Although the theme of betrayal and controversy is touched upon throughout the play, these subjects are particularly emphasized in Act 2.
Emma Burge 10V1
English Coursework - A View From The Bridge Pg 46-48
Although the theme of betrayal and controversy is touched upon throughout the play, these subjects are particularly emphasized in Act 2. This, and the fact that the events that occur are catalytic to future developments in the play make this act one of great importance.
Miller makes use of dynamics to allow the potential for immense drama and explosive consequences. He creates a powerful cocktail by placing the three strongest characters together in one room to vent their emotion, allowing issues of homosexuality and the collapse of a family to be unveiled. The three characters opinions contrast greatly, revealing repressed and somewhat unpalatable feelings. The foregoing drama acts as a build-up to the ultimate "explosion", which is the kissing scene between Eddie and Rodolfo. This marks the acuteness of Eddie's views, and perhaps is also an indication that he has become insane.
In order to emphasize the emotionally charged nature of this act, the effects of music, lighting, and of course stage direction must be considered.
Each emotion has to be shown clearly, as the characters are at the peak of their roles, where their true natures and personalities are revealed to the audience.
In this act, Catherine breaks free of her role as "the child", telling Rodolfo, "I'm not a baby, I know a lot more than people think I know."
Intonation could indicate this change of image, her tone of voice with Rodolfo being stern and defiant, contrasting with her previous subordinate nature. She is also quite frustrated, as she is finally expressing feelings that have been repressed for ...
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Each emotion has to be shown clearly, as the characters are at the peak of their roles, where their true natures and personalities are revealed to the audience.
In this act, Catherine breaks free of her role as "the child", telling Rodolfo, "I'm not a baby, I know a lot more than people think I know."
Intonation could indicate this change of image, her tone of voice with Rodolfo being stern and defiant, contrasting with her previous subordinate nature. She is also quite frustrated, as she is finally expressing feelings that have been repressed for so long. To show this, pronounced hand gestures and a raised, slightly aggressive tone of voice could be used when questioning Rodolfo:
"Then why don't she be a woman?"
"...And now I'm supposed to turn around and make a stranger out of him?"
Rodolfo, however, is more mature than Catherine and, in my opinion, takes the role of a tutor by listening to her and comforting her. His tone of voice is calm, patient and understanding as he explains to her, "Catherine. If I take in my hands a little bird..." The line "teach me, Rodolfo" further emphasizes this idea.
As this is the scene in which Catherine and Rodolfo share intimacy, both characters apparel - paired with warm dim lighting - should create an aura indicative of their desires. Dressed in more womanly attire, suggestive of her newly found sexuality, the strap of Catherine's dress falls as Rodolfo clasps her to him.
The sight of Catherine and Rodolfo emerging from the bedroom aggravates and angers Eddie, and so this should be depicted by aggressive gestures and a brusque tone of voice. A shadow could be cast upon his face so it accentuates his anguished grimace and acts as a symbol that he is hiding his true feelings. To symbolise his contained rage, he would pace steadily upstage to approach Rodolfo, but his stance would be hunched, as if waiting to pounce. This is depicted as predatorial.
When Eddie returns, Catherine regains her infantine nature. To denote this, her eyes may be downcast as Eddie glares at her, giving the image of a guilt-ridden child being scorned by her teacher.
Throughout the scene, Eddie's speech is fragmented, and near the end of the scene there is laughter from him. This, to me, signifies a note of hysteria. To increase dramatic value in this scene, this image of lunacy should be emphasised further. Eddie would show the stereotypical symptoms of a mad man; wide eyes, broken speech and erratic movement. This could be paired with a spotlight on his face and a dark background to highlight his facial expression. He would face the audience when displaying these characteristics, in order to fully project the intended image.
As this scene is rich in important dramatic factors, sound effects should be kept to a minimum to avoid distraction. However, some could be included to emphasize a particular mood. At the beginning of the act there is a strong sexual theme between Catherine and Rodolfo, and to complete this aura of intimacy, soft music could be playing on a phonograph in the background.
When Eddie enters, traffic, sirens and the sound of rain hitting the ground outside would be heard until the door is shut, leaving only the soft music again. This would symbolise a contrast between the state of mind that Eddie is in to that of Catherine and Rodolfo. The music would be stopped by Eddie to portray his anger; he may strike the phonograph to the floor stopping the music, or throw the record in frustration.
This play was first performed in the late 1940s, to an audience typical of that generation. Although any contemporary audience would be greatly shocked by this scene in particular, the more bigoted attitude that manifested itself in the society of the '40s would make this scene enough to envelop its audience in a stunned and somewhat disturbed silence.
Issues which seem normal now would have been a taboo in earlier cultures, for example that of homosexuality. This factor has been made a part of everyday life, but only recently has this been let in to society. Another issue that would add to the shock value of this scene was that of the Carbone's Catholicism contrasting with the upsetting matters taking place in their household. The issues of homosexuality, plus those of adultery and betrayal would be unheard of in 1940. Miller's aim was to make these matters known, and he did this by thrusting them in the faces of his audience in the form of a dramatic scene in a play.
