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I made arrangements to hang a large banner on a fence along a main street that Miller’s limousine would pass as it entered the town. ” Later, that day, I was able to greet the playwright in a receiving line. In the lingering second we stood there, a kind of knowing twinkle appeared in his eye.
I would like to see this play in a theater.” To allow them to appreciate more of an actual theater experience, my students read along with a recording of the 1965 Ulu Grosbard off-Broadway run starring Robert Duvall as Eddie and Jon Voight as Rudolpho. A play leaps from the conventional to the poetic when it captures “the language of family relations . Their father was a regular giant, supposed to be” (33).
(Caedmon TRS 317) This production Miller singled out as a performance that ” . Spoken by Duvall, these lines resonate with realism.
Now steeped in Italian culture and having survived a tension-filled chance meeting with famed gangster Charles “Lucky” Luciano in Sicily, as well as other adventures, Miller was able to admit that “Italy was giving me the courage for the play that was forming in my head” (164).
For students who have been subjected to a steady diet of Initially, it may be the language of the play that grabs young readers like Coleridge’s ancient mariner.
And when Miller claims that if a play is to achieve a “satisfactory realism,” the story must contain “a certain amplitude of sound . Certainly, young and older readers alike can appreciate the accusatory power that the young girls of Salem Village enjoy, albeit for a brief but turbulent period.
But there is little to admire about their motives and/or their intentions.Early in Act One, a passage powerfully read by Duvall “overtly stylizes” Eddie’s protective reaction to seeing Catherine’s new skirt: “Now don’t aggravate me Katie, you are walkin’ wavy! a man who rides on a great machine, this man is responsible, this man exists.I don’t like the looks they’re givin’ you at the candy store. fruity, mangled Sicilian-English bravura, with its secretive, marvelously modulated hints and untrammeled emotions” (153). He will be given messages” (26), he gives us reason to believe in his sincere intentions with Catherine and to thus reject Eddie’s unfounded dismissal of him as “a hit-and-run guy” (37).What Eddie seems to represent more than anything else at this point is what critic Steven Centola recognizes as “the ideal father myth” (57).Similar to ‘s Biff Loman’s recognition of this phenomenon, Catherine now understands Eddie’s “absurd conception of himself as above the law and his society” (Centola 57).A reaction by one of this semester’s junior year students is typical: “I don’t usually like to read plays, but this one really hit home for me. The language of View is certainly “conventional” in a sense that it’s the way a Brooklyn dock worker in that neighborhood would talk.I liked the way [the characters] talked, and I was interested during the whole story. In his essay “About Theater Language,” Miller delineates the difference between conventional realism and poetic or prose realism. Referring to Marco, Eddie allows, “Yeah, he’s a strong guy, that guy.In , Catherine and Rodolpho give us two characters who, to be sure, also represent a rebellion of youth versus age, but who are likable and who triumph in the face of tragic circumstances.The more we are exposed to Eddie’s petty suspicions of Rodolpho, the more we can celebrate the words of Dr.And while it is well documented that typically many teenagers can communicate more freely with grandparents than with parents, younger readers at this point in the play look for a voice of truth.Enter the grandfatherly Greek chorus provided by Alfieri: “I’m warning you [Eddie]–the law is nature.