arthur miller interview

You were completely on your own there and could easily starve to death, but I decided to pursue the theatre because I loved it. All I knew was that Ted Patrick kept calling me up and saying, “why don’t you write us something? . I thought that was very perspicacious. And I wonder how much of your artistic vision was based on your experiences here. That’s when Orson Welles was starting to perk up, and a number of very very good actors, mainly actors, and a few writers, like Clifford Odets, were leading the general feeling that something had to change. So it’s absolutely a cumulative play in Arthur’s thematic oeuvre. The original purpose or calling of creative art was always the community. Well, it’s a fanatical religious belief, yes. She’s really broached an important subject. They are portraying that, as the author, you are full of pity. He just wandered around and at one point got caught in a field; he got lost.

I had a professor, Erich Walter, who was the first one to recognize that I might have some talent. I’m not going to pursue conflicting arguments with second-hand knowledge but merely to say the obvious, that the settlement policy appears to have changed the very nature of the Israeli state, and that a new birth of a humanistic vision is necessary if the Jewish presence is to be seen as worth preserving. There may be local companies which do a little work now and then, but a continuous high-level institution of some sort that deals on a serious basis with drama and high-level comedy, we don’t have it. It burst loose with Reagan, who knew how to maneuver in front of a camera better than anyone around him.

We never even had that debate, we never confronted this issue in any serious way. I knew a guy who had been here for two semesters and then quit to join his father’s grocery business. .

What the Depression was was a crash of accepted values. He said he would give me a try, but I had better make some grades. Lamos: One last question. And it happens about once a week. And what are we going to do now, are we going to vote on the basis of how pleasant somebody appears to be or how winning his personality is? As did the Greek dramatists and Ibsen, who were your big influences as a student, certainly, right? Our professional theater is about money, and it’s about popularity at any cost, no matter what. I’ve told this story before. Interviewer: When writing Death of a Salesman, you were taking drama and making it new, how were you doing this? That question is the question. By that time I had been working for some years in New York at various menial jobs. . The reason I think it bad is that we seem to be wanting to reestablish an America that passed away around the turn of the last century, with McKinley. Q: Is most of your rewriting done before you bring it into the theater? Michigan Quarterly Review, founded in 1962, is the University of Michigan’s flagship literary journal, publishing each season a collection of essays, interviews, memoirs, fiction, poetry, and book reviews. I was on a panel in New York a few years ago with, among other people, a scholar of Greek tragedies, who said that the most performances in the history of the world of Euripides’ The Trojan Women, ostensibly the greatest antiwar play ever written, were between 1939 and 1945. I got out of the bus, and I had never been in a taxi of course, but I saw a line of taxis. As we drove East through Toledo, Ashtabula, the red brick roads through the Ohio farmlands, I tried to tell him what Michigan really was.

What were your feelings right before you were forced to go before the committee?

What was it about her that you felt you wanted to investigate that she couldn’t do in other films?

But there’s been a lot of literature in the last years that I think is relevant. But I think partly, it’s that .

But see for yourself.” I said, “so, where do I look?” He said, “well, why don’t you go talk to the professor who’s in charge of freshman orientation?” So I went to see that guy. And they knew very well that there was a Palestinian identity, and that they existed, and that the issue had to be dealt with. I suppose I should say welcome home, because the university had a kind of immense influence on you as a young man. You have to remember that when World War II started, the United States Army was not integrated. Whether we can hope to ever have a theater based upon the art that is at the same time reasonably popular, so that it has a sizable audience. Search the archive for over fifty years of fiction, poetry, essays, and more. (Two or three years passed, and one day I was walking past the Michigan Union and I saw a line of cabs and I thought, that guy took me around the block!) But the idea has no power to spread at the moment. And that sunk him. The main reason for this has always been that you were lacking moral precepts to give and that there were no solutions to the problems that the salesman was having. He sat me down and said, I’ll never forget this, “well, there’s a lot less standing around the lampposts than there used to be, chatting.” I said, “What do you mean?” He said, “Well, the grades are very important now, and people want to be hired by large corporations, and so they’re watching their behavior, because the companies are very interested in how they live. In those days, with the possible exception of Iowa, and I’m not even sure that existed yet, creative writing in colleges was not really accepted as an academic course. That is, if you’re going to pollute, you pollute. It was a remarkable house. It does have initially as its targets the media and mediaspeak, but then it also, subtly and powerfully, goes into the constant difference between the description of a thing and the actuality of a thing. And I thought, this guy led the biggest military invasion in the history of the world to save Europe, or help save Europe, and here he is in a chair getting powdered before he addresses his fellow citizens. I thought of it as the Wild West. It really isn’t. So it got very exciting for a while, for some years. Here are two excerpts: Enoch Brater: Let’s begin with Ann Arbor.

Did you want to come here because of your desire to write and the Hopwood Awards . I asked some students, “do you feel any repression in discussing ideas of any kind?” And they were all kind of quiet and this girl said, “well, I live in a co-op house, but I don’t let anybody know.” I asked, “why don’t you let anybody know?” and she said, “well, they think it’s communism because I live in a house that’s a . And when you tried to explain that, well, he wasn’t happy doing movies and the rest of it, you were met with total incomprehension. I knew nothing. When I arrived in 1934, at the bottom of the Depression, I fell in love with the place, groggy as I was from the bus ride, because I was out of the warehouse at last and at least formally part of a beautiful town, the college town of Ann Arbor.”. He established the national parks, tried to limit the decapitation of the forests, all that.

See, Lincoln Center had started under Robert Whitehead, a friend of mine who had produced some of my plays.

It depends on the moment, of course. .
I was amazed that in Detroit they had the same cars we had in New York!

You’ve worked with some of the greatest actors in America and England. It’s the inevitable result of a powerful culture, art is. And it was very precise. There’s no other way. I think theater now is struggling with the television.

And somehow you never shook that, as a writer of the fictive; you continued to attempt to speak to society and society’s ills. The question is whether there is a value in that work which compensates for all that money being spent, when other things need money too.

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