Arthur Asher Miller foi um dramaturgo norte-americano. Conhecido por ser o autor das peças Morte de um Caixeiro Viajante e de The Crucible , e por se ter casado com a atriz Marilyn Monroe em 1956. Morreu de insuficiência cardíaca crónica, com 89 anos, em Roxbury, Connecticut. Wikipedia
“Você se especializa em alguma coisa até um dia descobrir que a coisa se especializou em você.”
You specialize in something until one day you find it is specializing in you.
The Price (1967)
“Quando antevejo o final, consigo trabalhar para trás.”
If I see an ending, I can work backward.
The New York Times (9 Fev 1986)
“A traição é a única verdade que cola.”
why is betrayal the only truth that sticks
"After the Fall" - Página 53, Arthur Miller - Dramatist's Play Service, 1964, ISBN 0822200104, 9780822200109 - 83 páginas
“Attention, attention must be finally paid to such a person.”
Linda
Death of a Salesman (1949)
Contexto: I don't say he's a great man. Willy Loman never made a lot of money. His name was never in the paper. He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him. So attention must be paid. He's not to be allowed to fall into his grave like an old dog. Attention, attention must be finally paid to such a person.
“He's a man way out there in the blue, riding on a smile and a shoeshine.”
Charley
Death of a Salesman (1949)
Contexto: Nobody dast blame this man. Willy was a salesman. And for a salesman, there is no rock bottom to the life. He don't put a bolt to a nut, he don't tell you the law or give you medicine. He's a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back — that's an earthquake. And then you get yourself a couple of spots on your hat, and you're finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory.
“Is the accuser always holy now?”
John Proctor
The Crucible (1953)
Contexto: Is the accuser always holy now? Were they born this morning as clean as God's fingers? I'll tell you what's walking Salem — vengeance is walking Salem. We are what we always were in Salem, but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law! This warrant's vengeance! I'll not give my wife to vengeance!
Tragedy and the Common Man (1949)
Contexto: The tragic right is a condition of life, a condition in which the human personality is able to flower and realize itself. The wrong is the condition which suppresses man, perverts the flowing out of his love and creative instinct. Tragedy enlightens — and it must, in that it points the heroic finger at the enemy of man's freedom. The thrust for freedom is the quality in tragedy which exalts. The revolutionary questioning of the stable environment is what terrifies.
"With respect for Her Agony — but with Love" in LIFE magazine (7 February 1964)
Contexto: It is always and forever the same struggle: to perceive somehow our own complicity with evil is a horror not to be borne. … much more reassuring to see the world in terms of totally innocent victims and totally evil instigators of the monstrous violence we see all about us. At all costs, never disturb our innocence. But what is the most innocent place in any country? Is it not the insane asylum? These people drift through life truly innocent, unable to see into themselves at all. The perfection of innocence, indeed, is madness.
“The way out, as the poet says, is always through.”
National Observer (20 January 1964)
Contexto: The best of our theater is standing on tiptoe, striving to see over the shoulders of father and mother. The worst is exploiting and wallowing in the self-pity of adolescence and obsessive keyhole sexuality. The way out, as the poet says, is always through.
"The State of the Theatre" an interview by Henry Brandon in Harpers 221 (November 1960)
Contexto: I cannot write anything that I understand too well. If I know what something means to me, if I have already come to the end of it as an experience, I can't write it because it seems a twice-told tale. I have to astonish myself, and that of course is a very costly way of going about things, because you can go up a dead end and discover that it's beyond your capacity to discover some organism underneath your feeling, and you're left simply with a formless feeling which is not itself art. It's inexpressible and one must leave it until it is hardened and becomes something that has form and has some possibility of being communicated. It might take a year or two or three or four to emerge.
“A salesman is got to dream, boy. It comes with the territory.”
Charley
Death of a Salesman (1949)
Contexto: Nobody dast blame this man. Willy was a salesman. And for a salesman, there is no rock bottom to the life. He don't put a bolt to a nut, he don't tell you the law or give you medicine. He's a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back — that's an earthquake. And then you get yourself a couple of spots on your hat, and you're finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory.
Why I Wrote 'The Crucible in The New Yorker (21 October 1996) https://archive.is/20130630000741/www.newyorker.com/archive/content/?020422fr_archive02
On The Crucible, in a 1987 interview; as quoted in "Arthur Miller, Moral Voice of American Stage, Dies at 89" by Marilyn Berger in The New York Times (11 February 2005) http://www.nytimes.com/2005/02/11/theater/newsandfeatures/11cnd-miller.html?ei=5070&en=3842d0df3195ba4c&ex=1148356800&adxnnlx=1148209567-ZnjnGzbndB3P1XvCU5BNDg&pagewanted=all&position=
Contexto: I was very moved by that play once again when the Royal Shakespeare Company did a production that toured the cathedrals of England. Then they took it to Poland and performed it in the cathedrals there, too. The actors said it changed their lives. Officials wept; they were speechless after the play, and everyone knew why. It was because they had to enforce the kind of repression the play was attacking. That made me prouder than anything I ever did in my life. The mission of the theater, after all, is to change, to raise the consciousness of people to their human possibilities.
Collected Plays (1958) Introduction, Section 7
Contexto: By whatever means it is accomplished, the prime business of a play is to arouse the passions of its audience so that by the route of passion may be opened up new relationships between a man and men, and between men and Man. Drama is akin to the other inventions of man in that it ought to help us to know more, and not merely to spend our feelings.
Tragedy and the Common Man (1949)
Contexto: There is a misconception of tragedy with which I have been struck in review after review, and in many conversations with writers and readers alike. It is the idea that tragedy is of necessity allied to pessimism. Even the dictionary says nothing more about the word than that it means a story with a sad or unhappy ending. This impression is so firmly fixed that I almost hesitate to claim that in truth tragedy implies more optimism in its author than does comedy, and that its final result ought to be the reinforcement of the onlooker's brightest opinions of the human animal.
For, if it is true to say that in essence the tragic hero is intent upon claiming his whole due as a personality, and if this struggle must be total and without reservation, then it automatically demonstrates the indestructible will of man to achieve his humanity.
Tragedy and the Common Man (1949)
Contexto: 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. From Orestes to Hamlet, Medea to Macbeth, the underlying struggle is that of the individual attempting to gain his "rightful" position in his society.
Sometimes he is one who has been displaced from it, sometimes one who seeks to attain it for the first time, but the fateful wound from which the inevitable events spiral is the wound of indignity and its dominant force is indignation. Tragedy, then, is the consequence of a man's total compulsion to evaluate himself justly.
On The Crucible, in a 1987 interview; as quoted in "Arthur Miller, Moral Voice of American Stage, Dies at 89" by Marilyn Berger in The New York Times (11 February 2005) http://www.nytimes.com/2005/02/11/theater/newsandfeatures/11cnd-miller.html?ei=5070&en=3842d0df3195ba4c&ex=1148356800&adxnnlx=1148209567-ZnjnGzbndB3P1XvCU5BNDg&pagewanted=all&position=
Contexto: I was very moved by that play once again when the Royal Shakespeare Company did a production that toured the cathedrals of England. Then they took it to Poland and performed it in the cathedrals there, too. The actors said it changed their lives. Officials wept; they were speechless after the play, and everyone knew why. It was because they had to enforce the kind of repression the play was attacking. That made me prouder than anything I ever did in my life. The mission of the theater, after all, is to change, to raise the consciousness of people to their human possibilities.
“Few of us can easily surrender our belief that society must somehow make sense.”
Why I Wrote 'The Crucible in The New Yorker (21 October 1996) https://archive.is/20130630000741/www.newyorker.com/archive/content/?020422fr_archive02
Contexto: Few of us can easily surrender our belief that society must somehow make sense. The thought that the state has lost its mind and is punishing so many innocent people is intolerable. And so the evidence has to be internally denied.
“Until an hour before the Devil fell, God thought him beautiful in Heaven.”
Fonte: The Crucible
Fonte: The Crucible (1953)
Contexto: Danforth: Do you mean to deny this confession when you are free?
Proctor: I mean to deny nothing!
Danforth: Then explain to me, Mr. Proctor, why you will not let —
Proctor: [With the cry of his whole soul] Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul; leave me my name!
“I speak my own sins; I cannot judge another. I have no tongue for it.”
Fonte: The Crucible
John Hale
Fonte: The Crucible (1953)
Contexto: It is mistaken law that leads you to sacrifice. Life, woman, life is God's most precious gift; no principle, however glorious, may justify the taking of it. I beg you, woman, prevail upon your husband to confess. Let him give his lie. Quail not before God's judgment in this, for it may well be God damns a liar less than he that throws his life away for pride.
“I realized what a ridiculous lie my whole life has been.”
Fonte: Death of a Salesman
“A small man can be just as exhausted as a great man.”
Linda
Fonte: Death of a Salesman (1949)
“You can't eat the orange and throw the peel away — a man is not a piece of fruit.”
Willy
Fonte: Death of a Salesman (1949)
“It is rare for people to be asked the question which puts them squarely in front of themselves”
Fonte: The Crucible