DEATH OF A SALESMAN

By Arthur Miller

THEATRICAL CONTEXT

Realism• An artistic movement which began in France in the

19th Century• It sought to accurately portray everyday

characters, situations, and problems. • The language used was as close as possible to

natural conversation• Costumes were contemporary and sets were

three-dimensional and lifelike. • The plays were usually about social problems

THEATRICAL CONTEXT

Expressionism• Was a reaction to realism and began in the

1900’s• Sought to portray the inner psychological

life of a character, concentrating on a subjective view of the world rather than an objective one.

• Plot, structure, and characterization were less important than poetic dialogue (Example?)

• Lighting was used to create atmosphere (Example?)

THEATRICAL CONTEXT

Miller was fascinated with Expressionism, but did not want to give up the conventions of Realism.

In Death of a Salesman he incorporates the two conventions • We see the reality of events as well as the turmoil that Willy in

undergoing

Sometimes, this takes form of Willy’s past experiences acted out. At other times, it is in the appearance of characters from the past in Willy’s present.

THEATRICAL CONTEXT

Some call these events “flashbacks” but Miller did not.

• Miller said is it, “literally that terrible moment when the voice of the past is no longer distant but quite as loud as the voice of the present…there are no flashbacks in this play, but only a mobile concurrency of past and present. Because in his desperation to justify his life, Willy Loman has destroyed the boundaries between now and then.”

TRAGEDYTragedy: A serious play which represents the disastrous downfall of a central character (protagonist). Some ancient Greek tragedies, a happy ending was possible, but the more common ending is that the protagonist dies.

Aristotle (4th Century) defined tragedy as an action which is serious and complete, with the protagonist achieving catharsis through incidents which arouse pity and terror.

The protagonist is led to this point through hamartia, which often takes the form of hubris.

DEFINITIONS

Hamartia

Hubris

Peripeteia

Anagnorisis

Nemesis

Catharsis

HAMARTIADerives from the Greek hamartánein which means "to miss the mark" or "to err”Hamartia as it pertains to dramatic literature was first used by Aristotle in his PoeticsIn tragedy, hamartia is commonly understood to refer to the protagonist’s error or flaw that leads to a chain of plot actions culminating in a reversal from their good fortune to bad.

What qualifies as the error or flaw can include an error resulting from ignorance, an error of judgment, a flaw in character, or sin

HUBRISFrom ancient Greek hybris which is extreme pride or self-confidenceHubris is usually perceived as a characteristic of an individual rather than a group, although the group the offender belongs to may suffer consequences from wrongful act (Examples?)

Hubris often indicates a loss of contact with reality and an overestimation of one’s own competence, accomplishments, or capabilities (Examples?)

PERIPETEIA

In his Poetics Aristotle defines peripeteia as, “a change by which the actions veers round to its opposite, subject always to our rule of probability or necessity.”Ironic situation that is supposed to bring comfort, but is instead is a reversal of fortune

ANAGNORISIS

Aristotle defined anagnorisis as “a change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune.”The discovery of one's own identity or true character or of someone else's identity or true nature by the tragic heroDoes tragic hero Willy Loman have true moment of recognition, or anagnorisis?

NEMESIS

Related to Greek word nemein meaning to give what is due. In ancient Greek religion, Nemesis was the spirit of divine retribution against those who succumb to hubris (arrogance)

Nemesis refers to an indomitable rival or an inescapable situation that causes misery and death.

CATHARSIS

From the Greek katharsis meaning “purification” or “cleansing”

It is the purification and purgation of emotions, especially pity and fear Think of pity as the experience of empathy and sympathy that we feel for the characters engaged in the dramatic events. The fear comes from our recognition of our own situation in the drama; we could potentially experience these events and this knowledge of our closeness to the events of the drama causes terror.