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Between Absence and Presence: The Female's Position and Possession in Eugene O'Neill'sThe Iceman Cometh | ||
| Journal Of Al-Frahids Arts | ||
| Article 1, Volume 0, Issue 1, 2017, Pages 21-33 | ||
| Author | ||
| Enas mohammeed Al-Samrai | ||
| Abstract | ||
| The moment the women's war dust settles, they succeed breaking the tradition to introduce a powerful voice that has changed the literary and the social scene forever. Whether the message has always been positive is controversial. But for Eugene O'Neill, the innovator who influenced the American theatre during one of its momentous periods of development, this issue is tackled from an extremely new and unique treatment. In The Iceman Cometh, one of O'Neill's most significant plays, for instance, O'Neill chose to give the most important female characters no voices of their own. He even deprived them from physical presence onstage. Actually, in an art focuses on a present action in which events are presented not narrated to an audience, this strategy – the use of the absent female – is one avenue worth exploring. Essentially, however, many plays are built round the quest for the absent male, neglecting the profound loss modern drama may play out for the absent female whose presence is always taken for granted. , in order to better understand the concept of the absent female, the female which is central to the dramatic action but never appears on the stage, one needs first to define the nature of the absent character and its unique construction in dramatic literature. This will be section one. absent mother and wife in O'Neill's The Iceman Cometh, their position and possession would be the concern of section two. Despite their absence, the male characters continue to discuss, remember and manipulate them to such an extent that these offstage female characters displace a dominant presence even in their absence. Discussion of the results of the study is found in the conclusion. | ||
| Keywords | ||
| Between Absence and Presence; in Eugene O; Neill | ||
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