<?xml version="1.0" encoding="utf-8"?>
<article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" article-type="research-article" dtd-version="1.2" xml:lang="en">
  <front>
    <journal-meta>
      <journal-id journal-id-type="publisher-id" xml:lang="en">Literature of the Americas</journal-id>
      <journal-title-group>
        <journal-title>Literature of the Americas</journal-title>
      </journal-title-group>
      <issn publication-format="print">2541-7894</issn>
      <issn publication-format="electronic">2542-243X</issn>
      <publisher>
        <publisher-name xml:lang="en">IWL RAS</publisher-name>
      </publisher>
    </journal-meta>
    <article-meta>
      <article-id pub-id-type="doi">https://doi.org/10.22455/2541-7894-2024-116-390-411</article-id>
      <article-categories>
        <subj-group subj-group-type="article-type" xml:lang="en">
          <subject>Research Article</subject>
        </subj-group>
        <subj-group subj-group-type="heading" xml:lang="en">
          <subject>Articles</subject>
        </subj-group>
      </article-categories>
      <title-group>
        <article-title>Eugene O’Neill’s Long Day’s Journey into Night across the North and South America</article-title>
      </title-group>
      <contrib-group/>
      <pub-date pub-type="collection">
        <year>2024</year>
      </pub-date>
      <permissions>
        <copyright-statement>Copyright © 2026, IWL RAS</copyright-statement>
        <copyright-year>2026</copyright-year>
      </permissions>
      <abstract>This article is focused on the reconstruction of major stage productions based on Eugene O’Neill’s autobiographical play Long Day’s Journey into Night (1941). The author reviews the American tragedy staged by Latin American directors Jose Quintero (Helen Hayes Theatre, New York, 1956) and Luciano Suardi (Teatro San Martin, Buenos Aires, 2023). Special attention is paid to the first screen version of the play (directed by Sidney Lumet, USA, 1962) and its last staging on Broadway (directed by Jonathan Kent, American Airlines Theatre, New York, 2016). Also under scrutiny are Eugene O’Neill’s private correspondence with the Spanish translator of his plays Leon Mirlas and the negotiations held between director Elia Kazan and playwright’s widow Carlotta Monterey O’Neill. For the first time in the history of Russian theatre studies we see an attempt to identify the causes for a failed U.S. Premiere of O’Neill’s tragedy in 1956 under Kazan’s direction.</abstract>
    </article-meta>
  </front>
  <back>
    <ref-list>
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  </back>
</article>
