Two Tendencies Beyond Realism in Arthur Miller's Dramatic Works

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Two Tendencies Beyond Realism in Arthur Miller's Dramatic Works Inês Evangelista Marques 2º Ciclo de Estudos em Estudos Anglo-Americanos, variante de Literaturas e Culturas The Intimate and the Epic: Two Tendencies beyond Realism in Arthur Miller’s Dramatic Works A critical study of Death of a Salesman, A View from the Bridge, After the Fall and The American Clock 2013 Orientador: Professor Doutor Rui Carvalho Homem Coorientador: Professor Doutor Carlos Azevedo Classificação: Ciclo de estudos: Dissertação/relatório/Projeto/IPP: Versão definitiva 2 Abstract Almost 65 years after the successful Broadway run of Death of a Salesman, Arthur Miller is still deemed one of the most consistent and influential playwrights of the American dramatic canon. Even if his later plays proved less popular than the early classics, Miller’s dramatic output has received regular critical attention, while his long and eventful life keeps arousing the biographers’ curiosity. However, most of the academic works on Miller’s dramatic texts are much too anchored on a thematic perspective: they study the plays as deconstructions of the American Dream, as a rebuke of McCarthyism or any kind of political persecution, as reflections on the concepts of collective guilt and denial in relation to traumatizing events, such as the Great Depression or the Holocaust. Especially within the Anglo-American critical tradition, Miller’s plays are rarely studied as dramatic objects whose performative nature implies a certain range of formal specificities. Neither are they seen as part of the 20th century dramatic and theatrical attempts to overcome the canons of Realism. In this dissertation, I intend, first of all, to frame Miller’s dramatic output within the American dramatic tradition. Then, resorting mainly to the theoretical notions of Peter Szondi and Jean-Pierre Sarrazac, I aim to identify and analyze the two main formal devices employed by the playwright in order to deconstruct the fossilized domestic Realism that had settled on the Broadway stages: the intimate and psychological form – Death of a Salesman and After the Fall – and the epic/narrative approach – A View from the Bridge and The American Clock. Keywords: Arthur Miller, American Drama, Realism, Aristotelian Theatre, Intimate Theatre, Epic Theatre, Novelization. Resumo Cerca de 65 anos após a estreia na Broadway de Death of a Salesman, Arthur Miller continua a ser considerado um dos dramaturgos mais consistentes e marcantes do cânone dramático norte-americano. Ainda que as suas peças mais tardias tenham sido menos populares que os clássicos iniciais, a escrita dramática de Miller tem sido recebida com regular atenção crítica e a sua longa e preenchida vida continua a suscitar a curiosidade dos biógrafos. Contudo, os trabalhos académicos que se debruçam sobre a obra do autor estão demasiado ancorados numa perspetiva temática: as peças são estudadas como desconstruções do Sonho Americano, como críticas ao McCartismo ou a qualquer espécie de perseguição política, como reflexões acerca dos conceitos de culpa e negação coletivas em relação a eventos traumatizantes como a Grande Depressão e o Holocausto. Na tradição crítica anglo-americana, em particular, as peças de Miller são raramente estudadas como objetos dramáticos cuja natureza performativa implica um determinado conjunto de especificidades formais. Tampouco são analisadas como parte integrante dos processos dramáticos e teatrais de desconstrução dos cânones realistas que marcaram o século XX. Nesta dissertação pretendo, em primeiro lugar, enquadrar a produção dramática de Arthur Miller na tradição teatral americana. Seguidamente, e recorrendo sobretudo a noções teóricas de Peter Szondi e Jean-Pierre Sarrazac, tentarei identificar e analisar os dois principais dispositivos formais usados pelo dramaturgo para ultrapassar o Realismo doméstico (já quase fossilizado) que dominava os palcos da Broadway: a forma íntima e psicológica – Death of a Salesman e After the Fall – e a abordagem épica/narrativa – A View from the Bridge e The American Clock. Palavras-chave: Arthur Miller, Drama Americano, Realismo, Teatro Aristotélico, Teatro Íntimo, Teatro Épico, Romancização. 3 4 Table of Contents Agradecimentos ..................................................................................................................................7 Introduction ...................................................................................................................................... 11 Part I................................................................................................................................................. 17 Chapter One – The American theatre tradition, 1880-1945. A brief characterization ...................... 19 1. Dramatic mainstream and Realism in the American grain .................................................. 19 2. Alternative and Experimental Routes ................................................................................. 41 Part II ............................................................................................................................................... 53 Prologue – The quest for an original form ..................................................................................... 55 Chapter Two: The Event is inside the Brain ................................................................................... 69 Chapter Three: The Brain is inside the Event ............................................................................... 103 Bibliographic References: ............................................................................................................... 141 5 6 Agradecimentos Um trabalho de investigação, em última análise, nunca é desenvolvido e escrito apenas a duas mãos. Assim sendo, gostaria de expressar o meu profundo agradecimento aos orientadores desta dissertação, o Professor Doutor Carlos Azevedo e o Professor Doutor Rui Carvalho Homem, que acompanharam atentamente o meu trabalho, concedendo-me, no entanto, a liberdade (e o voto de confiança) para fazer as minhas próprias escolhas. Agradeço igualmente as constantes sugestões científicas e a compreensão com que aceitaram alguns atrasos na entrega dos capítulos. Gostaria, em segundo lugar, de agradecer à Professora Doutora Alexandra Moreira da Silva, por me ter recebido nos seminários de Dramaturgia que lecionou no âmbito do Mestrado em Estudos de Teatro (FLUP) e que foram fundamentais para a conceção deste estudo. De resto, agradeço à Professora Alexandra as conversas, as indicações bibliográficas e a generosa partilha do seu vasto conhecimento na área dos estudos teatrais. Aos pais fico grata pelo apoio e a preocupação de me aliviarem das tarefas lá de casa sempre que as tarefas académicas requeriam mais atenção. Uma palavra especial de agradecimento vai também para a Bia, que me ensinou a escrever e, desde então, me tem acompanhado com a sua boa disposição. Pela competência e inteira disponibilidade, agradeço às bibliotecárias de Letras: Laura Gil, Marlene Borges e Rafaela Barbosa. Deixo também o meu agradecimento às minhas colegas de trabalho diário na biblioteca, Marta Correia e Zélia Moreira, pela partilha de experiências e a companhia. Gostaria também de expressar a minha gratidão ao Luís Mestre – um outro admirador de Arthur Miller – que generosamente me cedeu elementos bibliográficos e com quem pude discutir as minhas ideias. Ao Tiago Sousa Garcia e ao Vítor Neves Fernandes – amigos e colegas de licenciatura e mestrado – agradeço a paciência e a forma como sempre aguçaram a minha curiosidade, desafiando-me a ler, ver e ouvir coisas novas; ao Miguel Ramalhete Gomes e à Helena Lopes, a calma e sensatez de quem já passou pelo mesmo. À Ana Luísa Lopes, Alexandre Marinho, Sílvia Neto e Inês Castro e Silva agradeço a amizade, as gargalhadas e os momentos de festa. Agradeço ao André por me ouvir e aconselhar com a maior ponderação e por me ter ensinado que os caminhos fáceis são becos sem saída. Fico muito grata ao Pedro pela presença vigilante e o otimismo inabalável, mesmo quando eu respondia com obsessões e crises dissertativas. 7 8 “If art reflects life it does so with special mirrors” Bertolt Brecht “Je n’invente rien; je fais mieux, je continue” Émile Zola “TYRONE: Mary! For God’s sake, forget the past! MARY: The past is the present” Eugene O’Neill, Long Day’s Journey into Night 9 10 Introduction This dissertation intends to be, first of all, a contribution to the still fragmented research on what Susan Harris Smith called the “bastard art”, “the canary in the mine shaft of American literary and cultural studies” (Smith 1997: 1) – American drama.1 Being deemed, by many academics and theatre professionals, as commercial and aesthetically conservative, American playwriting and theatrical practices are generally conceived as an “attenuated, fossilized imitation of Ibsenian and Chekhovian realism” (Lyons 1993: 162). Even some works by the playwrights who made it to the Pantheon of contemporary drama (Eugene O’Neill, Tennessee Williams, Arthur Miller, David Mamet and Sam Shepard) are often dismissed as mere variations of the conventional realistic matrix from which modern American drama was born. Which is somehow true. But, as some critics have noticed, Realism has proved to be a dominant characteristic of American arts (including narrative fiction, painting and cinema) during the 20th century. Gerald Berkowitz, in American Drama of the Twentieth Century, states with great certainty that Realism is “the natural voice of American drama” (Berkowitz 1992: 2) and many other
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