Abstract
Already in the mid-twenties O'Neill had lauded the Swedish playwright in a program note for the Provincetown Players' production of The Spook Sonata. He then declared that Strindberg was "the precursor of all modernity in our present theater" and "the greatest interpreter in the theater of the characteristic spiritual conflicts which constitute the drama — the blood — of our lives today." At about the same time he told a newspaper reporter that he considered Strindberg "the last undeniably great playwright."
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