Ebook Mourning Becomes Electra: A Trilogy
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Mourning Becomes Electra: A Trilogy
Ebook Mourning Becomes Electra: A Trilogy
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Mourning Becomes Electra is a play cycle written by American playwright Eugene O'Neill. The play premiered on Broadway at the Guild Theatre on 26 October 1931 where it ran for 150 performances before closing in March 1932. Wikipedia
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Product details
Hardcover
Publisher: Horace Liveright Inc.; 6th printing edition (1931)
ASIN: B000TUQ5A0
Average Customer Review:
3.4 out of 5 stars
5 customer reviews
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My title says it all. O'Neill was an important transitional figure, between the predictable melodramas popular at the turn of the century, and the later work of playwrights such as Miller and Williams. But this 1931 work doesn't pass the test of time. It is very long--he envisioned the 61/2 hour play to be shown three nights consecutively, the dialogue is labored, and Oedipal/Freudian allusions are overwrought, silly (Freud was the rage back then). O'Neill intended to write a modern version of a Greek tragedy by Aeschylus, but a friend who read the original by said its writing is better.
Drama set after Civil War, hard to believe it was written in 1931.
Eugene O'Neill (1888-1953) is generally considered the greatest American playwright of the 20th Century. Today casual readers and playgoers are most likely to know his work through two plays written in the early 1940s: the celebrated The Iceman Cometh and the Pulitzer Prize-winning Long Day's Journey Into Night. But the great bulk of O'Neill's work was done between about 1914 and 1933--and although the power of his later work is undeniable, it was actually his earlier work that led to his 1936 Nobel Prize for Literature.O'Neill's 1920s plays include a host of classics and near-classics such as Anna Christie, The Emperor Jones, Desire Under the Elms, and Strange Interlude, but he reached a new peak in theatre with the 1931 production of Mourning Becomes Electra. Long fascinated by the power of ancient Greek drama (traces of which show in earlier works), O'Neill based his play on Aeschylus' Orestia. But while O'Neill borrows both the story and numerous devices from ancient Greek theatre, he is no slave to either plot or style: he transposes the tale to post-Civil War New England, where the ancient tale of incestuous love, revenge, murder, and insanity plays out with a ferocity to rival the original.Mourning Becomes Electra also rivals the original in length: it has a performance time of some six hours. In the original 1931 Theatre Guild production, which starred Alice Brady and the legendary Alla Nazimova, the first curtain rose at 4:00 pm in the afternoon and with intermissions the play continued until about 11:00 pm. In spite of the tremendous demand the play made on its audience, it proved a resounding success--and although it is now sometimes played over the course of three nights instead of in a single marathon performance, it continues to be revived with great success to this day.With such a long running time, it need hardly be said the story is complex--but like many O'Neill dramas it is more complex in character, psychology, and emotion than in actual plot. The Mannon family has dominated their small New England town for several generations and in the process has become tainted by a devotion to perceived duty that actually masks unnatural desires and devotions between members of the family. The story opens as a duel between mother Christine Mannon and daughter Lavinia: in husband Ezra's absence during the Civil War, Christine has embarked upon a love affair with her husband's cousin. Motivated by her unnatural emotional bond with her father, unnatural jealousy of her mother, and her need to keep up family appearances, Lavinia attempts to blackmail Christine into ending the affair. But her blackmail is miscalculated: it precipitates a cycle of confrontation, revenge, murder, and suicide that sprawls in remarkable melodramatic, psychological, and symbolic glory over the course of thirteen acts.This is truly an extraordinary play, and one that should be read (and if at all possible seen) by any one seriously interested in theatre arts. Even so, I hesitate to recommend it (or any O'Neill script for that matter) to readers who lack a strong background in theatre. On the printed page, O'Neill's dialogue frequently seems flat and his constructions have an awkward feel--qualities that are not apparent when his works are well performed. And although O'Neill is usually very specific about stage design and stage business, it is often extremely difficult for the novice to envision what his plays are like when they are actually before an audience. Consequently, inexperienced playreaders are likely to find his work very challenging indeed. But in a very real sense, and in spite of these challenges, Mourning Becomes Electra is an experience that should not be missed. Strongly recommended.GFT, Amazon Reviewer
A family with Oedipus and Electra complexes abounding is doomed to repeat the recurring love/hate relationships which were the foundation of their family. Each attempts to get from family the kind of love they should get from lovers, and as a result none can build on a healthy foundation that a family connection should afford them. The cycle of the family is a predictable recurring dysfunction that the characters nevertheless seem powerless to stop. In a way, each character becomes his ancestor and repeats the misfortunes that happened in a previous lifetime, destined to repeat history because they have not learned from it.
O'Neill's drama is built on Aeschylos' "Oresteia". The Greek drama is about murder and retribution in Agamemnon's family. As the leader of the victorious Greek army returns from the Trojan War, his unfaithful wife, Clytemnestra, makes her lover, Aegisthos, slay her husband. The children, Electra and Orestes, take it upon themselves to revenge this murder: Orestes kills his mother and the usurper. Finally, since Orestes is haunted by the ghosts of his guilty conscience, the moral and legal case has to be decided, which crime is worse, Clytemnestra's or Orestes' - and the gods decide in Orestes' favour.O'Neill did not only use the "Oresteia" as his blueprint, but also the psychoanalytical theory of Dr Freud, who borrowed some of his central terms from Greek mythology. O'Neill deviated from Aeschylos (see below), where he followed Freud closely:The drama plays in 1865/66. General Ezra Mannon (Agamemnon) has returned from the Civil War, his wife Christine (Clytemnestra) hates him because to her he is a hardened, unfeeling male chauvinist and her daughter Lavinia (Electra) blindly hates her mother, as she loves her father. Ezra is prepared to be a better man now but his wife can't forgive him. Knowing that he has a weak heart she brutally tells him that she has a lover, and when his expected heart attack begins, she gives him poison. As soon as Orin (Orestes) has eliminated his mother's lover and Christine has committed suicide, Lavinia transforms herself into her mother in her looks and behaviour because, of course, she envied her and wanted to take over her role. Orin is an especially pitiful case. Whereas in the Greek drama he is able to act firmly and find redemption, here he is a neurotic weakling and perishes, for, of course, since Lavinia changes perceptibly into her mother, he begins to lust for her (having had no success with his mother as long as she was alive), and as Lavinia doesn't comply with his wishes, Orin can't bear it any longer and kills himself. Lavinia feels that life or sexual fulfilment are not for her, and so she locks herself up in their house for the rest of her life: the dead prove to be stronger than the living.On the whole O'Neill 's trilogy is full of blood, horror, gloom and depression, but it is no longer a tragedy. The Greek drama played a public role in classical Athens - politically, religiously, morally - and since the gruesome events took place on the state level, were carried out by public representatives and supported or hindered by the gods, they carried weight and universal meaning. O'Neill restricts the gruesome events to the personal sphere, where they appear as macabre. Tragedy is turned into melodrama which doesn't shatter you any more nor does it concern you very much, as the "Oresteia" concerned the spectators in Athens and might still concern spectators today. By adhering to Freud's ideas O'Neill sacrifices poetic truth. Feelings are too often expressed too directly and explicitly, as if taken from the psychological handbook. More often than not one cannot help feeling that his drama could easily be turned into a comic strip or a parody, it is simply too unlikely. I guess this depressing parable about sexual frustration is not so symptomatic of the time (1931), when it was written, as it is of O'Neill's troubled mind.
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