Th-century American drama

A merican drama imitated English and European theater until well into the 20th century. Often, plays from England or translated from European languages dominated theater seasons. An inadequate copyright law that failed to protect and promote American dramatists worked against genuinely original drama. So did the "star system," in which actors and actresses, rather than the actual plays, were given most acclaim. Americans flocked to see European actors who toured theaters in the United States. In addition, imported drama, like imported wine, enjoyed higher status than indigenous productions. 
During the 19th century, melodramas with exemplary democratic figures and clear contrasts between good and evil had been popular. Plays about social problems such as slavery also drew large audiences; sometimes these plays were adaptations of novels like Uncle Tom's Cabin. Not until the 20th century would serious plays attempt aesthetic innovation. Popular culture showed vital developments, however, especially in vaudeville (popular variety theater involving skits, clowning, music, and the like). Minstrel shows, based on African-American music and folkways -- performed by white characters using "blackface" makeup -- also developed original forms and expressions.


 Eugene O'Neill (1888-1953) 


Eugene 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.

Tennessee Williams ( Thomas Lanier Williams III) (1911 – 1983)

Williams established himself as a recognized playwright in the wake of World War II, during which Modernist deconstructions of literature were flourishing. In late 1947, Williams’ play A Streetcar Named Desire premiered, securing his position as a major American playwright. Streetcar served as a somewhat monumental contribution to American theater: following a Modernistic trend, in which the laws and conventions of literature are bent and questioned, Streetcar eschewed a generic restriction, and served simply to reflect American habits and motivations.

An eloquently symbolic poet of the theater, Williams is noted for his scenes of high dramatic tension and for his brilliant, often lyrical dialogue. Williams is perhaps most successful in his portraits of the hypersensitive and lonely Southern woman, such as Blanche in Streetcar, clutching at life, particularly at her memories of a grand past that no longer exists.

Though Streetcar is Williams’ most famous and groundbreaking project, his other works, including The Rose Tattoo, The Glass Menagerie, and the Pulitzer-prize winning Cat On A Hot Tin Roof, demonstrate a similar devotion to American ideals and realistic human nature. Essentially, Williams’ canon of work emerged not as an attempt to follow literary patterns, but rather, as an honest and thorough depiction of human nature in America — not surprisingly, his efforts became an icon of American theater as a whole.

The Glass Menagerie (1945)

A Streetcar Named Desire (1947)

Edward Albee (1928-)

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