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This tribute honors Robards in two parts. Part One presents recent
interviews of the late actor as well as articles by Arthur and
Barbara Gelb which appeared in the New York Times on the occasions
of the American premier of Long Days Journey into Night (1956) and
of the successful production of A Moon for the Misbegotten, with
Colleen Dewhurst (1974). Part Two contains more personal
recollections of Jason Robards. Several of Robards theatrical
colleagues (Arvin Brown, Zoe Caldwell, Douglas Campbell, Blythe
Danner, George Grizzard, the playwright A.R. Gurney, Shirley
Knight, Paul Libin, Theodore Mann, Christopher Plummer, Kevin
Spacey and Eli Wallach) recall their times with the actor.
Within little more than three years of the opening of his first
successful play on Broadway, Eugene O'Neill endured the deaths of
his father, mother, and brother. These devastating losses plunged
the young playwright into a period of guilt and profound mourning
that consumed two decades of his life. In this enlightening
critical biography, deeply informed by the insights of
psychoanalysis, Stephen Black presents a new understanding of
Eugene O'Neill's life (1888-1953), from his troubled childhood and
adolescence through a glacially slow period of mourning for his
family to his ultimate emergence from the preoccupation with grief
and loss that had pervaded his life and his writings. Black argues
that O'Neill consciously and deliberately used playwriting as a
medium of self-psychoanalysis-an endeavor that led to the creation
of some of the finest American plays ever written and, eventually,
to a successful therapeutic outcome. Through close analysis of
O'Neill's plays and literary writings, some five thousand surviving
letters, other personal documents, and accounts of people who knew
him, Black reaches new conclusions about important aspects of the
playwright's life and work. He follows the slow course of O'Neill's
mourning by studying the many grieving characters in O'Neill's
plays, and when at last the playwright accepts his losses and moves
on, his characters do likewise. The changed tone and form of
O'Neill's final plays, including Hughie and A Moon for the
Misbegotten, reflect the playwright's psychological and artistic
growth and his hard-won victory over mourning and tragedy.
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