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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.12
- 수록면
- 199 - 231 (33page)
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Eugene O’Neill has been mainly regarded as a playwright of metaphysical thought who not only explored but delved deep into the unconscious as well. Yet, O’Neill’s work is not without a strong social context which can be located in the social enviroment between the Great Wars. After the First World War, American society experienced unparalleled economic progress. The social changes that resulted were most evident in the transition from a traditional agricultural society to an emergent, and thriving capital economy where consumerism had become a lifestyle. Social change also found its way into the theatre. It was here that Eugene O’Neill engraved this new American culture onto the stage. This paper aims to read the inter relationship between O’Neill’s theatre texts and the American consumerian society in The Hairy Ape, The Great God Brown and Strang Interlude.
The Hairy Ape uses in an expressive theatrical technic reflecting the sharp conflicts between the bourgeois classes and the working classes of the 1920s. These opposing values are represented in the characters, Mildred and Yank respectively. Through them the play captures the social movement of the 1920s and thrusts it on the theatre stage. While The Hairy Ape explores class conflict, The Great God Brown presents a view of American civic life. It focuses on two characters, Dion and Brown who symbolize the two aspects of the American dream. Especially, Brown’s material success and spiritual failure boldly criticize the American consumer culture right to its face. Strang Interlude reveals the aimlessness of American life after World War I. In this play O’Neill shapes the characters around the symtoms of an ailing American society of past, present and future. Among them, Nina is the symbolic character who reproduces herself as an managerial indiviual within this material society. Through her O’Neill shows how the Ameican culture responded to the strange interlude between the Wars.
These three plays by O’Neill can be understood as the responses to an emerging consumer society which altered the ways people felt, thought, and behaved. They should be read as cultural constructs within the social contest of the 1920s through which O’Neill projects the angst evoked by American desire and despair between the Wars.
The Hairy Ape uses in an expressive theatrical technic reflecting the sharp conflicts between the bourgeois classes and the working classes of the 1920s. These opposing values are represented in the characters, Mildred and Yank respectively. Through them the play captures the social movement of the 1920s and thrusts it on the theatre stage. While The Hairy Ape explores class conflict, The Great God Brown presents a view of American civic life. It focuses on two characters, Dion and Brown who symbolize the two aspects of the American dream. Especially, Brown’s material success and spiritual failure boldly criticize the American consumer culture right to its face. Strang Interlude reveals the aimlessness of American life after World War I. In this play O’Neill shapes the characters around the symtoms of an ailing American society of past, present and future. Among them, Nina is the symbolic character who reproduces herself as an managerial indiviual within this material society. Through her O’Neill shows how the Ameican culture responded to the strange interlude between the Wars.
These three plays by O’Neill can be understood as the responses to an emerging consumer society which altered the ways people felt, thought, and behaved. They should be read as cultural constructs within the social contest of the 1920s through which O’Neill projects the angst evoked by American desire and despair between the Wars.
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