Capitalist America in Arthur Miller’s Death of a Salesman: A Re-consideration

Keyword(s):  
2020 ◽  
Vol 36 (4) ◽  
pp. 369-383
Author(s):  
Rachel Clements ◽  
Sarah Frankcom

Sarah Frankcom worked at the Royal Exchange Theatre in Manchester between 2000 and 2019, and was the venue’s first sole Artistic Director from 2014. In this interview conducted in summer 2019, she discusses her time at the theatre and what she has learned from leading a major cultural organization and working with it. She reflects on a number of her own productions at this institution, including Hamlet, The Skriker, Our Town, and Death of a Salesman, and discusses the way the theatre world has changed since the beginning of her career as she looks forward to being the director of LAMDA. Rachel Clements lectures on theatre at the University of Manchester. She has published on playwrights Caryl Churchill and Martin Crimp, among others, and has edited Methuen student editions of Lucy Prebble’s Enron and Joe Penhall’s Blue/Orange. She is Book Reviews editor of NTQ.


1964 ◽  
Vol 25 (7) ◽  
pp. 547
Author(s):  
Stephen A. Lawrence

1950 ◽  
Vol 2 (4) ◽  
pp. 366
Author(s):  
John E. Dietrich ◽  
John Gassner
Keyword(s):  

1993 ◽  
Vol 45 (1) ◽  
pp. 108
Author(s):  
Catherine Diamond ◽  
Arthur Miller
Keyword(s):  

2019 ◽  
Author(s):  
AWEJ-tls for Translation & Literary Studies ◽  
Tahar Bayouli ◽  
Imed Sammali

This paper examines the issue of genre classification in Death of a Salesman by focusing on the dialectic relation at the heart of the play’s structure between tragedy and social drama. It argues that the tragic resolution brought to the theme of social protest and the characterization of the protagonist is what gives the play its unique place as the quintessential modern tragedy. It is concluded that tragedy and the social theme are not mutually destructive in Death of a Salesman as some critics stated. Rather, they are combined to make an intense dramatic treatment of the modern American individual’s most pressing issues. Without being constrained by prescriptive standardized rules, Miller produced a dramatic form that rightly claims the status of what can be labeled a modern tragedy, appealing to modern audiences as rarely any other modern play did.


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