Her experience as a Dramatist
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This phase is considered as the research's conclusion in which the main chapters are summarized, the answers to the questions posed in the first chapter are reviewed and findings achieved in this research are emphasized and some subjects for further research are suggested. Hellman was the first woman dramatist to be admitted to the previously all male space of the canon of American dramatic literature and that on the basis of two major successes from the 1930s which remain to this day the best known of her eight original plays: The Children's Hour (1934), which presented Hellman to theatre aud...
This phase is considered as the research's conclusion in which the main chapters are summarized, the answers to the questions posed in the first chapter are reviewed and findings achieved in this research are emphasized and some subjects for further research are suggested. Hellman was the first woman dramatist to be admitted to the previously all male space of the canon of American dramatic literature and that on the basis of two major successes from the 1930s which remain to this day the best known of her eight original plays: The Children's Hour (1934), which presented Hellman to theatre audiences and provided the longest run (691 performances) of her thirty year playwriting career; and The Little Foxes (1939), a perennial favorite with actresses that continues to be given star-studded Broadway revivals. Until it may not seem particularly surprising that these same two works, sixty years or more after their New York premieres, continue to be the focus of critical commentary on Hellman, what is somewhat ironic, though perhaps not unexpected, was that they have become the center of contention among feminist scholars, for whom their canonized position is seen as deeply problematic.
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