1. American playwrights have made enormous contributions
American Drama
Introduction
American playwrights have made enormous contributions
to world of drama during the last century, and their works are widely read and performed.

2. At the turn of the 20th century American drama pointed the way from a separation from the 19th century theatricality. It made its tentative attempt to place realistic plays on the American stage.
There were other dramatists before the 20th century, but European work strongly influenced their writing. None of the artists of that time even approached greatness.

3. During the 1920s the extravagant spending and general license of the boom period encouraged the use of the Broadway theater as upper class entertainment.
But the Little Theater Movement began around the beginning of World War I as a revolt against the formulaic conventions of the commercial theater.
Small groups of amateurs throughout the country were enthusiastic to present native plays, the shorter and simpler the better.
During the postwar years, there were over a thousand little theaters across the country.
It is said that the most evident impact of the Depression in American literature was made not on the printed page but in the little theaters.

4. Eugene O’Neil was the founder of modern American drama.

5. II. Major Writers and their works
Eugene O'Neill ( )
Eugene O'Neill ( ) is unquestionably America's greatest playwright. He won the Pulitzer Prize four times and was the only dramatist ever to win a Nobel Prize (1936). He is widely acclaimed "founder of the American drama." 　　His life and writing career: O'Neill was born in New York on October 16, 1888 into a theatrical family. He grew up in New London, Connecticut, and spent his early years with his parents on theatrica1 road tours. He received university education for one year and later traveled all over the world. He avidly read up on dramatic literature, and cultivated an interest in play writing. In 1914, he attended Professor George Pierce Baker's drama workshop at Harvard, where his career as a dramatist began. Since then, O'Neill had been wholly dedicated to the mission as a dramatist.

6. His major plays:
O'Neill wrote and published about forty-nine plays altogether of various lengths.
He wrote some one-act melodramatic plays at first, including Bound East for Cardiff (1916), which describes the dying sailor Yank and his dream about the security and peace which could never exist.
O'Neill's first full-length play, Beyond the Horizon, made a great hit and won him the first Pulitzer Prize. Its theme is the choice between life and death, the interaction of subjective and objective factors.
This theme is dramatized more explicitly in Anna Christie (1921). Anna Christie is more of a success; it deals with O'Neill's personal vision, showing the audience that life is a closed circle of possibi1ities from which it is impossible to escape.

7. Between 1920 and 1924 came his prominent achievements in symbolic expressionism:
The Emperor Jones (1920), The Hairy Ape (1922), All God's chillun Got Wings (1924), and Desire Under the 　Elms (1924). These plays are daring forays into race relations, class conflicts, sexual bondage, social critiques, and American tragedies on the Greek model.
What is more, the expressionistic techniques are used in these plays to highlight the theatrical effect of the rupture between the two sides of an individual human being, the private and the public. Built on the success of these expressionistic experimentations, O'Neill reached out to extend his mastery of the stage and worked up to the summit of his career. He concerned himself with some non--realistic forms to contain his tragic vision in a number of his plays, such as The Great God Brown (l926), which fuses symbolism, poetry, and the affirmation of a pagan idea1ism to show how materialistic civilization denies the life--giving impulses and destroys the genuine artist, and Lazarus Laughed (1927), which makes full use of the Bible, Greek choruses, Elizabethan tirades, expressionist masks, populous crowd scenes, and orchestrate laughter.

8. With the winning of the third Pulitzer Prize for Strange Interlude (l928), O'Neill consolidated his experience of two decades of playwriting and paved the way to the honor of the Nobel Prize in 1936.

9. Late in his life, he produced the best and greatest plays of the modern American theater. The Iceman Cometh (l946) proves to be a masterpiece in the way it is a complex, ironic, deeply moving exploration of human existence, written out of a profound insight into human nature and constructed with tremendous skill and logic. Long Day's Journey Into Night (1956) can be read autobiographically. However, like most great works of literature, the play reaches beyond its immediate subject, dedicated not only to the life of the American family, but also "to the life of Man, to Life itself." As a product of hard-won art, Long Day's Journey Into Night has gained its status as a world classic and simultaneously marks the climax of O'Neill's literary career and the coming of age of American drama.

10. Arthur Miller (1915- )
New York-born dramatist-novelist-essayist-biographer Arthur Miller reached his personal pinnacle in 1949 with Death of a Salesman, a study of man's search for merit and worth in his life and the realization that failure invariably looms. Set within the Loman family, it hinges on the uneven relationships of father and sons, husband and wife. It is a mirror of the literary attitudes of the 1940s -- with its rich combination of realism tinged with naturalism; carefully drawn, rounded characters; and insistence on the value of the individual, despite failure and error. Death of a Salesman is a moving paean to the common man -- to whom, as Willy Loman's widow eulogizes, "attention must be paid." Poignant and somber, it is also a story of dreams. As one character notes ironically, "a salesman has got to dream, boy. It comes with the territory."

11. Death of a Salesman, a landmark work, still is only one of a number of dramas Miller wrote over several decades, including All My Sons (1947) and The Crucible (1953). Both are political -- one contemporary, and the other set in colonial times. The first deals with a manufacturer who knowingly allows defective parts to be shipped to airplane firms during World War II, resulting in the death of his son and others. The Crucible depicts the Salem (Massachusetts) witchcraft trials of the 17th century in which Puritan settlers were wrongfully executed as supposed witches. Its message, though -- that "witch hunts" directed at innocent people are anathema in a democracy -- was relevant to the era in which the play was staged, the early 1950s, when an anti- Communist crusade led by U.S. Senator Joseph McCarthy and others ruined innocent people s lives.

12. Tennessee Williams (1911-1983)
Tennessee Williams, a native of Mississippi, was one of the more complex individuals on the American literary scene of the mid- 20th century.

13. His work focused on disturbed emotions and unresolved sexuality within families -- most of them southern. He was known for incantatory repetitions, a poetic southern diction, weird Gothic settings, and Freudian exploration of sexual desire

14. . One of the first American writers to live openly as a homosexual, Williams explained that the sexuality of his tormented characters expressed their loneliness. His characters live and suffer intensely.

15. Williams wrote more than 20 full-length dramas, many of them autobiographical. He reached his peak relatively early in his career -- in the 1940s -- with The Glass Menagerie (1944) and A Streetcar Named Desire (1947). None of the works that followed over the next two decades and more reached the level of success and richness of those two pieces.

16. Cat on a Hot Tim Roof

17. One of Williams’ best-known works, the play won the Pulitzer Prize for Drama in 1955, has been restaged several times since, and was adapted into an acclaimed 1958 motion picture.

18. The theme of the play is mendacity, a word Brick uses to describe his disgust with the world. Moreover, it revolves around the lies in the aging and decaying Southern society. With one exception, the entire family lies to Big Daddy and Big Mama, as does the doctor. Big Daddy lies to his wife.