The Short Guide Series Under the Edtorship of SYISAN BARNET Marca Stones A Short Guide to Writing about Art, Eighth Edition ‘BY SVAN BARNET A Short Guide to Writing about Literature, Tenth Eation 2y Sia BARNET AND WILLIAM E, Cans A Short Guide to Writing about Biology, Sixth Ed by Jas A. Peonentk A Short Guide to Writing about Soctal Setences, Fourth Eiton wr Les J. Cuan A Short Guide to Writing about Chemistry, Second Faltion 1 HeRaeser BEALL AND Jou TRIMBUR [A Short Guide to Writing about History, Sisth Edition 'by RICHARD MARIS AND MEDMIN E. PAGe A Short Guide to Writing about Science wy Davto Porvsit A Short Gulde to Waiting about Film, Sixth Bdtion ‘By Tisorst J. Connican A Short Guide to Wrting about Theatre by acta L, FERCUSON A Short Guide to Writing about Masi, Second Edition wr Josaran D, BELLMAN |A Short Guide to Writing about Peychology, Second Edition ty Dasa , DUNN A Short Guide to writing about Theatre MARCIA L. FERGUSON University of Pennsylonia 5THE ANALYTICAL THEATRE ESSAY aap: Saver rat! Estascon: Curate! Vuabit: Cretin) Esteacon (rt vay: Crit! Viannan: Oh! (He wl, vanquished, en tans aney.) eysrghtshave aes ound ys the ther vege oa crtos te Asstophaner The Cla paral of eaten wren 423 ‘icc, the protagonist declares, “Now thst ny daly dit Phosapy, Profit Salen and Slee, [propose 0 prove ‘yond the shadow of doubt he pilompbicl opty of ost sngmy Father Same! Becket, th Wating for Colt doen ‘ste tht aig someone isthe te natn the Seaeoc worl the tr ot ness ep, Arts ot Simply faultndr eam pnts ot strength aswell a weske {ett in work Despite these humoros js eld, as {ays elivened drome with fresh ieat and porpectivs ting plays reqs eng, ie sn ematon of the ‘elton ofthe whole work ts compost part Atay ‘sng pata medting perpen othe canton 'samal Bek atag for Cae New Yk Cre Ps, 19588 “hvtopne: Phe Code nF Ply by pes ac ln Arm Now Yk Regan Bk 188) 135fc uiaing the wor nqustion by potting ot qu tes tug oder go unnlcd. and being connections ‘teen te ply andthe werd srending “Ansel anal ext der ot singly pono fav 2 the payor proton unde costa ae aks Use soretlgt the ply ve pobaly woud no are oer sen “he enya tha the reer has soe funny th che Ply andor Gunso 20 (ane the review) there ee ra ‘elng of hep intend the writer fee to fas on a ery ‘peice win the py or prduston on rereing deta or Ett nett ae Toca berthe mos ong tnd a ena io we because ey ene lower towerkot our ora ey et igh ea ii popes onthe ly yor ko cones the wer ager theta tates ee an oes ‘TWO ANALYTICAL APPROACHES ‘We wll oes on two base approaches towing an analy sy bout heat 1, Usk the payor en content, sch sts trace the sway ti pat together) shape, themes or yma, to nalze "how the play crater teat fet and caning 2. Using theatre history to explore the play's meaning in terms ofits background and eltral underpinnings Bath approiches are concerned with how a play meen, tat i how it conveys an idea tos audience, how it plas part within a ceaintradon, or how it miror the cltre or Hine hat created it Exch aproach hss hy opis for tcetigation, which are ques tins and se that iret and fous the argument. The Iara tho these tapes yield wl elp Form the basis for our paper This ‘haptr ale contains two sample student papers that both foous ‘on Eugene O'Neil Long Day’ Journey into Nigh ad excerpts {rom two profesional ential esas. cach using one ofthe two approaches described above. (Reseach sources fr analytical ‘rng rng frm and content and for thase using theatre story teen chapter) USING FORM AND CONTENT “ogeagpod em of wha ply abu (nl part ist Ini paar ss fu Pit cot, fr bjs et) and event pefamance) at re ut oer ‘napa sorting can es tons ove fos Some yates psiloc ad cllenge Use pred centr tninal metic ping chee tle wnt os en Stel oc tl ibe foram anh ‘There ae two asbestos win ths rte ppenrh, each of ‘cps mt te wy the ly antes wn Form “Thitogoy refers to the play shape and structure, that othe ‘way in which the part ofthe ply elate to one anaer to fcr ‘whole. (Important elements of ply’ structare ae in ald typ.) Koy Topics for Tnvetgtion To gt anova sense ofthe form ofthe ply ts important to consider the following ‘uestions: Isthe play broken down nto acts and senes (or nt some plays tn without pause, creating dreall rcter effets fnthe audience because a thet uniaterapted fr)? Inter ofthis breakdown, a wht point does he tension or confit within the pt sre? + When docs the tension in the play relax? ‘Hw many mes does the tension Nuc i this way? ‘+ Does the actuation between thers andreleise of tension or conf form any Kind of dential rithm? + Does the pace ofthe ply (i, the tempoor speed ith ‘vic the plo unfalsaz wth which teactor move sd. speak heilines vary any point? What sth atmosphere cemood ofthe lay? Does it change? If, where and why dos it change? ‘+ What ste style of the ply? That ig wha the playwrights manner of expression? Far empl, the Gualogu dgnfed, slangy, choppy simple or eampex? What isthe effect ofthis se onthe ear or alence? ee+ How the characters otertlte one another, tothe plot nd tothe themer ofthe pay? + Wherein the breakdown does this interelating dour, an swhateffect does it have onthe spectator? Content “This cntegay refers specifiy to the thomes, images, smbol, events an carters that appa (and donot sppeat) within the Blky and to tae methods with which they are elzed, Ro pc for cet To et an cer ese he ‘tetera corte long atone + Whatifany evento characters nthe tarpon tluages and hy yt sage ow do we ow Sentthon? «+ Wut the charactor sy sm each tr ad aboat Sencar? «+ ote charcters word ath ther atons or there 2 cece beveon wha the charters my and bat thy io? «+ Wats the real shape ofthe ly? For example, Shorter long. dow tlm gen en oreo he ‘ony dn tele sig ty rare thee any ois oben one it telco and ymca res Wenge only one ott of aw regu? + Aver reung patter he lpg, sig tntnce sre ustres tgs fer clement ovis sd diets ces? Inthe playin vere or doe ae everyday speech? {Sth nts fs anangpken sotto Bind Schuler or tons? ats the shape cl the pencher—ae they lg shr. or ely ittrped by anotber daar? + Arctrepesror bg sone? 2 Tete ny pater or yt othe pes or sem + spore the tet Gneluing dng tage ston, and seting for repeated gery, symbols and Uaemes. How Sethe othe tig Mh «Aether unspken momen within ce et (sah asin stage directions, gestures, or movements tht cle dase tees or pnb? “+ What the setting athe beginning andstthe end of the ply? Does change? Why? ‘Sample Student Essay—Form and Content Assigned to writo an analyscal essay in his Twentieth-Contury American Theatre cass a student chove ashi subjeet Eugene (O'Neifsclasic 1941 pay Long Day's Journey into Night (soe gure 4) He decide to analysts form ond covet frie paper becase he was interested inthe way the themes of drug and ake hol addon strutted the way the events ofthe play unfolded ‘After reading the play, he tok notes that he lived to be pote: tally asa Pay bast hap strctined nto fur aces ere bud on er ef no ayo—sged eens tne move onan rerenton eres mow acta! 1 reel ale rear Present Aeron ul memorfaqurents abut pst prec romenteotigheot terion Bienen play chaped by episodes of day ase iy sous the destin offal by 30 andy Thanet action eae or emptor? nan English textbook, the student found defnition fora fw termshe Was uncleat abut (ube an mal He made a sketch ‘ofthe acts and snes ofthe pay and then mael down where the ‘ly’ tension rose and fll and where drinking end morphine we Secured, This gave hie graph by which to ved dhe pattern oFA ou in Ng the Broly Ase at rythm of the plays conf, He slso reviewed a definition of tinged. Thenbe read te play aga, aking more notes and paving ‘afl atlenton tothe stge destion. He wrote tw drat and “bmitted the second on ‘spree Mincry Dig con, Memory sod Dramatic Stare me in Bags Nails Lang Deore to ght nggest works ofan epost themes or images deepen cor understaraing ofthe arate uncenjing tea Eugene OWel's 1841 play Long Day's Journey into Fight eines of memory and addiction wore Pia Present and memories ofa teumaic pet the play's eon unfeldsntwo decons a one tomar the fata fed toward the part both of which seem eqialy doomed Acetone leat ae morphine) ls past (groupe of characters. This enanywilia09 and amnyoe ow Oeil uses thse themes of mor ad addict {o convey Re emouerl complet the relstonsipe Donween all members ofthe Tyrove fem, abd 10 gate the evel oft ply. Tho four play moves cain lala ahi, ‘romlogical cours of one day. We lea about the vwthone anor Aethe dau, emetbered eres from the past enhance our presen! understanding of reltonehipsndonnations nthe i othe ny ontage, by events remembered in the pat, These "places of axgunens that outa oure oxacary (Bom, nary eertring on some persed freon 0 par cjamas Tyron, the fter. Some axes include memories of James's aleged chospneas in biting @ quick” doctor for his il son Barmund, le ned ting resol acton fhe ays haunted by ho pa bat (uated by Mary Tene additen omorpine cxared Dy ancter previous events eoumsie pregnansy acd Biking experince hat acl erent stot Dany. Ae a eouctiing agent. ts aeration (between Jeaming abot th Tyrone in th preeont a earing play fom cae epzede to tho Tot, rovealng the Sinarmony itn the amy reasoshipe, ana thes avon store, tote audience the plays crus athe epaning ceo, whic i at et—_—— one a seeming dome tranquly, bot qucky tus ve een Mary remember aad el esate deat ber ‘tund beckored. Her recreinstng tone cage het ‘Sbetonate exchange verbal spatng mates ‘yzone (fers wok ya Mary. Ar Sh be was th ets who adsed me toby at ‘pore on hasnt Sees and T mide ack move anifor ae pot. ary (srs ne hosing alec iow ae fans ene rok of goo hide Ym sure Mee ever dead» (gn sho pat his and Never ind janos [ow a waste brea 9910 ‘onions you youre nota curing rea eee spocult as: (ht) Feo eh. 05? ‘Tis io the fest of many tristons i which the axigue mewes fom il eat meres argue, ‘engin thooveal aman amoveste soe the ‘Bry alny Yelcnc metiory ais euiches be ances ‘Sclratandng of he Tyrone any a i rages on tieratilereh “Wreare gven nigh soa character or relonstip ‘hens dansting memyarac, ote when some Kd acon hs beunfed wich ec the arc the flay by prompting tha fox of tension. The cha ‘aun a een of-Nenay mutual rinng ow ‘Siam precedes 2 scene of vious arguing (igh ‘Esor, uly ont some bared xt memory atin ‘Sree way unbearable to one of xo of e characters ‘Bin bigh ao cf tenson ons an expcve cay hen TPamoree tnd reconeliaton, whieh is celebratod of trav by mae consumption ofall and the eyo Tra over again Each 9tcotaine ths thn, For ramp, nae 2, sone Jamie "cates" his brother apg eng teeta hth ey efi ape ON ‘Alero Bog cw aon, Coe Utes Pras 15) ‘Edm drinking wisn ane doco him Att, the auneephoros Bondy and pay Jami: nesng one, eh? Cat ote l,i. ‘Youve arene sce a ar mud (ns): Ye. qrabhed ene whde the 9g vasenod Janie (pu hand aeons ois ‘Sealer: Tats bata. Wy dre? Were pas rent wo?) But asthe brthers dink, he Hendinss icy sua. One pagel, ty are ducing and worening oe Edman (disturbed Yn not Ha how ote ek ae over and cig aig ae 20 jek. tankDoctar Hardy last goss was rig. ‘tbe the amped malaria cone acon me Jamie: Maybe, but dont be oar, Edun Wy? What do youtanciis? Jeni: He tow would iow? ' Doe "Bune (abropy Where's Mara? (5) "Ti tty conversation hen trent a fl-bowm aed asgunent sd tne je supete has an {pstaze using morphine, which Edmund denies, aed ie Himes his rota fr lang he sone. Mamorat ‘of coping wit hor addiction he past fuel thir ‘swrooment and od renedent a he lye ‘ent ct ad specs The altsmaton benvoen present tren and remembered ones and between argument et aoa, push he play fear ina Zleres fx of (ONoilosorethie rhythm by ung cabo ey a the play to Keep the ausiance questing about the toe ature of Mary’ conan Inthe at Wo 2, thre are oni valle rateenoes fo stan he spectator doesn‘eh on ight ay. Ont by "reaing beta eines (om eo that Jamis i coarany wating tiemeber figs ofthe drug We may so hi ube at Werk word concern about her aden inthis exchange Mary (Se steps abrupt, aching fami yes ‘egurcing hertmth a aneasy probing ook Her Ccnco) What ao yo etnring Jal? (Hr ‘hance ther ha) ay i coming Sowa? efara for metodo wp property nw By een ‘ae geting oo bad nd never can St ay Fae (aks ay ut Your as igh ama Ts eri Skin how wel you ook (20) {thought ft we do understand why Jamies matey inthe pressos ote ober, he sage deren "oul the way tha ary soap eo ated tel at ‘huotscomanngione warinsabout Overt crare ch te four ats nthe play, ts subtetefamiety radaly ‘unsto clypoen dem. Tar ayel ster way tate Athens of adticn eps srt he ay. Fer exc {na Jamie ae ater iyo reser one anor ‘vin voles eerenoste May's conden Jamie: (estan Oude carve, abe seers esl al igh hs moming "Tyrone (thf conidene a Never beter. Shes loth and one (7, 3By tho cad of act 3, bowaver, this mut! sot ieee tae compltly ive, andthe problem a cme cutie pen, a8 We aoe whan Em conor Teer bitsy “Ws prety arte ates, having ape See fora rcter” (120), The pain of ie cect, ‘rsouror only eausce Mary ogo bate psa to ake ‘parerarpine Th wile ey ican an ae (rl tadeiton and rgurer, electing ona eae elite eran hte afte pays ae, Bocas the pay ends on awe nt, ie eae thatthe try wi never acap the ame of mero xgunet and aoson tnt oom © Nal’ en evident in i profend nigh no tay yams, owes ut daiate rendering of han eaten, fod nhs crit of is thematic eral. ich ao ‘Soot ntvinel wih is scaring the action Not eny (2 the hemes af memory and adiian move the play forward they azo pul he andlence ino the erotanal ‘mateo he Troe amy. he deh of epi hat Orgad agus them. Ile aver clear Wheer the addins ‘thou laaol and mosphine are the rial ase ff SSRIPME dpa or only a eympomn of What dows emerge ‘dof ea however, Dat te tytn of mai inte ay 8 vides ‘gaicaaly rtd te momarie ard aces ks every (ges Werk af, Be play teaches arto see an hese ew ways ts hemes and tythms weave the Pay, he “Tyrone ay, andthe audience together a ight agoweb, “hs poper presente a lena thshout he way he ply conten ers itr th te fn arene thes {Wnerry and addon worka to ways: theyenhance the plays ‘toto flan thy hese san” es elope nied adnate th oy thes there attra he py sec dlp te tinct inthe yon andy efit Ittothe comply of pablo meting. th nrcton might go trae Int desi ofthe way Nell mangle the themes Sf ailton so memory, te wade alo eps ie mortnt by pointing oa ts mening and esp on thes est ibis condo, daaonstating the broaerinplctone of is sgumet ised of simply restating his these" every great ‘poof rt tho pla tates us tose and ear new mye Te steal approach (orm and conte) Blped the dent nd any ft the Fy by felling egress ttemery sd adlton This led toa new understanding ofthe ‘ryt plo unl anf the way he pay ahve etal ‘ike anal see dre thw kerr seething tullence or oes or tees, he poper coal aves the pn ofthe aa esa.‘Sample Professional Essay—Form ‘and Content Like the stucent wtter who wrote the previous analytic xy, the pafesioal theatre scholar. F.Johnson examines the fore ad ontent of aay, n ths ease Shakespeare’ Jllas Cacsr. Notice thal by Framing his etque this way, he to sable to discuss the potential mecing ofthe pay. {ins Caza ns bor wily sds fre essen rath 2 Te ple ofancint Rome, Even th syle ote play seems 2 redect aria intern fie msualystaxghforvard having condensed metaphoric erro of th le Flay The ana art Inusingmogory a arin ts appesion ab Rent tee ofmerceylabc nse rosin aipity Staknepeare Subardned pooty toe o gains Raman eee Rast the wtofperrason erica ar well aesyisiin hs ly ho tnbunes persuade the people nt to honor Caesar, Cassis persuades Brats 1 lead the conspiracy, Bras persuades nae cf me jatce of is couse, Poa perudes Bits etal sett Cauns pede Cassar eto ge sppot te RepublarsAsony pete hem to my. Tis estas an counter persuasion reaches i late wah he speeches inthe Forum, he turing-poin ofthe lay, aller mich {te apltctCaser inte ad te Repu lng with te Ropableas, is desroyed. Ashe Pay presei it however, tha trum of Cassatt rar nly of bstory akg tragedy oie. Therein restoration es potive moral order rete bs oaoe of tage wate ‘Note that Johnson doesnot outline the pt of Jultas Caesar or reve” in ny way. He assumes that he reader hs some far stywith tbe ply oes soon wll have He cncentrtes on dsebing ts Formal utes to get at something subtle but ermplex abut the 45. Jlmgn “Taedion talus Carn Willan Shaper: he Conse Worse Aled Hage Bahr: engi Bons, 188 5 a may the play affects the audience and about the way conveys ‘meaning Spf, he argues tht Shespeareemply an nts {on "Rotman ye hat steses simply and thetod instead of aif ager Yo one the ply action and arstr(Rhetoe, ‘ho ar of persusion i sracural swell as yen thi play). Out this ans of he play form he ways putogether he dowel ‘ps a aument aout how the shape and conte ofthe play ete ‘eating he aadiencef imately let with a ark vison in whic there so pste moral der ely a sense wage wate, USING THEATRE HISTORY Investigating the story of «payor playwright ges you iesight ‘nto the ideas, coadions, and material pressures hat helped shape the play wien it was written and frst performed. Stating the ‘raat o play within spec storia nd clara envicon- tent allows you to formolate a meaningfl argument because tderstanding the infesting the play sit crestor helps you determine what snd how the py peas to both orga and ‘ontemporay andiences and vader. Thre ar theee main cto {ives of theatre history, each of which provides specie informs tion tht ereates «brome conten for understanding and wating, thatthe play andor playwright ‘The Biographical Context “This category includes all ealable information about the play ‘sights ie Key Topics for vestigation: + Abts point the playwrights caret did be or she ‘ert th play uderdecssion, an how does compare seth the est ofthe ster oak? + What wore the relevant clreumstances affecting the playwright if athe te he o sb wrote ‘his ply? + How dass this ply compare with other play by this laywright ia ters of te subje, str, or ere?asthe pays commercial or eiticl success oF failare, sd how did that alee the playoghts subsequent wok? + Waste playriht sag the ply to workout or experiment with any specific ea or artist concept? The Social Context “This catego refers to the society in which the playeiht ned and worked tothe daly ie of the people ofthe tne and othe seca systems (suchas government ad th lew) and lnstutlons (sc a ‘hatin ad eign) that regulated them ey Top for nest + What as hppening nthe plight country, more Ia yw he tne te ply was ten? + Were tere wars pestilence natural ters, (converte get prosper in recent meno? Was religion a power fnce insite fs, hat ves tha playrghseionsip oi? ‘What nase condlton of the audience? Were they esti pres prorperns or poo? What ah el of hel elation, sod ow many leet Kind people ste play? What tthe poll frmework under which the ght ved an wert? War th writer eating eps partculr seta ‘condition? ee ‘Wha rhe thal limate of that partial ts pes? ‘The Artistic Context ‘This category examines the artistic traditions, movements, and innovations tfonning the plywriht tine and ocale Key Top for Inston + What were tho major artiste movements in the theatre the ine the playorght wae weing? + Wosthe playa departure fo existing norms in pliguritingor dit eonform to aration hat Lesa tht ine? + Wat wer the movements afning hater ats Including ping. posts, Mercure, andmise® + asthe ployeriht on iomovaton ond. fs, what spate Innovations tected nth ply under dscason? + Did the ply pst oor coment an lange sett bonds? + Didtinluencs other writers an? ‘Sample Student Essay—Theatre History A student in an American Drama course was signed to waite a ‘tical essay on Eugene O'Neil ce Figure sb. Free to choosety sproach or top fr heresy she daided to make Long Daya fourey nto Right hrs tng theatre ry 5 het ‘pproch bec hots eres ho the player ihn Oeil carer nd ie She read pate ofa Happy of O Well onsuteds este history taba for more infretion sr ‘oundigthe tne and plac in wich edt ead ab the pinwihtin ste St eed eet ter paying sec tention to stage etn snd the sli ‘The lwangie sc of her notes ese sources : Sor chub noun acon adctad mother in othe las epearced wih font tchguss eprsscnin, rasta, ater mosey t expe ier ‘Povgheac! characters vd rata Lory Cay. ouray —roviztown Payers cage i witing bond cme posi Hon ie ie 1906 Mis ply mow autohowrapic! han others faim to ntemwrcte only ore ply bored ‘Heres the estat the stent liter rote ebea Howand Allard Wea Maserpioon ONeAts Lang Day ou it igh ‘Eugene ONoll wrote whats axqualy his gress play, Leg Day's aus 141 atthe age ly nhs evens 4 eqolly dytinctona muy, sodeled sly upen hs om ‘any. Thepleysveral me ht pole who love each hot ‘ten alo paradoicaly have te power and te walt destoy {ach oer derives manly fom ts cbvervatono his pens ‘elstnsi. However, ply wo ever have been rien at ‘ifr ex cena csc cucumaarce is eatly arte Le "as paper a examine ow te dace and atsranstip tat ‘tet ON al iat playrigh merged wit ts ee fa araue costo aia pa plo cesta ply that ‘csidoodby many anastrpece of American daa Ath he te nt American ya er wi ‘ba Prin fr Lteratre (i 696) nd ni lost ery eguded as Amica’ premier payer, Nei aompo at [spring ware not evaye sucecitd Toare hioran Oxcar rocket nots tat. “ONel wrote abost 25 filler lays ck. even quay. Many were srcunySowea, an even the best ten suggen that more was inended than wn achieved (Brock 31), Poshape bosons of as ereay toward uneven ‘wing, ONell oak ful advantage cf very ofporytporast Seaman about he cra, and he hovel eka eter in no best play is eect result ofthis lee of accipino and termination combines wis Re soaring mast, ‘Asayorngman stars dablaang Unes adoop depression Playwrting when Bs faled sleds stamp prompted him 1 conrad ool, Daring the eumtoe of 1818S the amall Now England eeapor town of Provnssiown, bo sated pny to ara arcu Gute company clad he Protincecwm Payers. They were a dads group of those fad practons ‘They secepted and prosuced his one act Pay ound Ei! fr Cai witch was he begining ofa ong and ‘uty benotl velaionstip berwoon to playwright apd tis ‘crpany Geb. 8), Witout the appor eta group, Nel would nover bare td teal important opportunity fo yan a repetely, ae lear tom those fares Tae Provinstomers "wanted 10 rrblcy, they were experimenting for fi sake of ole om {tens grow and sought be sympabat suppor fiers, nat trassion by Brochay sundae” (Gaby S16) He wae tnt ‘a thar theo aaboratrs,eopcilly bj Cookand hs wie, Susan CGnselwre owed to ti doa tat hee sould pray Deunart end nts eamgercaleterpin As Ne commented bout ig Coo, ho war against everythin tt uggeted ‘rom.outconvemtons an cheap auclaios of he commercial ‘aga’ (Gab 35), Tale muietmraion was ciel eomponest ‘nti ongoing prefessomarlstnuhip ni awed ON {oles and grow und eae crowmstnoss fo long ped‘Atgh some fis early etenple wore unas received, epel, Cook and other members ofthe Fyers ‘cutuodtePalove fin. Decusang his ober Wo crabs te Provntown's frst season, « biographer noes, Acta ‘ON’ aly maj cebtion that ie season, 2s he hme ‘eld fad bee Bound East fr Car prefered get Fog and The Super and allowed Before Breabtat o bo pro teved ony becmire he coniered en ieresing experinent (ab. 225, ‘a th company encouraged hi to continse wong, be learned and proved seth each play They Boog eral (iy tang the name Provincetown Players, and rout ‘honselves to producing what thy doomed important et suconschi productions They brought met of his earbest work 2d the nemeedous adatage of eng hs lays n prodcin ‘he page Popular fare in commercial heave atthe une Wa ‘mosty fmise meledrama. Soon word got around among Sowadzeate Now Terk heavogoets aves in arate to Broacay thatthe anatour productions held into stall Greco Vilage thet were ican and erent, ct Always ecisiy suoversa In many waye te Prowncetown ‘ayers fatered hs growh stmply by provdag tn vida stage ‘company and an scence, and allowing fim o we fame "Thea foros ereuetioee timate oa mastery thie cat leh enabla nto atte the tragic von of ‘eng Days Journey into Hight ON alwaya madi lat tat ttagwy as th bet line Grama gonre fs word, Te ‘a, he wel lone has tat elgifcat beauty whic strut Wit the meaning of ife~aad he hope, The noblest is eternal the stag" (Gel), Called by The Caste Guide ohare ho mosteubjctve of rama,” Nell wa folowing ne fesse bs ore! mono, RugaetSxindbarg, when be mined has ow i. relatonstige and expenence fo fl peso wa sy Batam, 20), Ung his ow lear source tral posed Inet wre Infact, he ony wrote one mere pay Belare ie ‘eat He ha abeaye cnn tat he wou wre play abou it paren tumtous apd orcas reltnslp ae hat wring Would be sn ordoal According toe Bend te pt cl aa 22 he coud. Only when ho naiod that hs aamina and energy ‘were rally docning wih age cose brn hme te thepojet he bao ofen imagined Basse feared hs might Joes the song och hore at re poh ar ae eisimrosig to not tht wih he play he choes to return to ean Deca in the icerveing Yara ead become ‘reat thesralimovator. For example. he wed techniques ct fxpresiale 2 The Hay Ape aa The Great Gas Be, and Seaman Day wits Ean Lazar Lange Cee ae od ht whan wing not lve about een fom hie om be realm othe ate prefered by OTe Ths itence cr ‘eal ia retscton ofthe writg proces, which more a ess ‘damned s paycologzal rel rom the stor evens trot swe Caos is lar "be explained or thats hadtowrtethe play Habaato wre boos war {hing tat hau hm afd be had to forgive hi fay a hcl (Geb, 3) Tho reat his own meio inssity ao we remarodthat who wring tho py, "le would como ost fig tia he ena dy gu and sonetce weeping #2 ‘jes would be aed, and betoobedtenyearsoider than when ae ‘wont nin the momiog” (Gelb, 6-2) ‘The patos the writer xparcoced while writg it eanatos to ti eader ox audience ‘emperensing he play aca woot (leary tla play waa ie uhiate tt as a writer, and perhaps a person, eboe tht he aucconed a is chock fea diouly project because ofthe exten preparation fn the crak of playwriting tat hi long apc en aasoriaon with the Frovincetowe Payers aforded hn, Witt tt igus fuly taining and the cpporonity to Jeu fom fis own Imistkes, ON would never have grom enough 38 = Plsjunight or developed ine carpe tobe cable of wing [pny ofthis alter At ithe audience atoning Jong Day's Risory io Nght iahes hay ecu be 8 pat oe cating ‘Tyrone tama ih ts clertl seis, sear, anita, Eeleonatpa By the end ofthe play, however, the spect fmerges tem this play shaken ad hatred by the fay ‘uogie mel, glad ofthe eseepeallordes by ie end, Dat forovor ctanged by having hd contact witha characters Because 20 sombied naive telent wit the discipline ho learned tom the Promnosionn Mayers, ONell wes abe fo crete a gest American agody ou ofthe oer of i om although a temendoxe personal eat ‘ors Crea eben, Mai ed he Cantige Cadet Teste. Cant: Caregen rn 508 rock Cea, nd ra Hy Hey the are Boson: Ay ‘This stadt wes theatre history in two main ways The bio- phil conta allows hero expla how O'Ned obtained amas {ery over his cat through his sociation with th Provincetown Players. The asic conten allows her to refine this dsensson by ‘aplorng how the Provincetown Players special challenged the onvotons ard waions of thats that reigned daring this tine, ‘0 that she lsates O'Neil in a partcuar artistic traditon and tara conte. She also engages both the biographial and the Stic content when she compares the syle which ths play was ‘wnten (reals) with ther plas in ONals one. Besa she tases theatre toy the stent present a road understanding of ‘OWalls own personal eultral, nd historia! moment andi ale to dius the novation represented bythe Provincetown Players In terms of their original anion. Although this paper does not sake arguments about the way the plays dialogue, symbols, or tier ntera ements work t affect the audience, des efor an Interpretation f how the play conceys maoning in terms ofthe broader categories of histo culture and the playwrights own cone, and therefore isa soccussul nayial say ‘Sample Professional Essay—Theatre History nthe flowing profesional example, theatre ste John Russel Tor examines the life of English playwright Nool Coward to bet terupderstand Coward sanipuliton of» pateslr dramatic con ‘enton th well-made play (the phrase "well-naleplay"roferstoa ptr Kad of plot construction and heat effet see the lsat fora more through definion) Ewe examine the quaston inset tie cv that wa Conard ws dig wes Ylang he welnade- pay Faon ako ext ter ofthe erature apa pt ack not neceesiy more real but certainly move heal Le, And ths lopends rst aed foremost on # csr eslntion that plays are not petal, patna not even gla fr retin, bu for spesing. Coarse atoge srt aie because be hae coer how eaplein ea lo speak aa bo has copiod tm, bat bose he Fi obcorved wis works mc! eee aa ae and wat To fnd ost exact bow hi efomaton came about an ow Noel Conard by 1009 cama o be rocogered (oy Vaugham ‘pula a he wor in Eng theatre exerting mae! “uence seth young wes" Wat "is prebably ns inclination and racic ht wal be responsible for the maar in which play til be writen ding the nent twenty yoo” we mat on lee tvs dtl sh abt nd ear career He was omni ‘oddingon in 129 andar various ater expennoes ae & pevformer made his St profesional sppessance a he age ct ‘oven na deers py calla The Goat He began witog dyes aid composing cong nis teens, ard a waa Wo Sopulishod novels bythe tine ho Wao aitcen. [a 1818 he ‘wrote he fet play, The Lat Pca four-act melodrama twat ‘urn dows, amiay bythe mpeesaro Giba le, wi aid tele logue was ood bt th ooneroston oy, an passed fnttetieagttat "the conseon of ply wae as sport a= tho foundaone of house. whereas dialog, however good ‘ould only ot bast be considered as ero: dearaion "The Feoul of tis wa the immediate competion of E60 PS (Taya, 129-32), eePear eT a Pl ee ia Py Hew Ye ‘The anhor of thispece uses theatre history to explore his man thesis, whic so examine how and why Noel Coward reformed ‘he well-made play traction. In considering how this playwright Intersects wath that team, he points out that when wating da lege, Covacd was more interested ia achieving good these eflets than he was in recording “real” Ife. He locks to Coward’ biography for information on how aad why Cowaed made these Janotations to the welhmade-ply stacture. He discovers ev ence inthe frm of Coward fis zejetion, ofthe dpline snd ‘oterination tht would propel Covard tothe highest rank of ‘lyumghtn his cay For example we learn Ut on receiving the pinion of Gilbert Aller thatthe construction of bis play was “Tous” Covad aught himself about good eonsrueson by wmme- lately” composing three new pls. By discovering that he wrote ‘plays virally from childhood we ls lar that Coward vas an ‘eromaly dedicated artist. In thi successful analysis, Tylor sue ‘incl demonstrates tha playerightspst—and hie connection to ‘puri that tradition (tht of he well nade ply) holds ‘important lute about the meening of is or her wring eye and general approach to theatre WA Checklist for Writing Analytical Essays 1D For an eray using the frmand-content approach, have you say the plays form or shape in terms ofits composite ee 1B. Hive you analyod how ts formal qualties contribute to the pays vel meaning oie? 18. Hime sou examined the content (hemes, characters, imagery, snd soon) to discover how it convey meaning to the reader or suche? eee 1B Hw you made connections between the play’ form and con tent aid any lage rdtions, movements, or ear? 1. For an esay using the theatre history approach, have you zane the authors raphy and paying eacer andor tbe plays production histor to anahzs the plays mean teensor ie war and org waienad Hive you researched the sail and eukualcondtons under le he py es writen? Hive you exunined any atte tradtons, movements, o¢ eons that he pay challenges or « pa oF?