Arthur Miller
Arthur Miller
Arthur Asher Millerwas a prolific American playwright, essayist, and prominent figure in twentieth-century American theatre. Among his most popular plays are All My Sons, Death of a Salesman, The Crucibleand A View from the Bridge. He also wrote several screenplays and was most noted for his work on The Misfits. The drama Death of a Salesman is often numbered on the short list of finest American plays in the 20th century alongside Long Day's Journey into Night and A Streetcar...
NationalityAmerican
ProfessionPlaywright
Date of Birth17 October 1915
CityNew York City, NY
CountryUnited States of America
kings play people
The Greeks used to use the same stories, the same mythology, time after time, different authors. There was no premium placed upon an original story, and indeed, Shakespeare likewise. A lot of people wrote plays about great kings. They didn't expect a brand-new story. It was what that new author made of the old story. It is probably the same now. We disguise it by inventing what seem to be new stories, but they're basically the same story anyway.
writing wind play
As a writer, I've always believed that while my work and I myself are embedded in whatever period I am writing about, clearly I am sensitive to the winds that are blowing in the culture. At the same time, I have always felt that the issue was not to deal with the problem in the abstract, but to deal with the people who are in that problem. The emphasis is on the people. The general problem begins to resolve itself even before the play is finished.
new-york taken play
There is a problem on the so-called commercial stage in New York. The price of a ticket is exorbitant, and there are no longer original productions possible, apparently, on the commercial stage. They are all plays that were taken from either England or smaller theaters, off-Broadway theaters, and so on. The one justification there used to be for the commercial theater was that it originated everything we had, and now it originates nothing. But the powers that be seem perfectly content to have it that way. They don't risk anything anymore, and they simply pick off the cream.
moving play effort
The play is really a kind of nightmare. It ought to flow rapidly and effortlessly from one moment to another. In London, we had difficulty with the set, which required too much effort to move around. Having gotten the benefit of seeing it done once, I wanted to work on the script, to make it sharper and more pointed.
thinking play crafts
. . . usually, the biggest problems of adapting plays into screenplays is that they stick too close to the play, and I think film is a completely different medium. I think a novel is much closer to a film . . ..
writing play trying
Well, all the plays that I was trying to write were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from.
order play unity
A play's an interpretation. It is not a report. And that is the beginning of its poetry because, in order to interpret, you have to distort toward a symbolic construction of what happened, and as that distortion takes place, you begin to leave out and overemphasize and consequently deliver up life as a unity rather than as a chaos, and any such attempt, the more intense it is, the more poetic it becomes.
writing years play
My plays are always involved with society, but I'm writing about people, too, and it's clear over the years that audiences understand them and care about them. The political landscape changes, the issues change, but the people are still there. People don't really change that much.
thinking play theatre
I think now that the great thing is not so much the formulation of an answer for myself, for the theatre, or the play - but rather the most accurate possible statement of the problem.
dream writing play
The American Dream is the largely unacknowledged screen in front of which all American writing plays itself out,
ignorance play irony
A play is made by sensing how the forces in life simulate ignorance-you set free the concealed irony, the deadly joke.
country way playwright
A playwright lives in an occupied country. And if you can't live that way you don't stay.
men thinking play
My conception of the audience is of a public each member of which is carrying about with him what he thinks is an anxiety, or a hope, or a preoccupation which is his alone and isolates him from mankind and in this respect at least the function of a play is to reveal him to himself so that he may touch others by virtue of the revelation of his mutuality with them. If only for this reason I regard the theater as a serious business, one that makes or should make man more human, which is to say, less alone.
home play bird
The structure of a play is always the story of how the birds came home to roost.