CELIA MARIA ARNS.pdf - Universidade Federal do Paraná

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1. INTRODUCTION Modern American Drama at the outset of the 1960's is represented by Edward Albee, Jack Richardson, Arthur Kopit and Jack Gelber. These four authors were simultaneously active in the Playwrights' Unit of the Ac- tors Studio in New York in the season of 1962-6 3. This young generation of playwrights has been deeply influ- enced by the French Theatre of the early fifties. Jack Richardson 1 , whose first play The Prodigal is the subject - matter of this dissertation, is con- sidered the most intellectual of the young playwrights^ He has written six plays, The Prodigal (1960); Gallows Humor (1961); Lorenzo (1963); Xmas in Las Vegas (1966) ; As Happy as Kings (1968); Juan Feldman, in Par<strong>do</strong>n Me, Sir, But is My Eye Hurting Your Elbow? (196 8) and a novel, The Prison Life of Harris Filmore (1961) 3 . The Prodigal, which is a reworking of the Ores- tes legend, is regarded by the critics as the best of Richardson's plays'*. It received both the Vernon Rice and the Obie awards. Gallows Humor is in fact two
short plays joined by a common theme 5 . This first pair of plays was produced off Broadway, while Lorenzo was Richardson's first play on Broadway. ...Lorenzo is a Renaissance variation of The Prodigal, but with a spe- cial emphasis upon illusion and reality... 6 . Another Broadway play is Xmas in Las Vegas which, ...with its insistence upon the either/or of winner and loser, re- peats the executioner-condemned contraries of Gallows Humor... 7 . The Prodigal, a modern version of the Orestes legend, reveals the author's familiarity not only with Greek drama but also with contemporary philosophy. It is not the first time that a modern play has been in- spired by a Classical theme. In fact, the remote Ores- tes myth has been dramatized by various authors from Antiquity to Modern times. Aeschylus'Oresteia, Euripi- des ' IjAijge^^ and Goethe's Iphigenie auf Tauris are thematic reformulations of the ancient legends. In modern times the Oresteian Trilogy has right- ly been accorded a place among the greatest achieve- ments of the human mind... 8 . In fact, the use of ancient Greek dramatic legends has been fairly common in the modern theatre, as in Sartre's The Flies, Girau- <strong>do</strong>ux's Trojan War Will not Take Place, E. O'Neill's Mourning Becomes Electra, T.S.Eliot's The Family Re- union, Cocteau's Infernal Machine and Anouilh's Antigo- 2
Page 1 and 2: CÉLIA MARIA ARNS JACK RICHARDSON'S
Page 4 and 5: PROFESSOR ORIENTADOR Doutor Heriber
Page 6 and 7: CONTENTS Page ABSTRACT viii 1. INTR
Page 8 and 9: ABSTRACT Greek dramatists based the
Page 12 and 13: ne 9 . When Jack Richardson wrote T
Page 14 and 15: could not attain to the quiet which
Page 16 and 17: and Aegisthus represent. But the mu
Page 18 and 19: erature, above the rest of world li
Page 20 and 21: the author's life and plays. Gilber
Page 22 and 23: of Greek ancient history as narrate
Page 24 and 25: It was at the University of Munich
Page 26 and 27: American Plays and Playwrights of t
Page 28 and 29: 2. GREEK COSMOVISION IN THE PRODIGA
Page 30 and 31: her husband if his possession of he
Page 32 and 33: Eumenides. However, the modern auth
Page 34 and 35: man. (P 33) In the second scene of
Page 36 and 37: ic between Agamemnon and Aegisthus
Page 38 and 39: 29 Why our child is not here to giv
Page 40 and 41: non is harmless. The usurper fears
Page 42 and 43: sandra a choice between hanging and
Page 44 and 45: 35 ... he must sacrifice His child,
Page 46 and 47: much as the other things that go on
Page 48 and 49: the priest's blessings of the marri
Page 50 and 51: seeing that vengeance was done - a
Page 52 and 53: Apollo: 43 ...The Furies will hound
Page 54 and 55: setting for the development of the
Page 56 and 57: torical oppositions between Aegisth
Page 58 and 59: to the city. Orestes: Aegisthus kne
Page 60 and 61:
3 DEBUSSCHER, Gilbert. Modern Masks
Page 62 and 63:
3. AN OUTLINE OF THE CHARACTERS IN
Page 64 and 65:
his plays are fascinating in ways t
Page 66 and 67:
orders in the play, and reveal the
Page 68 and 69:
Is Iphigenia's sacrifice also a det
Page 70 and 71:
L Richardson preserves the essentia
Page 72 and 73:
is addressed to his family: Who wis
Page 74 and 75:
k. gos definitively. However, in a
Page 76 and 77:
But, the people do not accept Aegis
Page 78 and 79:
Chorus: ...But I, since Heaven's wi
Page 80 and 81:
cause them problems. But, when Agam
Page 82 and 83:
...Acting on -it, Apollo has introd
Page 84 and 85:
forces and has no choice: The world
Page 86 and 87:
i threatened by our poet's sword. (
Page 88 and 89:
i identified with the deeds of the
Page 90 and 91:
pretty and highly sensitive girl of
Page 92 and 93:
etween two terms: crowd and people.
Page 94 and 95:
i tive forces is not reached; the r
Page 96 and 97:
You're wiser than I was. I knew wha
Page 98 and 99:
In the last scene of the play, Cass
Page 100 and 101:
Cassandra: 91 ...there is only one
Page 102 and 103:
8 WELLWARTH, p.18. 9 FUNK & Wagnall
Page 104 and 105:
values of Argive society after the
Page 106 and 107:
everywhere. 8 This new political ph
Page 108 and 109:
tions of every type since ancient G
Page 110 and 111:
101 the humanitarian principle. But
Page 112 and 113:
103 the same way under certain cond
Page 114 and 115:
105 4.2. THE AMERICAN REVOLUTION AN
Page 116 and 117:
107 nature and should be overthrown
Page 118 and 119:
his powers unwisely. 109 These four
Page 120 and 121:
Ill terized by strong opposition to
Page 122 and 123:
113 Toynbee also emphasizes the rol
Page 124 and 125:
115 movement which rules the world
Page 126 and 127:
1 2 THUCYDIDES, p.351. 1 3 JAEGER,
Page 128 and 129:
119 34 Neither of these parties fin
Page 130 and 131:
5. RICHARDSON'S VIEW OF HISTORICAL
Page 132 and 133:
the former quality reigns unchallen
Page 134 and 135:
125 ance and does not follow the ki
Page 136 and 137:
victory of his order. 127 Agamemnon
Page 138 and 139:
129 thus' policy is his lack of con
Page 140 and 141:
131 would be worthwhile. He has man
Page 142 and 143:
133 life. k It is interesting to ob
Page 144 and 145:
to do. One is idealistic, the other
Page 146 and 147:
137 reason for Aegisthus 1 resolve
Page 148 and 149:
139 is oppressive and tyrannical, u
Page 150 and 151:
141 in the political structures of
Page 152 and 153:
NOTES 1 DEBUSSCHER, Gilbert. Modern
Page 154 and 155:
145 leader, the participation of pe
Page 156 and 157:
147 of political and historical ins
Page 158 and 159:
I elemento essencial de sua estrutu
Page 160 and 161:
151 DEBUSSCHER, Gilbert. Modern Mas
Page 162 and 163:
153 POUILLON, Jean. 0 Tempo no Roma
Page 164 and 165:
i Clytemnestra APPENDIX CHARACTERS
Page 166:
i 157 argument because Pylades does
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