論文摘要

1936年諾貝爾文學獎得主尤金歐尼爾在其戲劇生涯中實驗了各種戲劇技巧和哲學觀念，創造出形式和內容多樣的作品。他積極的參與小劇場運動，因此商業戲劇也逐漸受到挑戰。歐尼爾將現代戲劇帶進美國戲劇之中，也填補了美國戲劇和歐洲戲劇的鴻溝。此外，歐尼爾也影響了中國現代話劇，吸引了為數不少的劇作家。

本篇論文第一章介紹了歐尼爾介紹至中國的背景。歐尼爾在他的幾部劇作中顯露道家哲學的淵源，尤其是《馬可百萬》。此外，中國劇作家也對歐尼爾的劇作深感興趣。因此，歐尼爾劇作的翻譯和演出不斷的出現，歐尼爾也成為最受中國讀者喜愛的外國劇作家之一。

第二章主要探討歐尼爾對洪深的影響。洪深的《趙閻王》主要是模仿歐尼爾的《瓊斯皇》而來。本文將從表現主義戲劇技巧和寫實的社會層面探討兩部劇作的關係。第三章和第四章則探討歐尼爾對曹禺的影響。《趙閻王》影響了曹禺的《原野》，《榆樹下的慾望》則影響了《雷雨》。儘管曹禺不願承認受到歐尼爾的影響，然而無庸置疑曹禺融入了許多歐尼爾技巧來從事他的戲劇創作。寫實劇《原野》中就有許多的表現主義技巧。第四章則探討曹禺在《雷雨》中對亂倫的處理，此劇深受其美國原型《榆樹下的慾望》的影響。

最後，本文將呈現尤金歐尼爾透過道家哲學的淵源和中國劇作家對他的模仿在中美文化交流上所扮演的重要角色。

Abstract
Eugene O’Neill, the Nobel Prize laureate for Literature in 1936, has throughout his dramatic career experimented with various dramatic techniques and philosophical ideas and produced works that are diversified in form and content. His active involvement in the Art Theatre Movement caused American theatre to be taken seriously; therefore, commercialism in the American theater was gradually challenged by the experimentalism of the Art Theatre Movement. In a way, O’Neill brought modern drama into American theatre and bridged the gap between American drama and European drama. In addition, he exerted a profound influence on the Chinese spoken drama by attracting a number of Chinese playwrights.

In Chapter One, I would like to illustrate the background against which the American playwright is introduced to China. Above all, O’Neill exhibits an affinity with the Chinese Taoist philosophy in several of his plays, particularly in Marco Millions. In addition to O’Neill’s interest in the Taoist philosophy, China also takes an interest in his plays. Consequently, translations and performances of his plays flourished in China, making O’Neill one of the favorite foreign dramatists among Chinese readers and theatergoers.

In Chapter Two, I will focus on O’Neill’s influence on the Chinese playwright Hong Shen. Hong Shen has modeled his play, The Yama Chao, or Chao – The King of Hell, on O’Neill’s expressionist play, The Emperor Jones. Both plays will be compared in terms of the expressionistic technical devices and realistic social dimension to illustrate their analogy.

In Chapters Three and Four, I will discuss O’Neill’s impact upon Cao Yu, another prominent Chinese playwright of the spoken drama. O’Neill’s The Emperor Jones and Desire Under the Elms have considerably influenced Cao Yu’s two plays – The Wilderness and Thunderstorm, respectively. Though reluctant to acknowledge his indebtedness to the American playwright, Cao Yu has unquestionably assimilated many O’Neillian elements into his own dramatic creation. I will then attempt to explore how Cao Yu incorporates the expressionistic skills into his realist play in Chapter Three. Chapter Four will deal with Cao Yu’s handling of the incest theme in Thunderstorm, which is heavily indebted to the American prototype – Desire Under the Elms in order to reveal their parallels.

Finally, I will demonstrate how the great American playwright plays a significant role in the cultural communication between China and the United States through O’Neill’s connection with the Chinese Taoist philosophy and the Chinese playwrights’ emulation of this American dramatist.

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