The protagonist of Death of Salesman is in danger of psychological restlessness in extremity. To reinforce this theme Arthur Miller has chosen a sensitive style of recording the psychological state of Willy Loman. The protagonist's psychological equipoise and equilibrium had shattered to the extent of madness. He was all the time in a state of psychological restlessness. Mental peace was alien to him. Normal level of thinking was foreign to him. To engage such a type of almost mad man Miller used that style which takes into account the Voltaire and changeable mood of Willy Loman.
Unlike the language of dialogue in the classical tragedies, the dialogue of Death of a Salesman is in an ordinary language. It had been a convention that the language of tragedy should be poetic and ornamental. It had been a widely applied tradition that characters protagonist should converse with other characters in the language of poetry.
But Arthur Miller no longer adhered to this convention of tragedy. In his Death of a Salesman almost all the characters, including the protagonist speak in a typical colloquial language.
Miller has used a style of linguistic realism. Sometimes they use slang and dialect words also. Moreover, they are also from the working class background. So it won't be matters of wonder if those characters are seen conversing with other characters in their dialect.
Expressionism does not give concrete and photographic realism. It provides essential clues of reality. To provide these clues dramatist often makes use of some devices.
In Death of a Salesman also Arthur Miller has made use of these devices. These devices are symbols, music, and flashback. Dancing in the forest and exorcism ceremonies in The Crucible are the discourses of the middle ages.
Reviewing the whole process, I clearly realize that no matter realism or romanticism, concrete or abstract, reproduction or expression, the artistic concepts and principles of drama may vary and the principal method of how to extract and abstract life may differ while all stage artistic creations come from life directly or indirectly. After returning home, he published his directing notes Salesman in Beijing New York: Viking Press, which recorded the cultural and dramatic concepts and the conflicts as well as communication during the process of his directing Death of a Salesman.
It also included all sorts of interesting episodes, anecdotes even disputes when transplanting this play in China. He was still fluttering with fear of the experience when he watched plays acted by Chinese actors in Miller highlighted the cultural exchanging function of the drama, carrying on the comparison between Chinese and American cultures from different aspects such as the plot, characters, performing techniques, etc. Through bilateral negotiations, Miller compromised in many aspects, for instance, the representation of sex with the Chinese actors dealing implicitly with their accustomed and traditional ways.
It represented the essence of the Chinese culture, emphasized the resemblance in spirit more than in appearance, broke through the traditional realistic staging methods employed for decades in China and reflected the principles of integration of Chinese and Western cultures. Foreign Drama invited Miller to have a formal seminar, and published feature-length comments on the direction, acting and text analyses. Since then, cultural exchanges between China and America revived, breaking the ice of tight cultural relationship.
Chinese people accepted and acknowledged this classical American drama. Cultural misunderstanding was inevitable that there were many Chinese interpretations such as problems of the elderly, generation gap, problems of the rich and poor, success and failure and dream and reality. Although they lost much time for working in the countryside during the GCR, they could not be irresponsible for society and their country.
The Chinese might disapprove of this lies and his self-deluding exaggerations as well as his immorality with women, but they certainly saw themselves in him. And it was not simply as a type but because of what they wanted. Which was to excel, to win out over anonymity and meaninglessness, to love and be darling, and above all, perhaps to count. Later he wrote his directing experience in his autobiographical memoir.
All these promoted Sino-US cultural exchanges forcefully. Ying Ruocheng not only translated the script himself, but also acted the role of Willy Loman. In the end, the more delighted the deceased Willy Loman was, the more sorrowful the living people were. Zhu Lin, a renowned actress, starred a powerful and virtuous mother Linda. She represented Linda as a classical Chinese mother who was a obedient, hardworking, understanding wife and loving mother.
Miller helped us continually enrich the understanding of the script and characters. All these enable them to understand and appreciate all the excellent dramas from all over the world. Since it was presented on Chinese stage, Death of a Salesman has always been drawing attention from all over the country. Its influence is mainly manifested in three respects. First, more and more Chinese tragedies began to deal with disillusioned dreams of common people.
Finally, all kinds of modernist techniques began to be widely used in performances rather than Stanislavsky method. It was also a typical work of tragedy of success dream and realism integrated with modern expressionist techniques. Uncle Doggie, two of whose wives either died or departed, often dreams of working hard to buy land and become a landowner.
But more political movements Cooperative , the Great Leap Forward and the GCR to come, his land was deprived and his hopes for success became slimmer and slimmer. Meanwhile the landowner Qi Yongnian, his fellow villager, was charged as an exploiting landlord and was criticized, denounced, severely persecuted and eventually died in the GCR. When the play begins, those things in his earlier life constantly appear in his mind and they flash back continually on stage.
He often talks with the ghost of the deceased landowner Qi Yongnian, even dispute. When China reopened its door in , Uncle Doggie got his land again under the new reform policy. But Dahu and his wife decide to set up a factory instead of plowing land. Uncle Doggie burns himself in the end. Both plays take social, familial and moral problems as their themes.
The essence of tragedy is the disillusion of dream of obtaining success or of getting rich. The two protagonists are both common people with merits and demerits: Two plays both end with the suicides of the protagonists. Their tragedies are spiritual and moral ones with the disillusion of dream as the main cause.
They both employ symbolism and expressionism as artistic techniques: The utilization of lighting is similar to that of Death of a Salesman. They both have a special time span: This feeling is just like opening the window and breathing fresh air, offering suggestions to me. For example, I have never thought of such methods before like symbolism, expressionism, stream of consciousness, etc.
Before and after the performance of Death of a Salesman in China, many other playwrights undertook experimental techniques. His two visits to China brought about brand-new concepts and atmospheres to Chinese stage. However, influence is not unidirectional. His current study is on Tennessee Williams and his works. And millions of officials and intellectuals were persecuted and Chinese traditional culture was greatly damaged.
Garpett Barden and John Cumming Beijing: China Social Sciences Publishing House, Reprinted from the English Edition by New York: The Crossroad Publishing Company, , Beijing University Press, , Farrar Straus Giroux, , Being real is not drama and being not real is not art.
Acquiring emotion and meaning is both drama and art. Then take it out from the superficial matters. Sure enough, Miller appreciated the play and said to Zuolin that the west realistic drama was much less colorful and exciting.
Shanghai Translation Press, , A Life New York: Grove Press, , Chinese Drama Publishing House, , And now, he comes to Beijing with heavy pace and same heavy case of commodity samples.
Writing Styles of Arthur Miller By Robert Vaux ; Updated September 15, Arthur Miller was an American playwright who first rose to prominence in the years following World War II.
Everything you need to know about the writing style of Arthur Miller's The Crucible, written by experts with you in mind.
Unlike most editing & proofreading services, we edit for everything: grammar, spelling, punctuation, idea flow, sentence structure, & more. Get started now! Miller's use of style is an essential component the drives The Crucible. Style and technique are essential in understanding the work's thematic meaning. One example can be seen in the stage.
Arthur Miller Biography - Arthur Miller was born on October 17, , in New York City, the son of Isidore and Augusta Miller. His father lost his wealth during the Great Depression of the s and the family, like many others, suffered economic hardship and could not afford to send him to college. Miller worked for two years in an. Arthur Miller Writing Styles in Death of a Salesman Arthur Miller This Study Guide consists of approximately 57 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of Death of a Salesman.