Eugene O'NeillEugene O'Neill is the great figure of American theater. His numerous plays combine enormous technical originality with freshness of vision and emotional depth. O'Neill's earliest dramas concern the working class and poor; later works explore subjective realms, such as obsessions and sex, and underscore his reading in Freud and his anguished attempt to come to terms with his dead mother, father, and brother. His play Desire Under the Elms (1924) recreates the passions hidden within one family; The Great God Brown (1926) uncovers the unconsciousness of a wealthy businessman; and Strange Interlude (1928), a winner of the Pulitzer Prize, traces the tangled loves of one woman. These powerful plays reveal different personalities reverting to primitive emotions or confusion under intense stress.
O'Neill continued to explore the Freudian pressures of love and dominance within families in a trilogy of plays collectively entitled Mourning Becomes Electra (1931), based on the classical Oedipus trilogy by Sophocles. His later plays include the acknowledged masterpieces The Iceman Cometh (1946), a stark work on the theme of death, and Long Day's Journey Into Night (1956) - - a powerful, extended autobiography in dramatic form focusing on his own family and their physical and psychological deterioration, as witnessed in the course of one night. This work was part of a cycle of plays O'Neill was working on at the time of his death.
O'Neill redefined the theater by abandoning traditional divisions into acts and scenes (Strange Interlude has nine acts, and Mourning Becomes Electra takes nine hours to perform); using masks such as those found in Asian and ancient Greek theater; introducing Shakespearean monologues and Greek choruses; and producing special effects through lighting and sound. He is generally acknowledged to have been America's foremost dramatist. In 1936 he received the Nobel Prize for Literature -- the first American playwright to be so honored.