His father lost his business in the Depression and the family was forced to move to a smaller home in Brooklyn. 'It is time that we, who are without kings, took up this bright thread of our history and followed it to the only place it can possibly lead in our time-the heart and spirit of the average man.'Īrthur Asher Miller, the son of a women's clothing company owner, was born in 1915 in New York City. The fear of being displaced or having our image of what and who we are destroyed is best known to the common man, Miller believes. 'From Orestes to Hamlet, Medea to Macbeth, the underlying struggle is that of the individual attempting to gain his 'rightful' position in his society.' Miller considers the common man 'as apt a subject for tragedy in its highest sense as kings were.' Death of a Salesman, which opened in 1949, tells the story of Willy Loman, an aging salesman who makes his way 'on a smile and a shoeshine.' Miller lifts Willy's illusions and failures, his anguish and his family relationships, to the scale of a tragic hero. 'I think the tragic feeling is evoked in us when we are in the presence of a character who is ready to lay down his life, if need be, to secure one thing-his sense of personal dignity,' Miller writes.

When the political situation shifted, Death of a Salesman went on to become Miller's most celebrated and most produced play, which he directed at the People's Art Theatre in Beijing in 1983.Ī modern tragedian, Miller says he looks to the Greeks for inspiration, particularly Sophocles.

In a note to the play, Miller writes, 'A political policy is equated with moral right, and opposition to it with diabolical malevolence.' Dealing as it did with highly charged current events, the play received unfavorable reviews and Miller was cold-shouldered by many colleagues. He once said he thought theater could 'change the world.' The Crucible, which premiered in 1953, is a fictionalization of the Salem witch-hunts of 1692, but it also deals in an allegorical manner with the House Un-American Activities Committee. In his writing and in his role in public life, Miller articulates his profound political and moral convictions.

People elsewhere tend to accept, to a far greater degree anyway, that the conditions of life are hostile to man's pretensions.' In Miller's more than thirty plays, which have won him a Pulitzer Prize and multiple Tony Awards, he puts in question 'death and betrayal and injustice and how we are to account for this little life of ours.'įor nearly six decades, Miller has been creating characters that wrestle with power conflicts, personal and social responsibility, the repercussions of past actions, and the twin poles of guilt and hope. 'Whoever is writing in the United States is using the American Dream as an ironical pole of his story. 'The American Dream is the largely unacknowledged screen in front of which all American writing plays itself out,' Arthur Miller has said.

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