Playwright As Rebel : Collected Essays in Theatre History Pdf, Epub, Ebook
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295 INDEX © in This Web Service Cambridge
Cambridge University Press 978-0-521-74538-3 - The Cambridge Companion to Arthur Miller, Second Edition Edited by Christopher Bigsby Index More information INDEX Aarnes, William 281 Miller on 6, 152, 161 Abbott, Anthony S. 279 and No Villain/They Too Arise 6, 25, 28 “About Theatre Language” 76 productions xiii, 159, 161, 162 Ackroyd, Peter 166–67 revisions 160, 161 Actors’ Studio 220, 226 American Legion 215 Adding Machine, The 75 Anastasia, Albert 105 Adler, Thomas P. 84n, 280, 284 Anastasia, Tony 105, 108n Adorno, Theodor 201 Anderson, Maxwell 42 After the Fall xii, xiii, 4, 8, 38, 59–60, 61, Angel Face 209 118, 120–26, 133, 139, 178, 186, 262, Another Part of the Forest 285 265, 266 Anthony Adverse 216 changing critical reception 269–70 Antler, Joyce 290 The Last Yankee and 178 Archbishop’s Ceiling, The 5–6, 8, 141, Miller on 54–55, 121–22, 124, 126, 265 145–51, 167, 168 productions xii, xiii, 121, 123, 124–25, Miller on 147, 148, 152 156–57, 270, 283 productions xiii, 159, 161–62 The Ride Down Mount Morgan and 173 revisions 141, 159, 161, 162n structure 7, 128 Aristotle 13, 64, 234, 264 studies of 282, 284–85, 288, 290, 293 Aronson, Boris 129 viewed as autobiographical/concerned Art of the Novel, The 237n with Monroe 4, 121, 154, 157, 195, Arthur Miller Centre for American Studies 269, 275 (UEA) xiv, xv, 162 Ajax 13 Arthur Miller Theatre, University of Albee, Edward 154 Michigan xv Alexander, Jane 165 Aspects of the Novel 235 All My Sons xi, 2, 4, 36–37, 47, 51–62, 111, Asphalt Jungle, The 223 137, 209, 216, 240, 246, 265 Assistant, The 245 film versions xiv, 157–58, 206–12, 220, Atkinson, Brooks 293 232 Auden, W. -
Holocaust and Loss of Liberal Human Values in Arthur Miller's Incident at Vichy
ISSN: 2349-2147 Modern Research Studies Editor-in-Chief Gyanabati Khuraijam An International Title: Holocaust and loss of liberal human values in Journal of Arthur Miller’s Incident at Vichy : A critical Humanities and Social analysis of State Power vs. Individual Sciences Conscience An Indexed & Refereed e-Journal www.modernresearch.in Author/s: DEEPAK CHASWAL PRADEEP KUMAR CHASWAL Volume 3, Issue 2 pp. 426–440 June 2016 Disclaimer: The views expressed in the articles/contribution s published in the journal are solely the author’s. They do not represent the views of the editors. Email: [email protected] [email protected] Managing Editor:r: Yumnam Oken Singh ISSN: 2349-2147 Modern Research Studies: An International Journal of Humanities and Social Sciences Holocaust and loss of liberal human values in Arthur Miller’s Incident at Vichy: A critical analysis of State Power vs. Individual Conscience Dr. DEEPAK CHASWAL Head Dept. of Humanities and Social Sciences Jaypee University, Anoopshahr, UP, India Email: [email protected] & Dr. PRADEEP KUMAR CHASWAL Associate Professor Dept. of English SJMC, Apeejay Stya University, Gurgaon, India Email: [email protected] Abstract: Miller’s humanism may be defined as democratic humanism. In his plays, he is mainly concerned with the people who are denied a sense of community. National and international events of early twentieth century were of a very complex nature which caught Miller’s attention. In Germany, Hitler and his Nazis represented the loss of liberal human values such as spirit of tolerance, broad-mindedness, love of humanity and brotherhood of man. Holocaust is known as Ha Shoah in Hebrew. -
A Memory of Two Mondays (1955)
Boris Aronson: An Inventory of His Scenic Design Papers at the Harry Ransom Humanities Research Center Descriptive Summary Creator: Aronson, Boris, 1900-1980 Title: Boris Aronson Scenic Design Papers Dates: 1939-1977 Extent: 5 boxes, 4 oversize boxes, 47 oversize folders (4.1 linear feet) Abstract: Russian-born painter, sculptor, and most notably set designer Boris Aronson came to America in 1922. The Scenic Design Papers hold original sketches, prints, photographs, and technical drawings showcasing Aronson's set design work on thirty-one plays written and produced between 1939-1977. RLIN Record #: TXRC00-A6 Language: English. Access: Open for research Administrative Information Acquisition: Gift and purchase, 1996 (G10669, R13821) Processed by: Helen Baer and Toni Alfau, 1999 Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Aronson, Boris, 1900-1980 Biographical Sketch Boris Aronson was born in Kiev in 1900, the son of a Jewish rabbi. He came of age in pre-revolutionary Russia in the city that was at the center of Jewish avant-garde theater. After attending art school in Kiev, Aronson served an apprenticeship with the Constructivist designer Alexandre Exter. Under Exter's tutelage and under the influence of the Russian theater directors Alexander Tairov and Vsevolod Meyerhold, whom Aronson admired, he rejected the fashionable realism of Stanislavski in favor of stylized reality and Constructivism. After his apprenticeship he moved to Moscow and then to Germany, where he published two books in 1922, and on their strength was able to obtain a visa to America. In New York he found work in the Yiddish experimental theater designing sets and costumes for, among other venues, the Unser Theatre and the Yiddish Art Theatre. -
Portrayal of Married Women Arthur Miller's All My Sons and Death of A
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 20, Issue 9, Ver. III (Sep. 2015), PP 35-38 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Portrayal of Married Women Arthur Miller’s All My Sons and Death of a Salesman 1P.Ananthan, 2Dr. K.Balachandran, Ph.D...(External)Research scholar,Bharathiyar University. Research Supervisor. 1Assistant Professor Dept. of English Pachaiyappa’s College for Men Kanchipuram Tamilnadu-631501 2Research Supervisor Dept. of English Abstract: Arthur Miller (1915-2005) is an important American playwright where work occupies a significant place in the tradition of American literature. He has rich experience about life of the common man in America which get reflected in his plays. All My Sons (1947) and Death of Salesman (1949) reflected about married women in American society. In his early plays, by depicting major women characters like Kate Keller and Linda Loman as both wives and mothers according to the social condition and dominant cultural value. Miller exposes their bitterness and frustration in the traditional gender would by depicting them both victims and victimizer under the particular society. This paper attempts to study the portrayal of married women in Miller’s contemporary American society. Kate Keller is a busy housewife. She asked her husband “will you do me a favour Joe? Don’t be helpful.” Linda Loman is Willy Loman’s wife who loves him, despite all his difficulties. Thus Miller presents the role of married women in family as well as in society I. Introduction: Arthur Miller first Broadway hit All My Sons (1947) and masterpieces Death of a Salesman (1949) are his early plays of the contemporary American society. -
A Production Analysis of Arthur Miller's the Price
BELL, LOUIS P. A Production of Arthur Miller's The Price. (1976) Directed by: Dr. Herman Middleton. Pp. 189 The purpose of this thesis is to study the background surrounding the playwright and the play itself in preparation for a production of the play, and then present a critical evaluation of the production. Chapter One deals with the following: (1) research of the playwright's background, (2) research of the play's back- ground, (3) character description and analysis, (4) analysis of the set, (5) the director's justification of script, and (6) the director's interpretation of that script. Chapter Two consists of the prompt book for the pro- duction, performed October 22, 23, 24, 25, 26, 27 and 28, in Taylor Theatre at the University of North Carolina at Greens- boro. Notations include: (1) movement, composition, and picturization, (2) details of characterization and stage business, (3) rhythm and tempo, and (4) lighting and sound cues, production photographs are also included. The third chapter consists of critical evaluations in four areas. They are: (1) achievement of Interpretation, (2) actor-director relationships, (3) audience response, and (4) personal comments. A PRODUCTION ANALYSIS OF ARTHUR MILLER'S THE PRICE by Louis Bell A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Greensboro 1976 Thesis Adviser APPROVAL PAGE This thesis has been approved by the following committee of the Faculty of the Graduate School at the University of North Carolina at Greensboro. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
The Banality of Addiction: Arthur Miller and Complicity Grant Gosizk
The Banality of Addiction: Arthur Miller and Complicity Grant Gosizk Modern Drama, Volume 61, Number 2, Summer 2018, pp. 171-191 (Article) Published by University of Toronto Press For additional information about this article https://muse.jhu.edu/article/696362 Access provided by Carthage College (6 Sep 2018 17:42 GMT) The Banality of Addiction: Arthur Miller and Complicity GRANT GOSIZK ABSTRACT: While much has been written on Arthur Miller’s relationship to the post-war intelligentsia, few critics have explored the influence that intellectual debates on Holocaust complicity had on the author’s 1960s catalogue. Building on the similarities between the theory of the “banality of evil” offered in Hannah Arendt’s Eichmann in Jerusa- lem (1963) and Miller’s Herald Tribune article on the Nazi trials in Frankfurt (1964), this article suggests that the playwright’s interest in emerging theories of complicity became a central concern of After the Fall (1964) and Incident at Vichy (1964). Strongly influenced by Theodor Adorno’s and Jean-Paul Sartre’s work on aesthetic responses to post-war guilt, Miller used these plays to dramatize competing re- sponses to the concept of “ubiquitous complicity” for the Holocaust. Using the aesthetic language of addiction spectacle scenes, which a strong tradition of American temperance theatre had popularized, Miller evaluated the mechanics of complicity and offered a dramatic thesis on its importance to anti-fascist activism. I conclude that, in both plays, the representation of addiction became the primary means through which Miller participated in contemporary critical debates on post-war guilt. KEYWORDS: Hannah Arendt, Eichmann in Jerusalem, Incident at Vichy, After the Fall, medical humanities, guilt Although his was a remarkably prolific career, Arthur Miller did not produce a single theatrical work between 1956 and 1964. -
The Feminine Rebel: Treacherous Housewife-Mothers and Aggressive Wives Fighting for Personal Identity in Arthur Miller’S After the Fall
ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 4, No. 1, 2012, pp. 58-64 www.cscanada.net DOI:10.3968/j.sll.1923156320120401.795 www.cscanada.org The Feminine Rebel: Treacherous Housewife-mothers and Aggressive Wives Fighting for Personal Identity in Arthur Miller’s After the Fall YAO Xiaojuan1,* 1 School of Foreign Languages, Northeast Petroleum University, Daqing, an absence of eight years, he brought to the audience new China. subjects and new forms with his most autobiographical * Corresponding author. play After the Fall, which launched the beginning of his Received 19 November 2011; accepted 14 February 2012. later creative career. His later plays also include Incident at Vichy (1964) and The Price (1968) in the 1960s, The Abstract Creation of the World and Other Business (1972) and The Archbishop’s Ceiling (1977) in the 1970s, Playing for This article attempts to explore Arthur Miller’s Time (1980) and The American Clock (1980) in the 1980s, representation of wife and mother characters in his play and The Ride Down Mt. Morgan (1991), The Last Yankee After the Fall. In the play, Miller puts more emphasis on (1993) and Broken Glass (1994) at his senile age. his wife and mother characters’ awakening and rebellion. These later plays vary differently in forms and Miller portrays Rose as a treacherous housewife-mother in subject matters. In regards to his wife and mother who rebels against the idealized woman image of loving presentations, some critics still maintain that Miller in wife and sacrifi cial mother by becoming a separate person, this period still prefers to cast them in traditional roles, asserting her own ambition and meeting her own demands. -
Linda Loman: “Attention Must Be Paid”
Linda Loman: “Attention must be paid” It might surprise some readers to find this bit of dialogue spoken by the central character, Amelia Earhart, in Arthur Miller’s 1940s radio play Toward a Farther Star: “Isn’t it time to unlock the kitchen and let women out into fresh air? . Women must have the right to lead the way once in a while, to search for new things instead of sitting home waiting for men to do the work of the world” (qtd. in Bigsby Arthur Miller: A Critical Study 43–44). For many feminist and other gender- based critics, Miller is guilty of creating sexist texts, which demean or reduce female characters. Although many of Miller’s dramas have been attacked on such grounds, sometimes intensely, as when some accused him of unfairly portraying Marilyn Monroe as Maggie in After the Fall, Death of a Salesman is probably the most discussed of his plays in relation to female characters. As Happy tells Biff, “There’s not a good woman in a thousand” (103). Other than Charley’s briefly seen secretary Jenny and Linda Loman, the women are described as sexual objects: Miss Francis, the “buyer” in Willy’s Boston hotel room, referred to as “The Woman”; Miss Forsythe, whom Happy assures Biff is “on call,” referred to as “Girl”; and her friend “Letta,” also obviously “on call” (102). If Miss Francis is a buyer, Miss Forsythe and Letta are sellers in this masculine world of capital and exchange. Matthew Roudané aptly summarizes much feminist criticism, noting that it argues that “the play stages a grammar of space that marginalizes Linda Loman and, by extension all women, who seem Othered, banished to the periphery of a paternal world” (“Celebrating Salesman” 24). -
All My Sons As Precursor in Arthur Miller's Dramatic World
All My Sons as Precursor in Arthur Miller’s Dramatic World Masahiro OIKAWA※ Abstract Since its first production in 1947, Arthur Miller’s All My Sons has been performed and appreciated worldwide. In academic studies on Miller, it secures an important place as a precursor, because it has encompassed such themes as father-son conflict, pursuit of success dream in the form of a traditional tragedy as well as a family and a social play. As for techniques, to begin with, the Ibsenite method of dramatization of the present critical situation and presentation of the past “with sentimentality” are obvious. Secondly, the biblical tale of Cain and Abel from the Old Testament allows the play to disguise itself as a modern morality play on “brotherly love.” Thirdly, Oedipus’s murder of his father in Oedipus Rex is used symbolically to place the play in the Western tradition of drama. Taking all these major themes and techniques into account, the paper argues that the play is dramatizing the universal, and that by looking at the conflict between father and son, we can understand why Miller’s message in All My Sons is significant for Japanese andiences. I. Introducion Most of the reviews appearing in the major newspapers and magazines on All My Sons (1947) were rather favorable, which is quite understandable considering that the play vividly depicts the psychological aspects of the United States during and immediately after the Second World War in a realistic setting. In fact, it is impossible to understand the problems Joe and Chris Keller, the father and the son, get involved in without the background of the war. -
100 Years on the Road, 108 a Christmas Carol, 390 a Cool Million
Cambridge University Press 0521605539 - Arthur Miller: A Critical Study Christopher Bigsby Index More information INDEX 100 Years on the Road,108 Ann Arbor, 12 Anna Karenina,69 A Christmas Carol,390 Anti-Semitism, 13, 14, 66, 294, 330, A Cool Million,57 476, 485, 488 AMemoryofTwoMondays,6,129,172, Apocalypse Now,272 173, 200, 211 Arden, John, 157 A Nation of Salesmen,107 Arendt, Hannah, 267, 325 APeriodofGrace, 127 Arnold, Eve, 225 A Search for a Future,453 Aronson, Boris, 251 A Streetcar Named Desire, 98, 106, 145 Artaud, Antonin, 283 A View from the Bridge, 157, 173, 199, Arthur Miller Centre, 404 200, 202, 203, 206, 209, 211, 226, Auschwitz–Birkenau, 250, 325, 329, 351, 459 471 Abel, Lionel, 483 Awake and Sing, 13, 57, 76 Actors Studio, 212 Aymee,´ Marcel, 154, 156 Adorno, Theodore, 326 After the Fall, 5, 64, 126, 135, 166, 203, ‘Babi Yar’, 488 209, 226, 227, 228, 248, 249, 250, Barry, Phillip, 18 257, 260, 264, 267, 278, 280, 290, Barton, Bruce, 427 302, 308, 316, 322, 327, 329, 331, BBC, 32 332, 333, 334, 355, 374, 378, 382, Beckett, Samuel, 120, 175, 199, 200, 386, 406, 410, 413, 415, 478, 487, 488 204, 209, 250, 263, 267, 325, 328, Alger, Horatio Jr., 57, 113 329, 387, 388, 410, 475 All My Sons,1,13,17,42,47,64,76,77, Bel-Ami,394 98, 99, 132, 136, 137, 138, 140, 197, Belasco, David, 175 288, 351, 378, 382, 388, 421, 432, 488 Bell, Daniel, 483 Almeida Theatre, 404, 416 Bellow, Saul, 74, 236, 327, 372, 376, Almost Everybody Wins,357 436, 470, 471, 472, 473, 483 American Clock, The, 337 Belsen, 325 American Federation of Labour, 47 -
ST. GERMAIN STAGE JUNE 15-JULY 8, 2017 PLACE a Town in Coastal Maine
JULIANNE BOYD, ARTISTIC DIRECTOR SPONSORED BY Judith A. Goldsmith THE BY BIRDSConor McPherson BASED ON THE SHORT STORY BY DAPHNE DU MAURIER FEATURING Stevie Ray Dallimore Sasha Diamond Kathleen McNenny Rocco Sisto SCENIC DESIGNER COSTUME DESIGNER LIGHTING DESIGNER David M. Barber Elivia Bovenzi Brian Tovar SOUND DESIGNER PROJECTION DESIGNER David Thomas Alex Basco Koch CASTING PRODUCTION STAGE MANAGER Pat McCorkle, CSA Michael Andrew Rodgers BERKSHIRE PRESS REPRESENTATIVE NATIONAL PRESS REPRESENTATIVE Charlie Siedenburg Matt Ross Public Relations DIRECTED BY Julianne Boyd SPONSORED IN PART BY Audrey and Ralph Friedner & Richard Ziter, M.D. THE 2017 ST. GERMAIN SEASON IS SPONSORED BY The Claudia and Steven Perles Family Foundation THE BIRDS is presented by special arrangement with Dramatists Play Service, Inc., New York. ST. GERMAIN STAGE JUNE 15-JULY 8, 2017 PLACE A town in coastal Maine CAST IN ORDER OF APPEARANCE Diane ...........................................................................................Kathleen McNenny* Nat ........................................................................................... Stevie Ray Dallimore* Julia ................................................................................................ Sasha Diamond* Tierney ................................................................................................... Rocco Sisto* "They never saw this one coming, ha? No one ever thought nature was just going to eat us." -Tierney, The Birds, Conor McPherson STAFF Production Stage Manager