![]() Though he is viewed as a realist by some critics, his work rarely conforms to such limitations, and his entire oeuvre is notable for its experimentation in both form and subject matter, with only his inherent philosophical beliefs to provide connection. Influenced by the social-problem plays of the Norwegian playwright Henrik Ibsen, the experimental poetics of Clifford Odets and Tennessee Williams, and the inventive staging of Thornton Wilder, Miller created his own brand of drama that often explored macrocosmic social problems within the microcosm of a troubled family. In the creation of Death of a Salesman, along with its director Elia Kazan and designer Jo Mielziner, Miller brought a new style of play to the American stage which mixes the techniques of realism and expressionism this has since been dubbed “subjective realism” and provoked a redefinition of what tragedy might mean to a modern audience. Unlike many of his contemporaries, Miller maintained his optimism that despite humanity’s unfortunate predisposition toward betrayal, people could transcend this and be better. ![]() ![]() ![]() A staunch patriot and humanist, Miller’s work conveys a deeply moral outlook whereby all individuals have a responsibility both to themselves and to the society in which they must live. Arthur Miller (1915–2005) was the author of essays, journals, short stories, a novel, and a children’s book, but is best known for his more than two dozen plays, which include the seminal American dramas Death of a Salesman and The Crucible. ![]()
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