Eugene O’ Neill (1888-1953), was very successful on the professional level but his life was a failure (fallimento) as he had drinking problems, difficult relationships (he had several wives) and diseases (malattie). In 1943, O’Neill also disowned (diseredò) his daughter Oona for marrying the English actor, director and producer Charlie Chaplin when she was 18 and Chaplin was 54. He never saw Oona again. He also had distant relationships with his sons, Eugene O’Neill Jr., a Yale classicist (classicista) who suffered from alcoholism, and committed suicide in 1950 at the age of 40, and Shane O’Neill, a heroin addict (drogato) who also committed suicide. In 1936 he received the Nobel Prize for Literature. O’Neill died in
, on November 27, 1953. O’Neill was part of the modern movement to revive (ripproporre) the classical heroic mask (maschera eroica) from ancient Greek theatre and was influenced by the Japanese Noh theatre in some of his plays. He was also very interested in the Faust theme, especially in the 1920s. In Strange Interlude (Pulitzer Prize 1928) O’Neill experimented with the stream of consciousness technique to depict (descrivere) internal conflicts on the stage. Mourning Becomes Electra(1931) is an adaptation of the Greek theme of the Oresteia, a trilogy of plays by Aeschylus. AlsoO’Neill’s tragedy is made of three plays – Homecoming(il ritorno), The Hunted (la preda), and The Haunted (il perseguitato) – never produced individually; each of them contains four to five acts and involves (coinvolgono) a lot of characters. In 1956, three years after his death, his autobiographical masterpiece (capolavoro) Long Day’s Journey Into Night was published and produced on stage to incredible critical acclaim (richiamo). It won the Pulitzer Prize in 1957 and is now considered to be his finest play. It chronicles a day in the life of the Tyrone family, during which family members inexorably confront one another’s mistakes and failures (errori e fallimenti).