AN ABSTRACT OF THE THESIS OF NICHOLAS B. RADCLIFFE, for the Master of Fine Arts degree in THEATER, presented on December 14, 2015, at Southern Illinois University Carbondale. TITLE: THE HOPELESS HOPE OR THE POET’S PASSION IN THE FARMER’S PRAGMATIC WORLD: DIRECTING EUGENE O’NEILL’S BEYOND THE HORIZON MAJOR PROFESSOR: Olusegun Ojewuyi The Hopeless Hope… documents the process of directing Beyond the Horizon, presented December 11-13, 2015 in the McLeod Theater at Southern Illinois University Carbondale. The document specifically details the development of the director’s vision for the production, from the initial readings and research through rehearsal, performance and post-production evaluations. The document is organized chronologically, beginning in Chapter 1 with a discussion of the director’s research and how that research influenced the analysis of the play, progressing to the development of the vision and concept. Chapter 2 details the production process from design and casting, through rehearsal and into performance. Chapter 3 is a personal evaluation of the overall process and production, including the discovery of opportunities for future growth and experimentation in the art of directing. Chapter 4 examines collaboration as a tool for the director, specifically exploring the commonalities between successful and failed collaborations, aiming to arrive at possible strategies for preventing breakdowns in collaborative partnerships.

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It is the purpose of this paper to outline the development of O'Neill's characterization of women from the loving, submissive Mother in the early plays to the Mother turned Destroyer in the later plays. This is accomplished through a chronological examination of the women characters in eight of O'Neill's major plays--Beyond the Horizon, The Staw, Anna Christie, Welded, Desire Under the Elms, The Great God Brown, Strange Interlude, and Mourning Becomes Electra.

This thesis explains the concept and history of "new stagecraft" and investigates certain presentational plays of Eugene O'Neill, including those which are expressionistic and those which are a combination of expressionism, symbolism, and naturalism. In particular, the investigation will be so arranged as to view the technical problems which result from the suggestions O'Neill makes in his plays.

This thesis is an exploration of liminal teen agency in Heather O’Neill’s Lullabies for Little Criminals and Raziel Reid’s When Everything Feels Like the Movies. By focusing on two teen characters from working class families, one female, one queer, I investigate how teens assert their autonomy while still living under the constraints of classism and (hetero)sexism. While these teens are able to retain some form of autonomy, I argue that their agency is often obscured or overwritten by the disgust reactions of other characters in each novel. Drawing on affect theory, particularly Sara Ahmed’s body of work, Jonathan Dollimore, and Sianne Ngai, and drawing on Joan Sangster’s work on the construction of female delinquency, I investigate the significance of the disgust reaction, and how the reaction is a means of reasserting power over the willful, resistant teen body. As the Canada Reads competition reveals, the middle class, cis-hetero readerly discomfort with these novels becomes an avenue through which this literature is deemed “unpalatable,” providing a justification to doubt the testimony of narrators like Baby and Jude. This thesis is ultimately an intervention into doubted testimony, and demonstrates how affective disgust is the source of doubt. Since agency and testimony are tightly intertwined in each novel, doubting testimony becomes a violent form of denying these characters, and the authors, agency. / Thesis / Master of Arts (MA)

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This survey of Eugene O'Neill's works attempts to establish that fact that he used a number of dramatic experiments in his plays and that he used them successfully.

Thesis (M.F.A.)--Boston University. Boston University School of Fine and Applied Arts, Graduate Thesis Production of ANNA CHRISTIE by Eugene O'Neill Directed by LOREN ANDREWS. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

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Thesis (Ph. D.)--University of Wisconsin, 1964. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliography.