美國文學-戲劇-American-Drama課件

AmericanDramaDrama,literatureintendedforperformance,writtenbyAmericansintheEnglishlanguage.AmericandramabeginsintheAmericancoloniesinthe17thcenturyandcontinuestothepresent.1.Britishinfluence:MostAmericanplaysofthe18thand19thcenturiesstronglyreflectedBritishinfluence.AmericandramahadbeguntodivergefromBritishdramabythetimeofAndrewJackson’spresidency,from1828to1836.

Britishplays,whichtypicallyreflectedtheattitudesandmannersoftheupperclasses,werebytheninconflictwithmoreegalitarianAmericanvalues.BritishinfluencecontinuedandmostAmericanplayscopiedBritishmodelsuntiltheearly20thcentury.ForthisreasonsomecriticsclaimthatAmericandramawasnotbornuntiltheendof

WorldWarI(1914-1918).2.RealismdominatedAmericandrama:Bytheendofthe19thcenturyAmericandramawasmovingsteadilytowardrealism,illuminatingtheroughorseamysideoflifeandcreatingmorebelievablecharacters.Realismremainedthedominanttrendofthe20thcenturyinbothcomediesandtragedies.AmericandramaachievedinternationalrecognitionwiththepsychologicalrealismofplaysbyEugeneO’Neillandtheirsearinginvestigationofcharacters’innerlives.Asthecenturyadvanced,thenumberoftopicsconsideredsuitablefordramabroadenedtoencompassrace,gender,sexuality,anddeath.TheModernEra:The20thCenturyandBeyond

Realismcontinuedtobeaprimaryformofdramaticexpressioninthe20thcentury,evenasexperimentationinboththecontentandtheproductionofplaysbecameincreasinglyimportant.SuchrenownedAmericanplaywrightsasEugeneO’Neill,TennesseeWilliams,andArthurMillerreachedprofoundnewlevelsofpsychologicalrealism,commentingthroughindividualcharactersandtheirsituationsonthestateofAmericansocietyingeneral.Asthecenturyprogressed,themostpowerfuldramaspoketobroadsocialissues,suchascivilrightsandtheAIDScrisis,andtheindividual’spositioninrelationtothoseissues.IndividualperspectivesinmainstreamtheaterbecamefarmorediverseandmorecloselyreflectedtheincreasinglycomplexdemographicsofAmericansociety.FromWorldWarItoWorldWarII:1914-1939

WithWorldWarI,EuropeandevelopmentsinmoderndramaarrivedontheAmericanstageinforce.AhostofAmericanplaywrightswereintentonexperimentingwithdramaticstyleandformwhilealsowritingserioussociopoliticalcommentary.FromthistimeforwardBritain’sinfluence,althoughneverabsent,becamemuchlessimportanttoAmericandrama.OneofthefirstgroupstopromotenewAmericandramawastheProvincetownPlayers,foundedin1915inProvincetown,Massachusetts.TheplayTrifles(1916)bySusanGlaspell,asubtlestudyinsexism,wasamongitsfirstproductions.ThecompanywasheadedbyGlaspell’shusband,GeorgeCramCook,butitsstarwasEugeneO’Neill,themostexperimentalofAmericanplaywrightsinthe1920s.O’Neill’sTheHairyApe(1922)wasoneofthefirstplaystointroduceexpressionisminAmerica.Expressionismwasamovementinthevisual,literary,andperformingartsthatdevelopedinGermanyintheearly20thcentury,inpartinreactionagainstrealism.Expressionismemphasizedsubjectivefeelingsandemotionsratherthanadetailedorobjectivedepictionofreality.TheHairyApedepictsarejectedshiplaborer(stoker)whofeelshebelongsnowhereuntilheconfrontsanapeinazoo.Hesetsthecagedanimalfreeonlytobedestroyedbyit.AmericanexpressionismwasdistinguishedfromitsGermanforebearsbyasearchingfocusontheinnerlifeofthecentralcharacter,whosedetaileddepictionisinstarkcontrasttoallothercharacters.ThemostfamousexampleofAmericanexpressionismisTheAddingMachine(1923)byElmerRice,aplaythatfocusesontheemotionaljourneyoftheleadingcharacter,Mr.Zero,afterheisreplacedathisjobbyanaddingmachine.Ricewasthefirstplaywrighttodemonstratesilentfilm’sinfluenceontheaterinOnTrial(1914),whichborrowedtheflashbacktechnique.Someofthemostnovelexpressionistexperimentsemployedcollage-likesceniceffectsandcacophonousmusicalandsoundtechniquestoexploresocialissues.PostwarDrama:1945-1960DuringWorldWarII(1939-1945)littledramaofnoteappearedthatwasneitherescapistfarenorwartimepropaganda.Withtheendofhostilities,however,twoplaywrightsemergedwhowoulddominatedramaticactivityforthenext15yearsorso:ArthurMillerandTennesseeWilliams.Millercombinedrealisticcharactersandasocialagendawhilealsowritingmoderntragedy,mostnotablyinDeathofaSalesman

(1949),ataleofthelifeanddeathoftheordinaryworkingmanWillyLoman.Miller’sTheCrucible

(1953),astoryaboutthe17th-centurySalemwitchtrials,wasaparableforahuntforCommunistsinthe1950sledbySenatorJosephR.McCarthy.TennesseeWilliams,oneofAmerica’smostlyricaldramatists,contributedmanyplaysaboutsocialmisfitsandoutsiders.InAStreetcarNamedDesire

(1947),aneurotic,impoverishedSouthernwomanfightstomaintainherillusionsofgentilitywhenforcedtoconfrontthetruthaboutherlifebyhersister’sworking-classhusband.Williams’sCatonaHotTinRoof

(1955),whichwonthePulitzerPrizefordrama,similarlyfocusedonpretenseanditsdestructivenessanddestructioninanunhappyfamily.GlassMenagerieEugeneO'Neill(1888-1953)unquestionablyAmerica'sgreatestplaywright.wonthePulitzerPrizefourtimestheonlydramatistevertowinaNobelPrize(1936).widelyacclaimed"founderoftheAmericandrama."HislifeandwritingcareerO'NeillwasborninNewYorkonOctober16,1888intoatheatricalfamily.HegrewupinNewLondon,Connecticut,andspenthisearlyyearswithhisparentsontheatricalroadtours.Hereceiveduniversityeducationforoneyearandlatertraveledallovertheworld.Heavidlyreadupondramaticliterature,andcultivatedaninterestinplaywriting.In1914,heattendedProfessorGeorgePierceBaker'sdramaworkshopatHarvard,wherehiscareerasadramatistbegan.Sincethen,O'Neillhadbeenwhollydedicatedtothemissionasadramatist.HismajorplaysO'Neillwroteandpublishedaboutforty-nineplaysaltogetherofvariouslengths.1.Hewrotesomeone-actmelodramaticplaysatfirst,includingBoundEastforCardiff(1916),whichdescribesthedyingsailorYankandhisdreamaboutthesecurityandpeacewhichcouldneverexist.

firstfull-lengthplay,BeyondtheHorizon,madeagreathitandwonhimthefirstPulitzerPrize.exploreswhathappenswhentwomenlovethesamewomanandthecompromiseseachwillmaketohaveher.itsignaledachangeinAmericandrama.CriticsandaudiencesrespondedfavorablytoO’Neill’sdark,tragicvision,whichcontrastedsharplywiththeunrealistic,melodramaticplaysoftheday.TheplaydrewheavilyonO’Neill’sownexperiences,includinghistuberculosisandhisseavoyages.Duringoneoftheseseatrips,hemetaNorwegiansailorwhocriticizedhischoiceofgoingtoseaasopposedtostayingonhisfamily’sfarm.Takingthisideaasastartingpoint,O’Neillcraftedataleofmissedopportunitiesandfaileddreams,involvingtwobrothers.Robert,apoeticbutsicklydreamer,wantstogotoseatostrengthenhishealthandseetheworld.Hisbrother,Andrew,isabornfarmerwhowantsnothingmorethantoworkonhisfamily’sfarm.Becausetheylovethesamewoman,bothbrotherschoosetogoagainsttheirnatures.Robertstaysonthefarm,andAndrewgoestosea.Theme:thechoicebetweenlifeanddeath,theinteractionofsubjectiveandobjectivefactors

ThisthemeisdramatizedmoreexplicitlyinTheStraw(1921)andAnnaChristie(1921).AnnaChristieismoreofasuccessbecauseitdeploysthedevelopingcomplexityofO'Neill'spersonalvision,showingusthatlifeisaclosedcircleofpossibilitiesfromwhichitisimpossibletoescape.Between1920and1924camehisprominentachievementsinsymbolicexpressionism:TheEmperorJones(1920)TheHairyApe(1922),AllGod'sChildrenGotWings(1924)DesireUndertheElms(1924)Theseplaysaredaringforaysintoracerelations,classconflicts,sexualbondage,socialcritiques,andAmericantragediesontheGreekmodel.Whatismore,theexpressionistictechniquesareusedintheseplaystohighlightthetheatricaleffectoftherupturebetweenthetwosidesofanindividualhumanbeing,theprivateandthepublic.Builtonthesuccessoftheseexpressionisticexperimentations,O'Neillreachedouttoextendhismasteryofthestageandworkeduptothesummitofhiscareer.TheHairyApeCharactersseekmeaningandpurposeintheirlivesthroughloveorreligionorrevenge.Theresultisdisappointmentordespair.UsesExpressionismTheHairyApeconcernstheproblemofmodernman‘sposition.Yank‘ssenseofbelongingnowhereisatypicalofthemoodofisolationandalienationintheearlytwentiethcenturyintheUSandthewholeworldaswell.

Heconcernedhimselfwithsomenon-realisticformstocontainhistragicvisioninanumberofhisplays,suchasTheGreatGodBrown(l926),whichfusessymbolism,poetry,andtheaffirmationofapaganidealismtoshowhowmaterialisticcivilizationdeniesthelife--givingimpulsesanddestroysthegenuineartist,andLazarusLaughed(1927),whichmakesfulluseoftheBible,Greekchoruses,Elizabethantirades,expressionistmasks,populouscrowdscenes,andorchestratelaughter.WiththewinningofthethirdPulitzerPrizeforStrangeInterlude(l928),O'NeillconsolidatedhisexperienceoftwodecadesofplaywritingandpavedthewaytothehonoroftheNobelPrizein1936.Lateinhislife,heproducedthebestandgreatestplaysofthemodernAmericantheater.TheIcemanCometh(l946)provestobeamasterpieceinthewayitisacomplex,ironic,deeplymovingexplorationofhumanexistence,writtenoutofaprofoundinsightintohumannatureandconstructedwithtremendousskillandlogic.LongDay'sJourneyIntoNight(1956)canbereadautobiographically.Theactioncoversafateful,heart-rendingdayfromaround8:30a.m.tomidnight,inAugust1912attheseasideConnecticuthomeoftheTyrones-theautobiographicalrepresentationsofO'Neillhimself,hisolderbrother,andtheirparentsattheirhome,MonteCristoCottage.Thethemeoftheplayisaddictionandthedysfunctionofthefamily.AllthreemalesarealcoholicandMaryisaddictedtomorphine.Theyallconstantlyconceal,blame,resent,regret,accuseanddenyinanescalatingcycleofconflictwithoccasionaldesperateandhalfsincereattemptsataffection,encouragementandconsolation.JamesTyroneThehusbandofMaryandthefatherofJamieandEdmund,hewasonceafamousactorwhotouredtheU.S.withhiswife.BecausehisIrishfatherabandonedhimatage10,forcinghimtoworkimmediatelytosupporthimself,hehasastrongworkethicandanappreciationformoneythatleadstostrongfinancialprudence--borderingonstinginess.MaryTyrone

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ThewifeofTyroneandmotherofJamieandEdmund,shestrugglesfromamorphineaddictionthathaslastedovertwodecades.Whileshehasbrokentheaddictionseveraltimes,shealwaysresumeshermorphineuseafterspendingmoretimewithherfamily.Sheisonmorphineineachsceneoftheplay,andheruseincreasessteadilyasthedaywearson.AlthoughshelovesTyrone,sheoftentimesregretsmarryinghimbecauseofthedreamsshehadtosacrificeofbecominganunoraconcertpianist.JamieTyrone

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TheelderTyroneson,heisinhisearlythirties.Becausehesquandersmoneyonboozeandwomen,hehastorelyonhisparentsforsupport.Hedroppedoutofseveralcollegesandhasverylittleambition,muchtothedismayofhisparents.EdmundTyrone

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TheyoungerTyroneson,heistenyearsyoungerthanJamie.Anintellectualandromanticdreamer,helearnsduringtheplaythatheisafflictedwithconsumption(tuberculosis),whichmeansthathewillhavetospenduptoayearinasanatorium.Likehisbrotherandfather,heispartiallyalcoholic,andhehasatendencytosquandermoney,althoughheworksharderthanJamie.Maryalwaysholdsouthopethathewillbecomeasuccessoneday.However,likemostgreatworksofliterature,theplayreachesbeyonditsimmediatesubject,dedicatednotonlytothelifeoftheAmericanfamily,butalso"tothelifeofMan,toLifeitself."Asaproductofhard-wonart,LongDay'sJourneyIntoNighthasgaineditsstatusasaworldclassicandsimultaneouslymarkstheclimaxofO'Neill'sliterarycareerandthecomingofageofAmericandrama.ThemesO'Neillisalwaysrememberedforhistragicviewoflifeandmostofhisplaysdealwiththebasicissuesofhumanexistenceandpredicament:lifeanddeath,illusionanddisillusion,alienationandcommunication,dreamandreality,selfandsociety,desireandfrustration,etc.Hischaractersintheplaysaredescribedasseekingmeaningandpurposeintheirlivesindifferentways,somethroughlove,somethroughreligion,othersthroughrevenge,butallmeetdisappointmentanddespair.Asaplaywright,O'Neillhimselfwasconstantlywrestlingwiththeseissuesandstrugglingwiththeperplexityaboutthetruthoflife.Hewassearchingforananswerbothpsychologicallyandartistically,andhisdramaticthoughtfollowedatragicpatternrunningthroughallhisplays,fromacelebrationandexaltationof"pipedreams,"theromanticdreamsotospeak,tothedoubtabouttherealityofthedreamortheinevitabilityofthedefeat.So,hisfinaldramasbecame"transcendental,"inthewaythatthedramatizationofman'seffortinfindingthesecretofliferesultsinareconciliationwiththetragicimpossibility.Apipedreamisafantastichopeorplanthatisgenerallyregardedasbeingnearlyimpossibletoachieve.O'Neill'sexperimentationsindramaticartO'Neill'sinventivenessseeminglyknewnolimits.Hewasconstantlyexperimentingwithnewstylesandformsforhisplays.(1)HeintroducedtherealisticoreventhenaturalisticaspectoflifeintotheAmericantheater.HeborrowedfreelyfromthebesttraditionsofEuropeandramas,beitGreektragedies,ortherealismofIbsen,ortheexpressionismofStringberg,andfusedthemintotheorganicofhisown.Inthoseexpressionisticplays,abstractandsymbolicstagesetsareusedtosetoffagainsttheemotionalinnerselvesandsubjectivestatesofmind;lightingandmusicareemployedtoconveythechangesofmood.(2)Heborrowedfreelyfrommodernliterarytechniquessuchasthestream-of-consciousnessdevicewiththehelpofwhichhemanagedtorevealtheemotionalandpsychologicalcomplexitiesofmodernman.Hemadeuseofsettingandstagepropertytohelpinhisdramaticrepresentation(3)Astohislanguage,O'Neillfrequentlywrotethelinesindialect,orspelledwordsinwayswhichindicateaparticularaccentormannerofspeech.This,sometimes,makeshisplaysdifficulttoread,butwhentheyarespokenaloud,thesensebecomesclearandthemeaningisamplifiedbytheaccent.O'Neill'sceaselessexperimentationenrichedAmericandramaandinfluencedlaterplaywrights.ExpressionismItisusedtodescribetheworksofartandliteratureinwhichtherepresentationofrealityisdistortedtocommunicateaninnervision,transformingnatureratherthanimitatingit.Inliteratureitisoftenconsideredarevoltagainstrealismandnaturalism,aseekingtoachieveapsychologicalorspiritualrealityratherthantorecordexternalevents.Indrama,theexpressionistworkwascharacterizedbyabizarredistortionofreality.Expressionistwriters'concernwaswithgeneraltruthsratherthanwithparticularsituations,hencetheyexploredintheirplaysthepredicamentsofrepresentativesymbolictypesratherthanoffullydevelopedindividualizedcharacters.Emphasiswaslaidontheinternal,onanindividual'smentalstate-theemotionalcontent,thesubjectivereactionsofcharacters,andsymbolicorabstractrepresentationsofreality;hencetheimitationoflifeisreplacedinExpressionistdramabytheecstaticevocationofstatesofmind.InAmerica,EugeneO'Neill'sEmperorJones,TheHairyApe,etc.aretypicalplaysthatemployExpressionismtohighlightthetheatricaleffectoftherupturebetweenthetwosidesofanindividualhumanbeing,theprivateandthepublic.

Themovement,thoughshort-lived,gaveimpetustoafreeformofwritingandoftheatricalproduction.SelectedReading:DesireUndertheElms

publishedin1924,nowconsideredanAmericanclassic.In1958,afilmversionwasproduced.AlongwithMourningBecomesElectra,itrepresentsoneofO'Neill'sattemptstoplaceplotelementsandthemesofGreekTragedyinaruralNewEnglandsetting.Characters

EphraimCabot

Simeon

Peter-hissons

Eben

AbbiePutnam

YoungGirl,TwoFarmers,TheFiddler,ASheriff,andotherfolkfromtheneighboringfarmsSynopsis

Setin1930’sruralAmerica.Itdelvesintotheeternalstruggleofmanversushimself.EphraimCabothasthreesons,twofromhisfirstmarriage(SimeonandPeter)andonefromhissecondmarriage(Eben).Allthreeliveonthefamilyfarm,toilonthefamilyfarmanddesiretoownthefamilyfarm.ThecommonalitybetweenSimeon,PeterandEbenistheirresentmentfortheirfather.EphraimabandonshisNewEnglandfarmtohisthreesons,whohatehimbutsharehisgreed.Eben,theyoungestandbrightestsibling,feelsthefarmishisbirthright,asitoriginallybelongedtohismother.Hebuysouthishalf-brothers'sharesofthefarmwithmoneystolenfromhisfather,andPeterandSimeonheadofftoCaliforniatoseektheirfortune.Later,Ephraimreturnswithanewwife,thebeautifulandheadstrongAbbie,whoentersintoanadulterousaffairwithEben.Soonafter,AbbiebearsEben'schild,butletsEphraimbelievethatthechildishis,inthehopesofsecuringherfuturewiththefarm.TheproudEphraimisobliviousashisneighborsopenlymockhimasacuckold.MadlyinlovewithEbenandfearfulitwouldbecomeanobstacletotheirrelationship,Abbiekillstheinfant.AnenragedanddistraughtEbenturnsAbbieovertothesheriff,butnotbeforeadmittingtohimselfthedepthsofhisloveforherandthusconfessinghisownroleintheinfanticide.Thelandintheplayisthecentraltheme,itholdsalloftheelementsoftheplaytogether.Itwastheobjectofgreedaswell.Thefarmwasthesourceofgreedforthreeofthecharactersintheplay,EphraimCabot,hissonEben,andhisnewwifeAbbie.PeterandSimeonfocusedtheirgreedonthefieldsofgoldintheWest,primarilyinCalifornia.ArthurMiller(1915-2005)IntroductiontoArthurMillerIntroductiontoDeathofaSalesmanIntroductiontothemaincharacterWillyLomanThetypicalthemeofArthurMiller’splaysArthurMiller(1915-2005)borninNewYorkCityonOctober17,1915.inamiddleclassJewishfamily.Hisfatherhadbeenaprosperousclothingmanufacturerwhowas,however,ruinedbythecrashofthe1929.finishedhighschoolduringtheDepressionwhenhisfamilysuddenlybecamepoor.wenttoworkinawarehousewherehesawtheinjusticesofthecapitalistsystemandthehardshipsofworkers.savedenoughmoneytostudyjournalismattheUniversityofMichigan.beganwritingplays.wonaHopwoodAwardinDramaforhisfirstplayentitled“HonorsatDawn.”graduatedfromtheuniversityin1938.Thenhewroteadozen(unpublished)playsbeforehisfirstBroadwayproductionin1944-TheManWhoHadAlltheLuck.WiththesuccessofAllMySonsin1947,hedevotedhimselfentirelytodrama.In1949,MillerwroteDeathofaSalesman,whichwonthePulitzerPrizeandtransformedMillerintoanationalsensation.Critics:thefirstgreatAmericantragedy,andMillerasamanwhounderstoodthedeepessenceoftheUnitedStates.Thisisthestoryofatravelingsalesman-ametaphorforAmericansociety-whochoosesfameandwealthasthefalsegoalsforhislifeandisfinallydriventosuicide.ThisplaynotonlywonhimsixawardsbutalsowonhimreputationasoneofthebestAmericandramatistsaftertheWar.ArthurMillerwassummonedbytheHouseUn-AmericanActivitiesCommitteeforquestioningonhispoliticalviews,butherefusedtocooperate.Thisbitterexperienceofthe“McCarthyEra”ledhimtowriteTheCrucible(1953),aplayabouttheSalemwitchtrialsinMassachusettsin1692wheninnocentpeoplewereforcedtomakeconfessionsandbetraytheirfriendsortobeexecuted.ThisisobviouslyaparableoftheMcCarthyiteanti-communist“witchhunt.”Inthisplay,Millertriestoshowthatsocialeviliscausedbyindividualswhodonottakeresponsibilityfortheworldtheylivein.Millerhaspublishedabout20plays,onenovel,someshortstories,sometravelbooks,andavolumeofessaysaboutthetheater.Asaplaywrightwhowritesonbroadsocialthemes,heisoftenregardedasoneofthegiantsoftheAmericandramaafterthewar.wontheNewYorkDramaCriticsCircleAwardtwice,andhisBrokenGlass(1993)wontheOlivierAwardforBestPlayoftheLondonSeason.MarriagetoMarilynMonroeDeathofaSalesmanMiller'smostfamouswork,addressesthepainfulconflictswithinonefamily,butitalsotackleslargerissuesregardingAducedandpublishedin1949,wonaPulitzerPrize.TheplayexaminesthecostofblindfaithintheAmericanDream.MillerchargesAmericawithsellingafalsemythconstructedaroundacapitalistmaterialismnurturedbythepostwareconomy,amaterialismthatobscuredthepersonaltruthandmoralvisionoftheoriginalAmericanDreamdescribedbythecountry'sfounders.WillyLoman,abewildered,well-intentioned,unsuccessfultravelingsalesmanaged63,ispleasedbythehomereturnvisitofhissonsBiffandHappy,buttheyareupsetbyhispeculiarbehaviorandhallucinatoryconversationswithfiguresofahappierpast,andtheyworryabouttheeffectonLinda,theircompassionatemother,wholovesherhusbandandrecognizesthathisactionsstemfromthedisparityofhis“massivedreams”andadisappointingreality.Wantingdesperatelytobesuccessfulandwellliked,WillyhadfallenvictimtothefalsevaluesofsocietyandcannotcopewithhisfailureorthatofBiff,onceahigh-schoolfootballhero,nowmoodyandjobless.LindapersuadesBifftotryforagoodjobtomakehisfatherproud,butwhen,withHappy,hemeetshisfatherintherestaurantwheretheyintendtotreathimtoacelebrationdinner,Bifftellsthetruthabouthisill-fatedappointmentanddestroysWilly’shopes.InconfusionWillygoestothewashroomandrelivestheawfultimewhenBiff,desperatelyneedinghishelp,traveledtoBoston,wherehediscoveredhimwithhismistress.RealizinghisresponsibilityforBiff’saimlessnessanddisillusionment,Willystumblesbacktothetable,onlytofindthattheboyshavedesertedhimfortwochippies.Humiliatedandstunned,hereturnshome,fightswithBiff,andthenistouchedbyBiff’stearsofconcernandlove.InafinalhallucinatorytalkwithhisbrotherBen,asuccessfulself-mademan,WillydecidesonsuicidetoprovideBiffwithinsurancemoney.Atthefuneral,whichnoneofhisbusinessacquaintancesattend,afriendpointsout“Willywasasalesman…aman...ridingonasmileandashoeshine….Nobodydastblamethisman.Asalesmanisgottodream,boy.Itcomeswiththeterritory.”CharactersWillyLoman

AtravelingsalesmanwhohasworkedfortheWagnerfirmforthirty-fouryears.Heisnowinhissixtiesandhasbeentakenoffsalaryandputbackonstraightcommission.LindaLoman

HiswifewholovesWillyinspiteofallhisdifficulties.BiffLoman

Theoldestsonwhowasonceastarfootballplayerinhighschoolwithseveralscholarships,butwhoforthelastfourteenyearshasbeen“unabletofindhimself.”Hehasjustreturnedfromsomewhereinthewest.HappyLoman

Theyoungersonwhoworksinadepartmentstoreandhashisownapartmentinanothersectionoftown.ThemaincharacterWillyLoman

WillyLoman,thesalesmanofthetitle,isas“phony”asMarkTwain’sColonelSellersbutmorehard-workingandhonest;heisastragicasFitzgerald’sGreatGatsbybutnotassuccessfuland“great”.Thoughliving“inaroughworld”wheremoderncivilizationissuffocating,Willyneverseemstobeawareofthatandkeepsondreamingofsuccessandlivinginillusionsandlies.Hedreamsofestablishinghisownbusiness,andofowningahousewheretherewouldbespace,light,andleisuretolive.Hedreamsofa“big”futureforhischildrenwho,however,inflatedwithhisfalsepraises,turnouttobegoodfornothing.Willy’skindofsuccessisnevermeasuredexceptintermsofdollars.ThetypicalthemeofMiller’splays

AtypicalthemeofArthurMiller’splaysconcernsthedilemmaofmodernmaninrelationtohisfamilyandwork.WhatoccursofteninaMillerplayisthattheherofindshimselfunderapressurefromhissocietyanditsethics,triesinvaintoextricate(disengage)himselffromthephysicalandspiritualquandaryintowhichhehasfallenandfindsreleaseonlyindeath,oftenintheformofactualorvirtualsuicide.Theworldisharsh.Thereislittleornochoiceonthepartofthehero.Eitherhesubmitstotheimpossibledemandsofsociety,orherejectsthem.Hediesineithercase.HistoricalcontextAhalfcenturyafteritwaswritten,DeathofaSalesmanremainsapowerfuldrama.ItsindictmentoffundamentalAmericanvaluesandtheAmericanDreamofmaterialsuccessmayseemsomewhattameintoday'sageofconstantnationalandindividualself-analysisandcriticism,butitschallengewasquiteradicalforitstime.AfterWorldWarII,theUnitedStatesfacedprofoundandirreconcilabledomestictensionsandcontradictions.AlthoughthewarhadostensiblyengenderedanunprecedentedsenseofAmericanconfidence,prosperity,andsecurity,theUnitedStatesbecameincreasinglyembroiledinatensecoldwarwiththeSovietUnion.Thepropagationofmythsofapeaceful,homogenous,andnauseatinglygleefulAmericangoldenagewastemperedbyconstantanxietyaboutCommunism,bitterracialconflict,andlargelyignoredeconomicandsocialstratification.Man