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"Dunia O'Neill jang kita batja hampir selalu merupakan suatu lukisan jang tidak gembira dari dunia sekelilingnja. Dunia O'Neill ini adalah tempat bagi mereka jang kesepian, penuh frustrasi dan tanpa pegangan - dimana manusia menemui kegagalan untuk mengerti satu sama lain - dimana manusia mendambakan tjinta, pengertian dan simpati dimana manusia adalah korban dari kelemahan2-nja sendiri.Suasana konflik jang tak berkeputusan antara manusia dan alam sekelilingnja, antara sesama manusia dan konflik didalam diri manusia sendiri meliputi drama2-nja. Lianusia didalam karja O'Neill digambarkan sebagai machluk jang tidak berbahagia, selamanja berdjuang untuk mendapatkan suatu tempat jang pasti dan lajak didunia dan berusaha untuk memperoleh ketenteraman batin. Tetapi manusia lemah dalam menghadapi daja2 diluar dirinja dan banjak sedikitnja mereka adalah korban dari konflik2 di_dalam dirinja sendiri.Apakah sebenarnja maksud O'Neill dengan membawakan pada pembatjanja suatu dunia jang suram sebagaimana jang dilukiskan oleh drama2-nja? Apakah O'Neill bermaksud supaja kita menjadari bahwa dunia tiada lain hanja suatu perdjuangan jang sia2 untuk wentjapai kebahagiaan-konflik jang tak henti2-nja dan frustrasi - perdjuangan.

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The world that Eugene O'Neill has always tried to bring forth to us through his plays is mostly a sad one, a dark and brooding interpretation of the world. It is the world where men suffer from loneliness, frustration and a sense of insecurity - where men often fail to under-stand or communicate with each other - where men are craving for love, sympathy and understanding - where men are victims to their own weakness or flaw of character. The atmosphere of never ending conflicts between Man and Nature, between Man and Man, between Man and himself - the ever present struggle of man to escape the unpleasant realities of his life overwhelms his plays. Man in O'Neill's plays is depicted as an unhappy creature, constantly fighting for a firm stand in the world, striving to gain a feeling of security. But man is weak against the forces working outside him _and he is more or less liable to the forces working in him_his own inner conflicts. What is actually O'Neill's purpose in presenting us such a gloomy world? Does he want to make us see that this world is nothing but futile fighting for happiness - constant conflicts leading to frustration -- desperate struggle to free oneself from the clutch of Fate - that men going through the storm of life are provided with_"

"It is sometimes thought that a comedy is a play which makes us shake with laughter and that a tragedy is a play at the end of which we will have swollen eyes and lots of wet handkerchiefs. This superficial idea of comedy and tragedy is only partly true, for a comedy is not only meant to excite laughter, nor is a tragedy merely performed to make us cry. Both comedy and tragedy, especially Shakespearian comedy and tragedy are written with a purpose other than that of making us laugh or weep. T he term Shakespearian indicates a play written by William Shakespeare of Stratford-on- Avon, and since drama is in Hamlet's words to hold the mirror up to Nature, to show virtue her own feature... it should help people to see them-selves as they really are. Drama should also reveal to them their virtues and vices.Comedy has been said to be beneficial because it:1.cures us of our follies by exposing them on the stage, 2. affords us a chance to laugh at our neighbours. Heywood, cited by Northrop Frye, defines the dual function of comedy as being to reform and to refresh, by which it is clear that, aside from evoking laughter, comedy also reforms. Comedy imi_tates the joys of social life and the follies of those who stubbornly try to maintain their own ridiculous ways against society. The joy of social life is usually manifested in a wedding or a happy reunion at the end of the play. The ten_dency of comedy is to include as many people as possible in its final society, the blocking characters are more often reconciled or converted than simply repudiated."

"Skripsi ini mencoba menganalisis kekhasan tragedi batin Eugene O'Neill melalui lakonnya, The Great God Brown, dengan cara memperbandingkannya dengan konsep tragedi Wasik Aristoteles. Aristoteles menekankan alur dengan tragic actions (lakuan-lakuan tragis) sebagai pemicu efek tragis dalam tragedi. Lakuan tragis di sini mengacu kepada lakuan fisik yang menghasilkan suatu kejadian tragis yang spektakuler. Itu sebabnya Aristoteles tidak terlalu mementingkan peranan tokoh dan penokohan dalam menghasilkan efek-efek tragis. Sebaliknya tragedi khas Eugene O'Neill justru menyoroti kehidupan batin manusia. Lakuan tragis yang ditemukan terjadi di dalam batin tokoh. Untuk itu tokoh dan penokohan menjadi lebih penting daripada alur cerita. Sang tokoh ada dalam satu perjuangan menyelesaikan konflik-konflik batinnya yang membawa kepada satu tragedi batiniah. Hal ini tergambar melalui perjalanan kepribadian yang dilalui tokoh-tokoh utama lakon The Great God Brown, Dion Anthony dan Billy Brown. Konflik yang mereka alami adalah konflik-konflik batin yang timbul karena adanya suatu keterbagian kepribadian (split personality). Topeng-topeng dikenakan para tokoh untuk menggambarkan suatu kepribadian baru yang mereka kenakan. Topeng-topeng itulah yang terus-menerus bertentangan dengan kepribadian asli tokoh dan menyebabkan berbagai konflik batin. Perjuangan tokoh utama dalam lakon The Great God Brown adalah untuk menyelesaikan konflik-konflik batinnya. Satu-satunya cara untuk memenangkan pergumulan batinnya adalah dengan membuka topeng dirinya. Tapi pembukaan topeng menuntut satu bayaran yang amat mahal, yaitu keratian kepribadian tokoh. Tragedi yang dialami tokoh-tokoh tragis Eugene O'Neill adalah tragedi batiniah, yang disebabkan oleh lakuan-lakuan tragis batiniah yang membawa kepada kematian kepribadian. Hal inilah yang dialami oleh Dion Anthony dan Billy Brown. Dalam proses pembukaan topeng diri mereka, mereka berhasil mencapai kemenangan atas konflik batin mereka, namun semua itu dibayar dengan kematian kepribadian mereka. Dengan dernikian lakon ini dapat menggambarkan konsep tragedi batin khas Eugene O'Neill."

"Korpus yang digunakan dalam penelitian ini adalah dua drama O'Neill, yaitu Beyond the Horizon dan Desire Under The Elms karena dibandingkan dengan tokoh utama perempuan lain dalam semua dramanya, tokoh utama perempuan dalam kedua drama ini, Ruth Atkins dan Abbie Putnam, menimbulkan dampak yang paling destruktif, yaitu mengakibatkan kehancuran satu keluarga. Ruth Atkins dan Abbie Putnam juga memiliki satu persamaan, yaitu mereka berdua termasuk arketipe wilful woman. yaitu arketipe perempuan yang memberontak terhadap norma-norma yang berlaku dalam masyarakat patriarkal. Selain itu, kedua drama ini memiliki tema., pola dan setting yang sama., yaitu tema cinta segi tiga, kedua tokoh utama perempuan tersebut dicintai oleh dua orang laki-laki yang memiliki hubungan keluarga, dan setting di pertanian New England, Amerika, pada abad-19. Penelitian ini akan menggunakan dua buah argurnen sebagai titik tolak dalam meneliti pencitraan kedua tokoh utama perempuan tersebut, yaitu: 1. argumen arketipe citra perempuan di teater Lesley Ferris, dengan menggunakan pendekatan feminisme, bahwa arketipe wilful woman digambarkan sebagai seorang perempuan jahat dan arketipe tersebut digunakan oleh para dramawan patriarkal untuk meneguhkan norma patriarkal dalam masyarakat 2. argumen oposisi biner Marysia Zalewsky bahwa oposisi biner terdiri dari kategori maskulinitas dan femininitas. Kategori maskulinitas yang digunakan untuk laki-laki mempunyai tingkatan yang lebih tinggi dan lebih baik daripada kategori femininitas yang digunakan untuk perempuan. Sedangkan landasan teori yang akan digunakan dalam penelitian ini adalah ideologi gender the cult of true womanhood_. Hasil penelitian menunjukkan kalau O'Neill menampilkan Ruth Atkins dan Abbie Putnam sebagai korban dari ideologi gender the cult of true womanhood. Hal tersebut menunjukkan kalau O'Neill ingin memperlihatkan kekejaman masyarakat patriarkal pada abad-19 di Amerika. O'Neill juga menggunakan oposisi biner, yaitu kategori maskulinitas dan femininitas untuk menunjukkan kalau perempuan manapun yang kuat (maskulin) maupun yang lemah (feminin) dapat menjadi korban dari ideologi gender the cult of true womanhood. Kedua hasil penelitian tersebut menunjukkan kalau O'Neill ingin mengkritik ideologi gender the cult of true womanhood melalui dua karya dramanya Beyond the Horizon dan Desire Under The Elms."

"When we review the theatre in its development from the Elizabethan age to the Restoration period, we find that the playhouse changes from one exposed to the open air, dependent for its illumination on the capricious daylight and not altogether protected from the noise from outside, to one covered by a roof. In this covered playhouse, intimacy is secured. Acting took place within an enclosed space. The light of the candles used in the Restoration theatre would have provided an atmosphere of enchantment for an Elizabethan audience used to daylight performances. Whilst the attention of an Elizabethan audience might wander away from the stage-because in the bright light the spectators could see many other things besides the stage, including one another--the attention of the Restoration audience could remain focussed on the stage. We have seen that the scenery was being used on the Elizabethan masque atages and this was also adopted in the Restoration public theatre. It had not. however, yet come to represent an imitation of real life. Scenery was still only used as colourful decoration of the acting area. According to Richard Southern, this refusal to make of the stage a reproduction of reality, should not be interpreted as 'crudeness', a failure on the part of the Restoration stage managers to exploit the potentialities of the scenic stage. They deliberately kept it 'crude', because they realised the difficulties involved in giving a realistic presentation. The Restoration stage, though it included scenery, was fundamentally the same platform stage of the Elizabethan period. It was still a long way from the modern 'picture frame' stage, which often strives to give the stage an illusion of reality. It was only in the nineteenth century that in most productions the apron finally disappeared. The acting was essentially the same in both periods. We noted that the actors of both periods used the 'acted speech' technique, where the speech was also enacted physically, i.e. by gestures and facial expression. Consequently the texts written by the dramatists_"

"The appearance of Revenge Tragedy in Elizabethan Drama - Looking at the historical development of English Drama, we see that the tragic plays of the Elizabethan and Jacobean period are fre_quently concerned with revenge. Plays of this genre reflect man's tendency to defy God's beneficent will. It can be said that the revenge plays have in common a criticism of life, and are in a way a warning to men to choose good rather than evil. The dramatic theme of revenge proved to be popular in the late sixteenth and early seventeenth centuries, because it appeal_ed to the Elizabethan and Jacobean taste for Grand Guignol 1/ - a taste shared by some cinema and theatrical audiences today. Apart from this, Elizabethan and Jacobean playgoers were very eager to witness the revelation of peculiar states of mind and these could nowhere be seen except in plays of this kind.Foreign elements - The Elizabethan and Jacobean plays of revenge are not however entirely original in conception. Their authors_"

"George Orwell 1903-1933-1950 Tulent is judged in different ways in different times. Hisconteporaries did not think much of George Orwell, because he was , they said fish nor meat. His writings were, not of any value for the right neither for the, Left. Re-evaluaions of his works in magazines like the Illustrated London News','The Listener','Guardian Weekly', 'Sunday Time'.,'Time','Newsweek' have brought him in the limelight recently.The following data are collected from clippings from magazines found at, random, besides fro the only biography available in Djakarta, 'Tom Hopkinson's pamflet on Orwell written for the British Council. The Man Eric Blair,born at Motihari Bengal, in 1903, was the son of a miner official in the Indian Customs who retired on a small pension when his son was a few years old.(1912) Where were also two daughters, one older and one younger than the boy. Richard Blair,who died at the age of 82 at Southwold,Suffolk,was remombered by his son, who disliked him, as a gruff-voiced elderly man forever saying''don't.Ida Blair, his wife,was the only person Eric loved, yet he was too shy to trust her hisreal feelings.This may accout for the loneliness,the cut-off-fro others' feeling that has haunted him his wole life.Eric Blair becameGeorge Orwell in 1933 on publication of his book'Down and out in Paris and London'. He was very classcoscious and with typical precision he classified his family as lower-upper-middle-class_."