Lillian Hellman by Doris V. Falk, and: Lillian Hellman by Katherine Lederer, and: Rachel Crothers by Lois C. Gottlieb (review)

Modern Drama ◽  
1981 ◽  
Vol 24 (3) ◽  
pp. 379-384
Author(s):  
Mark W. Estrin
Keyword(s):  
Lillian Hellman ◽  
Rachel Crothers

The Evolution of American Dramatic Realism

2019 ◽  
pp. 505-526
Author(s):  
Eileen J. Herrmann
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Tennessee Williams ◽  
Arthur Miller ◽  
American Drama ◽  
August Wilson ◽  
David Mamet ◽  
Sam Shepard ◽  
Rachel Crothers ◽  
Susan Glaspell

Realism in American drama has proved its resiliency from its inception at the end of the nineteenth century to its transformation into modern theater in the twentieth century. This chapter delineates the evolution of American realistic drama from the influence of European theater and its adaptation by American artists such as James A. Herne and Rachel Crothers. Flexible enough to admit the expressionistic techniques crafted by Susan Glaspell and Eugene O’Neill and leading to the “subjective realism” of Tennessee Williams and Arthur Miller, realism has provided a wide foundation for subsequent playwrights such as David Mamet, August Wilson, and Sam Shepard to experiment with its form and language.

Lillian Hellman: The fiction of autobiography

Gender Issues ◽  
2003 ◽  
Vol 21 (1) ◽  
pp. 78-83 ◽  
Author(s):  
Justus Reid Weiner
Keyword(s):  
Lillian Hellman

Lillian Hellman

1944 ◽  
Vol 33 (10) ◽  
pp. 519
Author(s):  
Barrett H. Clark
Keyword(s):  
Lillian Hellman

Lillian Hellman, Playwright.

1973 ◽  
Vol 45 (2) ◽  
pp. 312
Author(s):  
Thomas F. Marshall ◽  
Richard Moody
Keyword(s):  
Lillian Hellman

Truth and not truth: an analysis of some plays of Lilian Hellman

1982 ◽  
Vol 3 (1) ◽  
pp. 167
Author(s):  
Maria José Ferreira
Keyword(s):  
Moral Conflict ◽  
American Theatre ◽  
Lillian Hellman

Lillian Hellman's remarkable presence in the American theatre has roused several works about her production and her life. The approaches have been different, varying from plot, action, and structure, to social nrotest, moral conflict, and economic struggle. The intention of this study is to analyse different aspects of the truth in some plays of Lillian Hellman. It calls our attention to the fact that, in each play, the cataclysm that emerges has its origin not in the most important characters, but in the minor ones: those who seldom appear (most of them appear a little at the beginning and a little at the end of the play), or those who are inactive during the greater part of the play, or those who are not the total center of attention. They are responsible for the dénouement proper, and this dénouement has some relation to truth: either by its presence or by its absence.

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