Drama

Teatro reunido by Arthur Miller

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By Arthur Miller

Con motivo del centenario del nacimiento de Arthur Miller, reunimos en un volumen las cinco piezas teatrales más importantes del dramaturgo: Todos eran mis hijos (1947), Muerte de un viajante (1949), Las brujas de Salem (1952), landscape desde el puente (1955) y Después de los angeles caída (1964). En las obras que integran este volumen, Miller abordó las conflictivas relaciones entre padres e hijos, y entre maridos y mujeres, así como l. a. necesidad de vivir según unos principios morales y de asumir los angeles responsabilidad social e person que a cada hombre le toca, y en todas ellas supo reflejar las frustraciones de l. a. sociedad contemporánea.

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Sample text

However, as The Arraignment of Superstition (1642) shows, this was not always a process of caricature. 37 Actually set in a church, and structured as an argument rather than a small drama, this dialogue shows 'the good minde of the Protestant, the Indifference of the Glasier, and the puritie and zeale of the Separatist'. The point of contention is the stained glass in a church: 34 1642-1649- Cases in politics and drama Come honist Glasier, we must crave your ayde To helpe us pull these popish windows downe, And set new glasse for which you shall be payd, For sure the Lord on us for them does frowne And truely brethren should we let them stand, I feare 'twill bring a terrour to this land.

42 Playlets carve out an economic and intellectual position for themselves by mimicking other printed genres, especially news, in such a way as to 'be' both these things and a dialogue or playlet even, possibly, performed either in a private house or in the street. Thus the playlets (like other pamphlets but with the added dimension of dialogue and mimicry and therefore with a greater yield of pleasure to the reader) come into a new relation to the state, participating in creating the sphere of 'civil society' precisely separated from the state.

A few months later the stage was silenced. Thus, where the strictures of 1642 made the dramatic form implicitly political, the fall of Star Chamber made the printing of pamphlets, the critique of corruption and the elaboration of political theory easily available to a large audience. 21 Dramatic texts, previously the record of theatrical performances, had their context transformed and politicised by the closure and national events. They, like the dialogue, now offered a sequence of positions from which a topic could be debated, reframed scandalously, or satirised; and in compressed forms (reminiscent of the shortened romances of the chapbook) they could be marketed as news.

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