souls. Neither did the production achieve a better integration of its slow rhythm, simple mise en scène and conscious alienation effect. Yet in the blue light that immersed the stage, caught by Margaret's largo monologue and the tragic aura pervading the theater, the audience could still arrive at a touching moment of sublimation in the end." |
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| 57 | 1989 |
Performance of Xu Fen. Yu hai kuang chao. [The raging tide in the sea of desire]. Adaptation of Desire under the elms by Eugene O'Neill. By the Chengdu Chuan ju Company, under the direction of Li Zenglin, Tian Huiwen and Hu Chengde in Chengdu 1989. Liu Ping as Abbie 欲海狂潮 Xu Fen sets the key for her adaptation : a dualistic view of desire and its role in our spiritual and emotional life. She replaces O'Neill's puritan New England family with a Chinese household from some unidentified ancient feudal era, a sensible transplantation considering the rigid asceticism, strict morality and pragmatic concern for worldly life that American puritanism shares with Chinese Confucianism. |
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| 58 | 2000 | Performance of Meng, Hua. Yu shu gu zhai. [Old house under the elms]. Adaptation of Desire under the elms by Eugene O'Neill. Henan qu ju opera under the direction of Xie Kang for the Zhengzhou Qu ju Company in Zhengzhou. Huang Dehua as Abbie. |
|
Bibliography (29)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1927 | O'Neill, Eugene. Marco millions : a play. (New York, N.Y. : Boni and Liveright, 1927). [Uraufführung Guild Theatre, Broadway, New York, Jan. 9, 1928]. | Publication / One58 |
|
| 2 | 1930 |
[O'Neill, Eugene]. Jialibisi zhi yue. Aoni'er [Ounai'er] zhu ; Gu Youcheng yi. (Shanghai : Shang wu yin shu guan, 1930). Übersetzung von O'Neill, Eugene. The moon of the Caribbees : a play in one act. In : Smart set ; vol. 55, no 4 (Aug. 1918). = The moon of the Caribbees. In : O'Neill, Eugene. The moon of the Caribbees and six other plays of the sea. (New York, N.Y. : Boni and Liveright, 1919). [Geschrieben 1917 ; Uraufführung 20. Dez. 1918 Playwrights' Theatre New York]. 加力比斯之月 |
Publication / One2 | |
| 3 | 1933 |
[O'Neill, Eugene]. Tian wai. Aonai'er [Ounai'er] zhu ; Gu Youcheng yi. (Shanghai : Shang wu yin shu guan, 1933). Übersetzung von O'Neill, Eugene. Beyond the horizon : a play in three acts. (Provincetown, Mass. : 1918). [Manuskript]. = In : The plays of Eugene O'Neill. (New York, N.Y. : Random House, 1919). = (New York, N.Y. : Boni and Liveright, 1920). [Geschrieben 1918 ; Uraufführung 2. Febr. 1920, Morosco Theater, New York]. 天外 |
Publication / One3 | |
| 4 | 1935 |
[O'Neill, Eugene]. Kalipu zhi yue. Aoni'er [Ounai'er] zhu ; Qian Gechuan yi. (Shanghai : Zhong hua shu ju, 1935). Übersetzung von O'Neill, Eugene. The moon of the Caribbees : a play in one act. In : Smart set ; vol. 55, no 4 (Aug. 1918). = The moon of the Caribbees. In : O'Neill, Eugene. The moon of the Caribbees and six other plays of the sea. (New York, N.Y. : Boni and Liveright, 1919). [Geschrieben 1917 ; Uraufführung 20. Dez. 1918 Playwrights' Theatre New York]. 卡列浦之月 |
Publication / One16 | |
| 5 | 1936 |
[O'Neill, Eugene]. Qi yi de cha qu. Wang Shiwei yi. (Shanghai : Zhong hua shu ju, 1936). (Shi jie wen xue quan ji). Übersetzung von O'Neill, Eugene. Strange interlude : a play. (New York, N.Y. : Boni and Liveright, 1928). [Uraufführung 1928, Guild Theatre, John Golden Theatre, New York]. 奇異的插曲 |
Publication / One19 | |
| 6 | 1937 |
[O'Neill, Eugene]. Yue ming zhi ye. Aoni'er [Ounai'er] zhu ; Huang Hu yi. (Shanghai : Qi ming shu ju, 1937). (Shi jie xi ju ming zhu ; 1). Übersetzung von O'Neill, Eugene. Ah, wilderness. (New York, N.Y. : Random House, 1933). [Uraufführung 2. Okt. 1933, Guild Theatre, New York]. 月明之夜 |
Publication / One27 | |
| 7 | 1939 |
[O'Neill, Eugene]. Tian wai. Aonai'er [Ounai'er] zhu ; Gu Youcheng yi. (Shanghai : Shang wu yin shu guan, 1933). Übersetzung von O'Neill, Eugene. Beyond the horizon : a play in three acts. (Provincetown, Mass. : 1918). [Manuskript]. = In : The plays of Eugene O'Neill. (New York, N.Y. : Random House, 1919). = (New York, N.Y. : Boni and Liveright, 1920). [Geschrieben 1918 ; Uraufführung 2. Febr. 1920, Morosco Theater, New York]. 天外 |
Publication / One1 | |
| 8 | 1945 |
[O'Neill, Eugene]. Hong fen piao ling. Aonier zhu ; Wang Sizeng yi. (Nanjing : Du li chu ban she, 1945). Übersetzung von O'Neill, Eugene. Strange interlude : a play. (New York, N.Y. : Boni and Liveright, 1928). [Uraufführung 1928, Guild Theatre, John Golden Theatre, New York]. [Enthält nur 5 statt 9 Akte]. 紅粉飄零 |
Publication / One14 | |
| 9 | 1946 |
[O'Neill, Eugene]. Da di zhi ai : san mu ju. Gu Zhongyi zhu. (Shanghai : Yong xiang yin shu guan, 1946). (Wen xue xin kan ; 3). Übersetzung von O'Neill, Eugene. Beyond the horizon : a play in three acts. (Provincetown, Mass. : 1918). [Manuskript]. = In : The plays of Eugene O'Neill. (New York, N.Y. : Random House, 1919). = (New York, N.Y. : Boni and Liveright, 1920). [Geschrieben 1918 ; Uraufführung 2. Febr. 1920, Morosco Theater, New York]. 大地之愛 : 三幕劇 |
Publication / One13 | |
| 10 | 1948 |
[O'Neill, Eugene]. Anna Guisidi. Aonier zhuan ; Nie Miao yi. (Shanghai : Gai ming shu dian, 1948). Übersetzung von O'Neill, Eugene. Anna Christie : a play in four acts. (Auckland : Floating Press, 1921). [Uraufführung Vanderbilt Theatre, New York, 2. Nov. 1921]. 安娜桂絲蒂 |
Publication / One4 | |
| 11 | 1948 |
[O'Neill, Eugene]. Meinong shi jia. Aoni'er [Ounai'er] zhu ; Zhu Meijun yi. (Shanghai : Zheng zhong shu ju, 1948). Übersetzung von O'Neill, Eugene. Mourning becomes Electra : a trilogy. (New York, N.Y. : Liveright, 1931). [Uraufführung Guild Theatre, 26. Okt. 1931]. 梅農世家 |
Publication / One18 | |
| 12 | 1949 |
[O'Neill, Eugene]. Bei dao. Aoni'er zuo ; Huang Wu yi. (Shanghai : Chen guang chu ban gong si, 1949). (Chen guang shi jie wen xue cong shu ; 15). Übersetzung von O'Neill, Eugene. Mourning becomes Electra : a trilogy. (New York, N.Y. : Liveright, 1931). [Uraufführung Guild Theatre, 26. Okt. 1931]. 悲悼 |
Publication / One7 | |
| 13 | 1968 |
[O'Neill, Eugene]. Su e yuan. Aoni'er [Ounai'er] zhu ; Wang Jingyi yi. (Xianggang : Jin ri shi jie she, 1968). (Meiguo wen xue ming zhu yi cong). Übersetzung von O'Neill, Eugene. Mourning becomes Electra : a trilogy. (New York, N.Y. : Liveright, 1931). [Uraufführung Guild Theatre, 26. Okt. 1931]. 素娥怨 |
Publication / One24 | |
| 14 | 1970 |
[O'Neill, Eugene]. Ounai'er xi ju xuan ji. Yan Yingyou deng yi. (Taibei : Jing sheng wen wu gong ying gong si, 1970). (Danjiang xi yang xian dai xi ju yi cong. Jing sheng bian yi wen ku). 歐奈爾戲劇選集 Enthält : Qiongsi huang di. Übersetzung von O'Neill, Eugene. The Emperor Jones. (New York, N.Y. : Random House, 1920). [Uraufführung 1. Nov. 1920, Playwrights' Theater, New York]. 瓊斯皇帝 Huang ye. Übersetzung von O'Neill, Eugene. Ah, wilderness. (New York, N.Y. : Random House, 1933). [Uraufführung 2. Okt. 1933, Guild Theatre, New York]. 荒野 Anna Kelisidi. Übersetzung von O'Neill, Eugene. Anna Christie : a play in four acts. (Auckland : Floating Press, 1921). [Uraufführung Vanderbilt Theatre, New York, 2. Nov. 1921]. |
Publication / One62 | |
| 15 | 1973 |
[O'Neill, Eugene]. Chang ye man man lu tiao tiao. Aonier ; Qiao Zhigao [Kao George] yi. (Xianggang : Jin ri shi jie chu ban she, 1973). Übersetzung von O'Neill, Eugene. Long day's journey into night. (New Haven, Conn. : Yale University Press, 1956). [Geschrieben 1941 ; Uraufführung 2. Febr. 1956, Royal Dramatic Theatre, Stockholm]. 长夜漫漫路迢迢 |
Publication / One8 | |
| 16 | 1973 |
[O'Neill, Eugene]. Ounai'er xi ju xuan ji : Ri mu tu yuan. Guo Boxin, Chen Yuxiu he yi. (Taibei : Jing sheng wen wu gong ying gong si, 1973). (Danjiang xi yang xian dai xi ju yi cong. Jing sheng bian yi wen ku). Übersetzung von O'Neill, Eugene. Long day's journey into night. (New Haven, Conn. : Yale University Press, 1956). [Geschrieben 1941 ; Uraufführung 2. Febr. 1956, Royal Dramatic Theatre, Stockholm]. 歐奈爾戲劇選集日暮途遠 |
Publication / One20 | |
| 17 | 1980-1985 |
O'Neill, Eugene. Mao yuan. Huang Hu yi. Übersetzung von O'Neill, Eugene. The hairy ape. (New York, N.Y. : Boni & Liveright, 1922). In : Wai guo xian dai pai zuo pin xuan. Vol. 1 [ID D16726]. [Uraufführung Provincetown Players, Broadway 1922]. 毛猿 |
Publication / YuanK2.20 |
|
| 18 | 1981 |
[O'Neill, Eugene]. Huang ye. Youjin Aoni'er yuan zhu ; Zou Shupin fan yi ; Cai Xichang yan chu ben. (Xianggang : Xianggang hua ju tuan, 1981). ([Xianggang hua ju tuan ju ben ; 27]. Xianggang hua ju tuan ju mu., 1980-1981). Übersetzung von O'Neill, Eugene. Ah, wilderness. (New York, N.Y. : Random House, 1933). [Uraufführung 2. Okt. 1933, Guild Theatre, New York]. 荒野 |
Publication / One15 | |
| 19 | 1982 |
[O'Neill, Eugene]. Aoni'er ju zuo xuan. Huang Fu yi. (Shanghai : Shanghai wen yi chu ban she, 1982). [Übersetzung ausgewählter Dramen von O'Neill]. 奧尼爾劇作選 |
Publication / One6 | |
| 20 | 1983 |
[O'Neill, Eugene]. Man chang de lü cheng. Yu shu xia de lian qing. Youjin Aoni'er zhu ; Ouyang Ji, Jiang Jia, Jiang Hongding yi. (Changsha : Hunan ren min chu ban she, 1983). Übersetzung von O'Neill, Eugene. Long day's journey into night. (New Haven, Conn. : Yale University Press, 1956). [Geschrieben 1941 ; Uraufführung 2. Febr. 1956, Royal Dramatic Theatre, Stockholm]. Übersetzung von O'Neill, Eugene. Desire under the elms. (New York, N.Y. : Random House, 1924). (Provincetown-Greenwich plays). [Uraufführung 11. Nov. 1924, Greenwich Village Theatre, New York]. 漫长的旅程 ; 榆树下的恋情 |
Publication / One17 | |
| 21 | 1984 |
[O'Neill, Eugene]. Ounai'er xi ju xuan ji : yu xia zhi lian. Guo Boxin, Meng Guilin he yi. (Taibei : Jing sheng wen wu gong ying gong si, 1984). (Dan jiang xi yang xian dai xi ju yi cong. Jing sheng biyn yi wen ku). Übersetzung von O'Neill, Eugene. Desire under the elms. (New York, N.Y. : Random House, 1924). (Provincetown-Greenwich plays). [Uraufführung 11. Nov. 1924, Greenwich Village Theatre, New York]. 歐奈爾戲劇選集榆下之戀 |
Publication / One21 | |
| 22 | 1984 |
[O'Neill, Eugene]. Tian bian wai. Youjin Aoni'er ; Huang Wu, Wang Yiqun deng yi. (Nanning : Lijiang chu ban she, 1984). (Huo Nuobei'er wen xue jiang zuo jia cong shu ; 1). Übersetzung von O'Neill, Eugene. Beyond the horizon : a play in three acts. (Provincetown, Mass. : 1918). [Manuskript]. = In : The plays of Eugene O'Neill. (New York, N.Y. : Random House, 1919). = (New York, N.Y. : Boni and Liveright, 1920). [Geschrieben 1918 ; Uraufführung 2. Febr. 1920, Morosco Theater, New York]. 天边外 |
Publication / One25 | |
| 23 | 1987 |
[Bunin, Ivan Alekseevich ; Pirandello, Luigi ; O'Neill, Eugene]. (Taibei : Yuan jing chu ban shi ye gong si, 1987). (Nuobei'er wen xue jiang quan ji ; 21). [Enthält] : [Bunin, Ivan Alekseevich]. Xian cun. Buning ; Wang Zhaohui yi. [Bunin, Ivan Alekseevich]. Jiu jin shan yi shen shi. Wang Zhaohui yi. [Pirandello, Luigi]. Liu ge xun zhao zuo zhe de jiao se. Pilandelou zhu ; Chen Huihua yi. Übersetzung von Pirandello, Luigi. Sei personaggi in cerca d'autore : commedia da fare. (Firenze : R. Bemporad & Figlio, 1921). [Uraufführung 9. Mai 1921, Teatro Valle di Roma]. 六個尋找作家的角色 O'Neill, Eugene. Chang ye man man lu tiao tiao. Aoni'er zhu ; Qiao Zhigao [Kao George] yi. . Aonier ; Qiao Zhigao yi. (Xianggang : Jin ri shi jie chu ban she, 1973). Übersetzung von O'Neill, Eugene. Long day's journey into night. (New Haven, Conn. : Yale University Press, 1956). [Geschrieben 1941 ; Uraufführung 2. Febr. 1956, Royal Dramatic Theatre, Stockholm]. 长夜漫漫路迢迢 伊凡布寧 : 1933 獲奬 = Ivan Bunin. 路伊吉皮藍德婁 : 1934 獲奬 = Luigi Pirandello. 尤金奧尼爾 : 1936 獲奬 = Eugene O'Neill. |
Publication / One10 | |
| 24 | 1988 |
[O'Neill, Eugene]. Song bing de ren lai le. Youjin Aoni'er zhu ; Long Wenpei xuan bian. Vol. 1-5. (Beijing : Zhongguo xi ju chu ban she, 1988). (Wai guo dang dai ju zuo xuan ; 1). [Übersetzung ausgewählter Werke von O'Neill]. [Enthält] : Song bing di ren lai le. Jin ru hei ye de man chang lü cheng. Xiu yi. Shi ren de qi zhi. Yue zhao bu xing ren. 送冰的人来了 |
Publication / One23 | |
| 25 | 1988 |
[O’Neill, Eugene]. Wai guo dang dai ju zuo xuan. Aonier ; Long Wenpei yi. Vol. 1. (Beijing : Zhongguo xi ju chu ban she, 1988). [Übersetzung ausgewählter Dramen von O’Neill] 外国当代剧作选. 1 |
Publication / O'Ne1 | |
| 26 | 1989 |
[O'Neill, Eugene]. Yu shu xia de yu wang. Youjin Aoni'er bian ju ; Ye Si [Liang Bingjun], Chen Zaili fan yi ; Chen Zaili dao yan. (Xianggang : Xianggang jua ju tuan, 1989). (Xianggang hua ju tuan ju ben ; 81. Xianggang hua ju tuan ju mu ; 1988-1989). Übersetzung von O'Neill, Eugene. Desire under the elms. (New York, N.Y. : Random House, 1924). (Provincetown-Greenwich plays). [Uraufführung 11. Nov. 1924, Greenwich Village Theatre, New York]. 榆樹下的慾望 |
Publication / One26 | |
| 27 | 1989 |
[O'Neill, Eugene]. Zhongsi huang. Youjin Aoni'er zuo zhe ; Zhong Jinghui yi zhe. (Xianggang : Xianggang yan yi xue yuan xi ju xue yuan, 1989). (Xianggang yan yi xue yuan xi ju cong shu). Übersetzung von O'Neill, Eugene. The Emperor Jones. (New York, N.Y. : Random House, 1920). [Uraufführung 1. Nov. 1920, Playwrights' Theater, New York]. 鍾斯皇 |
Publication / One28 | |
| 28 | 1995 |
[O'Neill, Eugene]. Aoni'er ji. Telaweisi Bojiade [Travis Bogard] bian ; Wang Yiqun [et al.] yi. (Beijing : Sheng huo, du shu, xin zhi san lian shu dian, 1995). [Übersetzung der Dramen von O'Neill]. 奧尼尔集 |
Publication / One5 | |
| 29 | 1997 |
[O'Neill, Eugene]. Qiongsi huang di. Aoni'er ; Xu Guoheng yi. (Taibei : Hong fan shu dian you xian gong si, 1997). (Shi jie wen xue da shi sui shen du ; 16). Übersetzung von O'Neill, Eugene. Emperor Jones. (New York, N.Y. : Random House, 1920). [Uraufführung 1. Nov. 1920, Playwrights' Theater, New York]. 瓊斯皇帝 |
Publication / One22 |
Secondary Literature (36)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1927 |
Yu, Shangyuan. Jin ri zhi Meiguo bian ju jia Aoni'er. In : Xi ju lun ji. (Shanghai : Bei xin shu ju, 1927). [Der zeitgenössische Dramatiker Eugene O'Neill]. 戲劇論集 |
Publication / One57 |
|
| 2 | 1929 | Zhang, Jiazhu. Aoni'er. In : Xin yue ; vol. 1, no 11 (1929). [Eugene O'Neill]. | Publication / One59 |
|
| 3 | 1933 |
Hong, Shen. Hong Shen xi qu ji. (Shanghai : Xian dai shu ju, 1933). Enthält : Oni'er yu Hong Shen [O'Neill and Hung Shen]. 洪深戲曲集 |
Publication / One60 | |
| 4 | 1936 | Xiao, Qian. Aoni'er. In : Guo wen zhou bao ; Nov. (Tianjin 1936). [O'Neill]. | Publication / One61 | |
| 5 | 1957 |
Wai guo wen xue can kao zi liao. (Beijing : Shi fan da xue zhong wen xi, 1957). [References materials for foreign literature]. [Enthält Einträge über Eugene O'Neill]. 外国文学参考资料 |
Publication / One44 |
|
| 6 | 1959 |
Bowen, Croswell. The curse of the misbegotten : the exile. (New York, N.Y. : McGraw-Hill, 1959). [Betr. Eugene O'Neill]. http://www.eoneill.com/library/curse/xvii.htm. |
Publication / One53 |
|
| 7 | 1966 | Chen, David Y. Two Chinese adaptations of Eugene O'Neill's 'The emperor Jones'. In : Modern drama ; Vol. 9, no 1 (1966). | Publication / One45 | |
| 8 | 1976 | Gálik, Marián. Chao - the king of hell and The emperor Jones : two plays by Hung Shen and O'Neill. In : Asian and African studies ; vol. 12 (1976). | Publication / One50 | |
| 9 | 1978 |
[Gassner, John]. Eugene O'Neill. Chen Zuwen yi. (Taibei : Xue sheng ying wen za zhi she, 1978). (Meiguo zuo jia zhuan ji). Übersetzung von Gassner, John. Eugene O'Neill. (Minneapolis : University of Minnesota Press, 1965). 尤金歐尼爾 |
Publication / One34 | |
| 10 | 1979 | Frenz, Horst. Eugene O'Neill and China. In : Tamkang review ; vol. 10, no 1-2 (1979). | Publication / One46 |
|
| 11 | 1979 | Hsia, An Min. The tao and Eugene O'Neill. (Bloomington : Indiana University, 1979). (Diss. Indiana Univ., 1979). | Publication / One51 | |
| 12 | 1980 | Robinson, James A. Taoism and O'Neill's 'Marco millions'. In : Comparative drama ; vol. 14, no 3 (1980). | Publication / One49 | |
| 13 | 1981 | Frenz, Horst. 'Marco millions' : O'Neill's Chinese experience and Chinese drama. In : Comparative literature studies ; vol. 18, no 3 (1981). | Publication / One47 |
|
| 14 | 1982 | Robinson, James A. Eugene O'Neill and Oriental thought : a divided vision. (Carbondale : Southern Illinois University Press, 1982). | Publication / One48 | |
| 15 | 1985 | Zou, Ting. From 'Anna Christie' to 'An Di'. In : Chinese literature ; no 2 (Summer 1985). [Betr. Eugene O'Neill]. | Publication / One52 |
|
| 16 | 1985 |
White, George C. Directing O'Neill in China. In : The Eugene O'Neill newsletter ; vol. 9, no 1 (1985). http://www.eoneill.com/library/newsletter/ix_1/ix-1g.htm. |
Publication / One55 |
|
| 17 | 1987 |
Meiguo wen xue. = American literature. 1987. Shandong da xue. (Shandong : Shandong da xue chu ban she, 1987). 美国文学. [Enthält] : Hemingway, Ernest. In another country. Zhan Jian yi. Cather, Willa. The sculptor's funeral. Bi Bingbin yi. Malamud, Bernard. Four stories. Zhao Zhongyuan [et al.]. Warren, Robert Penn. Wilderness. Jin Xuefei yi. Bellow, Saul. What kind of day did you live ? Yuan Yuan, Qi Zhiying yi. Updike, John. Of the farm. Wang Zhikui yi. James, Henry. The turn of the screw. Yu Xin yi. Whitman, Walt. The centenarian's story. Zhao Luorui yi. Huang, Jiade. Eugene O'Neill and his play Gold. Yang, Qishen. Introduction to the Chinese edition of "A handbook of American literature" Ouyang, Ji. Eugene O'Neill: founder of modern American drama. Guo, Jide. American drama after World War II. Wang, Yugong. Revieving "When lilacs last in the dooryard bloom'd". Meng, Xianzhong. Style of Carl Sandburg's poetry. Luo, Gouyuan. A comment on Henry Denker's novel "Error of judgement". |
Publication / One9 |
|
| 18 | 1988 |
Aoni'er xi ju yan jiu lun wen ji. Zhongguo xi ju chu ban she ; [Liao Kedui et al. shen bian]. (Beijing : Zhongguo xi ju chu ban she, 1988). [Abhandlung über Eugene O'Neill]. 奧尼尔戏剧研究论文集 |
Publication / One29 | |
| 19 | 1988 |
[Bowen, Croswell]. Youjin Aoni'er zhuan : kan ke de yi sheng. Keluosiwei'er Bao'en zhu ; Sha'en Aoni'er xie zhu ; Chen Yuan yi ; Nie Zhenxiong jiao ding. (Hangzhou : Zhejiang wen yi chu ban she , 1988). (Wai guo zuo jia zhuan ji cong shu). Übersetzung von Bowen, Croswell. The curse of the misbegotten : a tale of the house of O'Neill. With the assistance of Shane O'Neill. (New York, N.Y. : McGraw-Hill, 1959). 尤金奧尼尔传 坎坷的一生 |
Publication / One30 | |
| 20 | 1988 | Cao, Yu. Aoni'er xi ju yan jiu lun wen ji. (Beijing : Zhongguo xi ju chu ban she, 1988). [Abhandlung über Eugene O'Neill]. | Publication / One31 | |
| 21 | 1988 |
[Liu, Haiping ; Zhu, Donglin]. Zhong Mei wen hua zai xi ju zhong jiao liu : Aoni'er yu Zhongguo. = Chinese-American cultural dialogue through drama. (Nanjing : Nanjing da xue chu ban, 1988). [Abhandlung über Eugene O'Neill und chinesisches Drama]. 中美文化在戲劇中交流 : 奥尼爾與中國 |
Publication / One37 | |
| 22 | 1988 |
Long, Wenpei. Youjin Aoni'er ping lun ji. (Shanghai : Shanghai wai yu jiao yu chu ban she, 1988). [Abhandlung über Eugene O'Neill]. 尤金奥尼尔评论集 |
Publication / One38 | |
| 23 | 1988 |
Liu, Haiping. Taoism in O'Neill's Tao house plays. In : The Eugene O'Neill newsletter ; vol. 12, no 2 (1988). http://www.eoneill.com/library/newsletter/xii-2/xii-2g.htm. |
Publication / One39 |
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| 24 | 1988 | Liu, Haiping. Eugene O'Neill in China. In : Theatre survey ; vol. 29 (1988). | Publication / One42 | |
| 25 | 1990 |
[Carpenter, Frederic Ives]. Youjin Aoni'er. Kapengte ; Zhao Cen, Yin Qin yi. (Shenyang : Chun feng wen yi chu ban she, 1990). Übersetzung von Carpenter, Frederic I. Eugene O'Neill. (New York, N.Y. : Twayne, 1964). (Twayne's United States authors series ; 66). 尤金奥尼尔 |
Publication / One32 | |
| 26 | 1992 | Eugene O'Neill in China : an international centenary celebration. Ed. by Haiping Liu and Lowell Swortzell. (New York, N.Y. : Greenwood Press, 1992). (Contributions in drama and theatre studies ; no 44). | Publication / One56 | |
| 27 | 1993 |
[Floyd, Virginia]. Youjin Aonier de ju ben : yi zhong xin de ping jia. Fuluoyide zhu ; Chen Liangting, Lu Jin yi. (Shanghai : Shanghai yi wen chu ban she, 1993). Übersetzung von Floyd, Virginia. The plays of Eugene O'Neill : a new assessment. (New York, N.Y. : F. Ungar, 1985). 尤金奧尼爾的劇本 : 一種新的評價 |
Publication / One33 | |
| 28 | 1995 | Bai, Niu. The power of myth : a study of Chinese elements in the plays of O'Neill, Albee, Hwang, and Chin. (Ann Arbor : University Microfilms International, 2012). (Diss. Boston Univ., 1995). | Publication / One63 | |
| 29 | 1997 |
[Robinson, James A.]. Youjin Aonier he dong fang si xiang : yi fen wie er de xin xiang. Zhanmusi Luobinsen zhu ; Zheng Boming yi. (Shenyang : Liaoning jiao yu chu ban she, 1997). (Xin shi ji wan you wen ku). Übersetzung von Robinson, James A. Eugene O'Neill and Oriental thought : a divided vision. (Carbondale : Southern Illinois University Press, 1982). 尤金奥尼尔和东方思想 : 一分为二的心象 |
Publication / One12 | |
| 30 | 1997 |
Liao, Kedui. Youjin Aonier xi ju yan jiu lun wen ji. (Beijing : Wai yu jiao xue yu yan jiu chu ban she, 1997). [Eugene O'Neill a collection of critical essays]. 尤金奥尼尔戏剧研究论文集 |
Publication / One35 | |
| 31 | 1999 |
Liao, Kedui. Youjin Aonier ju zuo yan jiu. (Hangzhou : Zhongguo mei zhu xue yuan chu ban she, 1999). [Die Dramen von Eugene O'Neill]. 尤金奥尼尔剧作研究 |
Publication / One36 | |
| 32 | 2000 |
[Manheim, Michael]. Youjin Aonier. (Shanghai : Shanghai wai yu jiao yu chu ban she, 2000). (Jian qiao wen xue zhi nan). Übersetzung von Manheim, Michael. The Cambridge companion to Eugene O'Neill. (Cambridge : Cambridge University Press, 1998). 尤金奥尼尔 |
Publication / One11 | |
| 33 | 2005 |
Cheng, Fu-tsai. Eugene O'Neill in China. (Master thesis, Graduate Institute of Foreign Languages and Literature, National Cheng Kung University, 2005). http://etdncku.lib.ncku.edu.tw/theses/available/etd-0705105-103717/unrestricted/etd-0705105-103717.pdf. |
Publication / One40 |
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| 34 | 2006 |
Zhu, Xuefeng ; Liu, Haiping. Staging Eugene O'Neill in China in the 1980s. http://homepage.ntu.edu.tw/~bcla/e_book/65/65_08.pdf. |
Publication / One43 |
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| 35 | 2009 |
Zhu, Xuefeng ; Liu, Haiping. Eugene O'Neill as traditional Chinese theatre : adapting 'Desire under the elms'. In : Theatre research international ; vol. 34 (2009). http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=3530060. |
Publication / One54 |
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| 36 | 2010 |
Estran, Jacqueline. Poésie et liberté dans la Chine républicaine : la revue Xinyue (1928-1933). (Wiesbaden : O. Harrassowitz, 2010). [Enthält] : Zhang Jiazhu à la rencontre d'Eugene O'Neill. |
Publication / One41 |