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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. -
The Cold War on the Waterfront: Arthur Miller's a View from the Bridge and Elia Kazan's on the Waterfront
The Cold War on the Waterfront: Arthur Miller's A View from the Bridge and Elia Kazan's On the Waterfront Robert Shulman University of Washington The Cold War of my title refers partly to the American Inquisition of the late 1940s and 1950s, to the war at home against the spies and subver sives who were supposedly members of a worldwide Communist con spiracy to violently overthrow the American government. Not onl y dem agogues like Senators McCarthy and McCarron but also a wide range of respectable American business, academic, and government officials almost universally accepted the premise that the Soviet Uni on was mes sianically committed to imposing its internal tyranny on the rest of the world. Judge Learned Hand, a distinguished civil libertarian, invoked this premise in deciding against the First Amendment rights of the ten com munist leaders convicted in the Smith Act trials of 1948. 1 Similarly, as Clark Clifford wrote in his 1946 secret memorandum to President Truman, every American communist or former communist "is potentially an espionage agent ... requiring only the direct instructions of a Soviet superior to make the potentiality a reali ty."2 This thinking was the basis for Truman's 1947 Federal Employees 1. Learned Hand, The Art and Craft afJ11dgi11g : the Decisions ofJudg e Leamed Ha11d, ed. Hershel Shanks (New York: Macmillan, 1968), "United States v. Dennis" (1950), esp. pp. 78-80. 2. Griffin Fariello, Red Scare: Memories of the America11 /11q11isi1io11, 011 Oral Histmy (New York: Norton, 1995), p. 35. 24 American Studies in Scandinavia, Vol. 35, 2003 Loyalty Program which subjected millions of Americans to investiga tions questioning their associations and beliefs. -
Dramaturgy and the American Citizen
Northeastern University Addressing the Tragic Flaw: Dramaturgy and the American Citizen An Honors Thesis Submitted to Dr. Nancy Kindelan By Heidi R. Nelson April 2006 Northeastern University Addressing the Tragic Flaw: Dramaturgy and the American Citizen An Honors Thesis Submitted to Dr. Nancy Kindelan By Heidi R. Nelson April 2006 Contents Preface 4 Chapter One: Introduction 5 Chapter Two: Theatre Studies and American Citizenship 9 Chapter Three: Dramaturgy and Arthur Miller’s A View from the Bridge 32 Chapter Four: Conclusion 55 Appendices Appendix A: Sample of Abbreviated Actor Casebook: Marco 62 Appendix B: From Eddie’s Casebook: Excerpt from “Crossing Brooklyn Ferry” by Walt Whitman 93 Appendix C: Cast Handout: “Sicilian Peasant Culture” 95 Appendix D: Photograph: “Light and Shadow Down Under the Manhattan Bridge” 98 Appendix E: Photograph: Set Model by Justin Townsend 100 Selected Bibliography 102 Preface Both serving as student dramaturg for the Northeastern University Theatre Department’s production of Arthur Miller’s A View from the Bridge (October 12-15 and 19-22, 2005) and completing this honors thesis have been life-changing experiences for me. Working on the play fed my passion to pursue production dramaturgy as a profession, while working on this thesis gave birth to questions and ideas that I will surely continue to explore throughout my life. Because this project has meant so much to me on a personal level, those who have offered me their guidance and support deserve my deepest gratitude. I owe many thanks to the faculty, staff, and students of the Northeastern University Theatre Department, as well as to Faith Crisley and the staff of the Honors Program, for their practical and moral support. -
PEAR THEATRE PRESENTS “A View from the Bridge” by Arthur Miller March 10 – April 2, 2017
For immediate release Contact: Stephanie Crowley [email protected] February 28, 2017 PEAR THEATRE PRESENTS “A View from the Bridge” by Arthur Miller March 10 – April 2, 2017 Mountain View, CA (February 28, 2017) – Pear Theatre continues its season with Arthur Miller's classic, “A View from the Bridge,” with timely reminders about the realities of illegal immigration, of jealousy born from fear, and the dangers of acting on self-destructive impulse. “A View from the Bridge,” directed by Ray Renati, previews on March 9. Press and Opening Night is Friday, March 10, followed by a champagne gala. The show runs Thursdays through Sundays, through April 2. All performances are held at the Pear Theatre, 1110 La Avenida St., Mountain View. Tickets ($10-$35) can be purchased by visiting www.thepear.org or calling (650) 254-1148. Set in 1950s New York in the shadow of the Brooklyn Bridge, “A View from the Bridge” follows Eddie and his wife Beatrice, who shelter Beatrice's orphaned niece Catherine as she studies to become a stenographer – at least, until two of Beatrice's male cousins from Italy move in. Illegal immigration, unsanctioned love affairs, and the liberty to pursue individual happiness all come under fire; and before it is over, the entire immigrant neighborhood will be hurt in ways they could not have predicted. Arthur Miller's unequaled ability to show the triumphs and pitfalls of the common man shine through clearly: loyalty to community and family, fear of the unfamiliar, and the need to recognize, understand, and control our impulsive urges. -
01 All My Sons Pp. I
01 A View from the Bridge pp. i- 9/2/10 15:37 Page i ARTHUR MILLER A View from the Bridge with commentary and notes by STEPHEN MARINO Series Editor: Enoch Brater METHUEN DRAMA 01 A View from the Bridge pp. i- 9/2/10 15:37 Page ii Methuen Drama Student Edition 10 9 8 7 6 5 4 3 2 1 This edition first published in the United Kingdom in 2010 by Methuen Drama A & C Black Publishers Ltd 36 Soho Square London W1D 3QY www.methuendrama.com Copyright © 1955, 1957 by Arthur Miller Subsequently © 2007 The Arthur Miller 2004 Literary and Dramatic Property Trust Commentary and notes copyright © 2010 by Methuen Drama The right of the author to be identified as the author of these works has been asserted by them in accordance with the Copyright, Designs and Patents Act, 1988 ‘Chronology of Arthur Miller by Enoch Brater, with grateful thanks to the Arthur Miller Society for permission to draw on their ‘Brief Chronology of Arthur Miller’s Life and Works’. A CIP catalogue record for this book is available from the British Library ISBN 978 1 408 10840 6 Commentary and notes typeset by SX Composing DTP, Rayleigh, Essex Playtext typeset by Country Setting, Kingsdown, Kent Printed and bound in Great Britain by CPI Cox & Wyman Ltd, Reading, Berkshire CAUTION Professionals and amateurs are hereby warned that these plays are subject to a royalty. They are fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention and the Universal Copyright Convention, and of all countries with which the United States has reciprocal copyright relations. -
The Enduring Importance of Arthur Miller: the Price and the Hook
The Enduring Importance of Arthur Miller: The Price and The Hook Seventy-two years after his initial Broadway success with All My Sons and 14 years after his death, Arthur Miller continues to cast a long shadow over theater in the United States. His plays are staples of high school drama clubs, college and university theater departments and regional theaters around the country, and his best-known works – Death of a Salesman, The Crucible, All My Sons, A View From the Bridge and After the Fall – have been revived many times on Broadway. Miller’s influence also extends beyond the United States. Death of a Salesman, for example, serves as the backdrop to Iranian director Asghar Farhadi’s acclaimed 2016 film The Salesman. And it has been said, perhaps apocryphally, perhaps not, that The Crucible has played continuously somewhere in the world since its debut performance in 1953. Hardly a New York theater season goes by without the revival of one of Miller’s plays. Just last year, the prestigious Brooklyn Academy of Music featured a revival of Salesman while the Roundabout Theatre staged a three-month production of his 1968 drama The Price. Among many attributes, the Roundabout production featured a stellar cast with Mark Ruffalo, Tony Shaloub, Jessica Hecht and Danny Devito as the play’s four characters. While not as well-known as any number of Miller’s works, The Price has been revived on Broadway more times – four – than all of his plays except The Crucible, which has also had four revivals over a significantly longer period of time. -
Arthur Miller, the Art of Theater No. 2 Interviewed by Olga Carlisle and Rose Styron
Paris Review - The Art of Theater No. 2, Arthur Miller http://www.theparisreview.org/interviews/4369/the-art-of... Arthur Miller, The Art of Theater No. 2 Interviewed by Olga Carlisle and Rose Styron Arthur Miller's white farmhouse is set high on the border of the roller-coaster hills of Roxbury and Woodbury, in Connecticut's Litchfield County. The author, brought up in Brooklyn and Harlem, is now a county man. His house is surrounded by the trees he has raised—native dogwood, exotic katsura, Chinese scholar, tulip, and locust. Most of them were flowering as we approached his house for our interview in spring 1966. The only sound was a rhythmic hammering echoing from the other side of the hill. We walked to its source, a stately red barn, and there found the playwright, hammer in hand, standing in dim light, amid lumber, tools, and plumbing equipment. He welcomed us, a tall, rangy, good-looking man with a weathered face and sudden smile, a scholar-farmer in horn-rimmed glasses and high work shoes. He invited us in to judge his prowess: he was turning the barn into a guesthouse (partitions here, cedar closets there, shower over there . ). Carpentry, he said, was his oldest hobby—he had started at the age of five. We walked back past the banked iris, past the hammock, and entered the house by way of the terrace, which was guarded by a suspicious basset named Hugo. Mr. Miller explained as we went in that the house was silent because his wife, photographer Inge Morath, had driven to Vermont to do a portrait of Bernard Malamud, and that their three-year-old daughter Rebecca was napping. -
Willy Loman and the American Dream Vagios Young Presented to The
Willy Loman and the American Dream Vagios Young Presented to the Liberal Studies Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the M aster o f Liberal Studies December 3, 2015 First Reader Second Reader Willy Loman and the American Dream The unavoidable questionDeath in o f a Salesman that lingers is whether Willy Loman is an attack, defense or ploy in the representation of the American dream.Death o f a Salesman has created considerable controversy for its theatrical style, production values and its dramatic content. When first exposed to it as an underclassman, I wasn’t affected by the controversy of its theatrical style or production decisions. I accepted it as a modem tragedy and a hybrid of American Realism and German Expressionism without reservation about its theatrical style. But I found it hard to accept and participate in the political debates it seemed to engender; in fact, I was offended by its obvious ambiguity and invitation to argument. I never felt comfortable in either position, consideringDeath of a Salesman as being a defense of or an attack upon the American Capitalist system or the pursuit of the American dream. These arguments seemed contrived to me, and these issues and the intentional ambiguity of MillerDeath in o f a Salesman smacked of manipulation and seemed to be career moves designed to enhance the appeal of the play by creating controversy. Miller readily admitted that he had written his previous play, All My Sons, to shock and promote discussion (S. C. Abbotson 1999, 46). -
Journal of American Studies of Turkey 46 (2017): 29-38
Journal of American Studies of Turkey 46 (2017): 29-38 Submitted: 2015.12.20 Accepted: 2016.03.01 Violence and Corruption among New York Longshoremen: Jim Longhi and His Two Fingers of Pride Elisabetta Marino Abstract This paper aims at exploring a still unpublished play by Jim Long- hi entitled Two Fingers of Pride (1955), and the controversial circum- stances that led to its composition. Longhi’s dramatic piece featured the tragic story of Pete Panto, a New York stevedore of Italian ancestry who had been murdered by the Mafia controlling the Red Hook docks of Brooklyn, while attempting to put an end to its crooked system of kickbacks and bribes. Panto’s story attracted Arthur Miller’s attention and, thanks to Longhi’s collaboration, in 1951, the playwright wrote a film script entitled The Hook. Director Elia Kazan was involved in the venture but, unfortunately, the script was turned down by several pro- ducers. Apparently, Longhi wrote his own play as a reaction to both the failure of The Hook, and the success of Elia Kazan’s blockbuster On the Waterfront (1954), somehow inspired by Pete Panto’s vicissitudes (even though Kazan never acknowledged his debt, besides replacing the main character with an ex-boxer of Irish descent), and by the dangerous lives led by New York longshoremen just before WWII. Keywords Jim Longhi, Red Hook Docks, longshoremen, Arthur Miller, On the Waterfront, mafia 29 Elisabetta Marino Özet Bu makalenin amacı, Jim Longhi’nin hala basılmamış olan oyu- nu Two Fingers of Pride’ı (Gururun İki Parmağı) ve yazılmasına sebep olan tartışmalı durumları incelemektir. -
Arthur Miller's Century
Arthur Miller’s Century Arthur Miller’s Century: Essays Celebrating the 100th Birthday of America’s Great Playwright Edited by Stephen Marino Arthur Miller’s Century: Essays Celebrating the 100th Birthday of America’s Great Playwright Edited by Stephen Marino This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Stephen Marino and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8648-3 ISBN (13): 978-1-4438-8648-2 To Katie TABLE OF CONTENTS Foreword ..................................................................................................... x Enoch Brater Acknowledgments .................................................................................... xiii Introduction .............................................................................................. xiv Stephen Marino Chapter One ................................................................................................. 1 Performance and Arthur Miller Keynote Address at the Arthur Miller Centennial Conference Christopher Bigsby Chapter Two ............................................................................................. -
Wrote "The Crucible" by Arthur Miller Issue of 1996-10-21 Posted 2002-04-15
Why I Wrote "The Crucible" by Arthur Miller Issue of 1996-10-21 Posted 2002-04-15 "The Performance," a new short story by Arthur Miller, appears in this week's magazine and here online (see Fiction). In 1996, Miller wrote this essay for The New Yorker, in which he reflects on the changing politics surrounding his play "The Crucible," which he wrote in 1952, and which is now in revival on Broadway, at the Virginia Theatre. As I watched "The Crucible" taking shape as a movie over much of the past year, the sheer depth of time that it represents for me kept returning to mind. As those powerful actors blossomed on the screen, and the children and the horses, the crowds and the wagons, I thought again about how I came to cook all this up nearly fifty years ago, in an America almost nobody I know seems to remember clearly. In a way, there is a biting irony in this film's having been made by a Hollywood studio, something unimaginable in the fifties. But there they are—Daniel Day-Lewis (John Proctor) scything his sea- bordered field, Joan Allen (Elizabeth) lying pregnant in the frigid jail, Winona Ryder (Abigail) stealing her minister-uncle's money, majestic Paul Scofield (Judge Danforth) and his righteous empathy with the Devil-possessed children, and all of them looking as inevitable as rain. I remember those years—they formed "The Crucible" 's skeleton—but I have lost the dead weight of the fear I had then. Fear doesn't travel well; just as it can warp judgment, its absence can diminish memory's truth. -
Arthur Miller
Arthur Miller: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Miller, Arthur, 1915-2005 Title: Arthur Miller Papers Dates: circa 1910s-2013 [bulk 1943-2005] Extent: 313 boxes (131.46 linear feet), 53 oversize boxes (osb), 34 oversize folders, 4 galley files (gf), 18 restricted boxes, 1 restricted oversize box Abstract: The papers of American Pulitzer Prize-winning playwright Arthur Miller consist of drafts of published and unpublished plays and other works, personal and professional correspondence, notebooks, photographs, clippings, and family papers which document Miller's writing career—spanning over fifty years—and range of creative output which includes plays, novels, screenplays, short stories, essays, speeches, and poetry. Call Number: Manuscript Collection MS-02831 Language: Predominately English; some printed material, letters, and documents in Chinese, Danish, Dutch, Finish, French, German, Greek, Hebrew, Hungarian, Icelandic, Italian, Japanese, Korean, Norwegian, Polish, Romanian, Russian, Spanish, Swedish, and Yiddish Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. To request access to electronic files, please email Reference. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility.