Arthur Millers Death of Saleman :: Arthur Millers Death of Saleman

Arthur Millers Death of Saleman On February 10, 1949, at the Morosco Theatre in New York, Death of a Salesman opened. It was straight off acclaimed as a perfect blend of script, setting, st agedness, and acting. The New Yorker called the play a mixture of compassion, imagination, and hard technical competence non often engraft in our theater. Death of a Salesman swept the award field in 1949, winning the Drama Critics Circle award, the Tony, Theatre Club, and Front Page awards, as well as the much-coveted Pulitzer Prize. Road companies took it on tour. European productions in translations vie to full houses. The printed edition was a Book-of-the-Month Club selection and set a sales record for plays in book variety. The movie rights were snapped up, and for months it was the most common play for college and amateur productions. In fact, Salesman was a triumph that Miller has not been able to repeat - whatever the success or the true meritoriousness of his later work . When you read this play, take special care to remember the variety between the work of a playwright and that of a novelist. Novelists may mean their audience as an individual with book in band, except a playwright writes with a theater full of people in mind. Playwrights turn in that the script is just the blueprint from which actors, producers, stagehands, musicians, scenic designers, make-up artists, and costumers begin. You will consume to use an extra measure of imagination to evaluate this play forrader you see the Goodman production. Sidebars How does writing a script differ from writing a novel? Do you think it is easier to write in one form than the other? Why or why not? Death of a Salesman was a major success not only on the stage, but also in book form as well. Try to rotate this in mind as you read. Try to visualize the action on the stage. In Death of a Salesman, Arthur Miller uses a dramatic glide path to the problem of presenting time (and its pass age and meaning) onstage. Dramatists have used many devices to regard with the problem of the movement of time through the ages - from the classical Greek let loose simply telling the audience that time has passed, to minutely realistic aging of the characters through make-up.