Discussing the importance of dramatic tension within A View from the Bridge
Discussing the importance of dramatic tension
within A View from the Bridge
Throughout A View from the Bridge, Arthur Miller creates and sustains dramatic tension to keep the audience's attention. He also uses dramatic tension to guide and provoke the audience's thoughts and responses towards A View from the Bridge. He does this by using different techniques, for example, posing unanswered questions in the audience's mind and using dramatic pauses. Arthur Miller also controls the amount of tension between the characters to create highs and lows in the plot on stage, but in fact could effectively raise the awareness of the audience of the underlying tension suppressed between the characters.
A View from the Bridge in told a series of flashback in the point of view of Alfieri, the lawyer and the narrator of the play. In the beginning of the play, he already mentions that the course of events are not pleasant in his opening speech:
"...as powerless as I, and watched it run its bloody course."
This prepares the audience for the opening of the play, in which we immediately the primary cause of tension in the play, Eddie's over-protection of Catherine when they discuss a job opportunity as he says:
"You're a baby, you don't understand these things."
This clearly shows his underestimation of Catherine and the whole conversation shows his affection and self-inflicted responsibility for Catherine.
This continues throughout Act I despite Catherine's growth in character, as there are many accounts of conflict between Eddie and Beatrice and between Eddie and Rodolfo over Rodolfo and Catherine's relationship. Eddie shows his contempt for Rodolfo by saying:
"He don't respect you...he's only bowin' to his passport."
Eddie is against Catherine and Rodolfo's relationship, and ends up arguing with everyone over it, including his much-loved niece. He tries at every chance to criticise Rodolfo, who he doesn't trust to be able to love Catherine like he does.
By Act II, all the problems of the play have been set out and it reaches a climax, and different characters take different actions to solve their personal problems. For example, Eddie reports to the Immigration Bureau. He only did this on account that Alfieri had told him no law would protect Catherine against Rodolfo, so he reports Rodolfo in order to "regain" Catherine. However, the audience knows this would just result in more conflict as Catherine and Rodolfo announce their plans to marry. The audience can tell Eddie's regret of reporting Marco and Rodolfo when he says:
"Go up the fire escape, get them out over the back fence,"
This shows Eddie is feeling guilty as he says this before anybody knows the immigration officers are arriving and also shows his desire for Marco and Rodolfo to escape. However, his foolish action had caused Beatrice and Catherine not to trust him and has also ruined his harmony with Marco.
At the end of the play, all the tension is released explosively. When Eddie is killed it is accepted in he audience's mind as a conclusive ending. However, despite the fact that now no-one would disagree with Catherine and Rodolfo's marriage, no other problems would be solved, as said by Alfieri's final speech:
"... I know how wrong he was, and his death useless..."
This sums up Alfieri's evaluation of the play, and also what Arthur Miller believs what the audience should have learnt from A View from the Bridge.
Arthur Miller wrote A View from the Bridge exploring different themes and it is these themes that form the basis of the tension of the play.
One of the themes that Arthur Miller explores is the clash between cultures. Eddie is Italian, just like Rodolfo and Marco and was an immigrant himself, but over the years he has developed to the American way of thinking. The characters' perspectives and values are different and so affects their actions. For example, Eddie looks down upon Rodolfo's creditable masculinity because of his 'feminine' skills, not just because of his American point of view but also his longshoreman's point of view, whereas everyone else merely regards Rodolfo as talented.
Another important aspect of the play is law and the part it plays in people's lives. Arthur Miller explores towards the end of the play the "law in a book" and the unwritten law. He also shows the strength of the written law and at the same time how powerless the same law is in the face of a human dilemma. Eddie wants to separate Catherine and Rodolfo, and searches for a valid law to do so. He fails and eventually reports Rodolfo to immigration, taking law in his own hands. On the other hand, Marco wants revenge on Eddie for betraying him. At first, he tries to condemn Eddie by the written law, which apparently exists in the Sicilian written law. However, unable to do so using the American written law, he takes revenge out of the hands of law and into his own, killing Eddie. This contrast of law is also another example of culture clash.
A final theme in A View from the Bridge is the issue of justice and pride. Different characters in the play are looking for a different thing; Eddie is desperate for his "name", reputations and pride, and Marco is desperate for justice. At the conclusion of the play, Alfieri suggests that the best solution is to compromise, as neither Eddie nor Marco had a happy ending. If they had compromised and swallowed a bit of pride, Eddie would have come to terms with Catherine's and wouldn't have died, and Marco would just return to Italy a free man, ...
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A final theme in A View from the Bridge is the issue of justice and pride. Different characters in the play are looking for a different thing; Eddie is desperate for his "name", reputations and pride, and Marco is desperate for justice. At the conclusion of the play, Alfieri suggests that the best solution is to compromise, as neither Eddie nor Marco had a happy ending. If they had compromised and swallowed a bit of pride, Eddie would have come to terms with Catherine's and wouldn't have died, and Marco would just return to Italy a free man, instead of having to be punished for killing Eddie.
By writing the play based on common human issues, Arthur Miller interacts with the audience by giving his own views on law, culture and justice, often through the voice of Alfieri, but he also gives the audience and opportunity to apply their own viewpoints to the events of the play.
A View from the Bridge is split into two acts. Arthur Miller uses the interval to build a cliffhanger at the end of Act I and doing so forms one of the peaks of tension throughout the whole play. By creating a cliffhanger before the interval, Arthur Miller also keeps the play in the audience's memory while they have their break during a performance.
By the end of Act I, the situation of the play has been laid out and only the solutions are to follow. Although the audience may have a vague idea of what is to come, none of the characters apart from Alfieri knows the conclusion of the play. This is shown in his speech toward the end of Act I when he says:
"I could see every step coming step after step, like a dark figure walking down a hall towards a certain door."
Although Alfieri is telling the story in flashbacks, here he shows that even before the forthcoming events he knew what was going to happen, even though he doesn't reveal what this is. This creates suspense and also raises awareness in the audience.
Throughout the same speech, Alfieri confides with the audience that despite his knowledge, he is unable to put the knowledge to use through saying:
"...why, being an intelligent man, I was so powerless to stop it."
This emphasizes one of Arthur Miller's intended points, that Alfieri, the representative of law, becomes powerless when in face to face with moral issues, and at the same time informs the audience the possible scale of disaster to follow.
After Alfieri's speech, Eddie is making small talk with Marco, but intentionally ignores Rodolfo, shown by the repeated stage directions like [to Marco] straight after Rodolfo speaks. Despite this, this is an overall low point in tension of the play, designated by Arthur Miller to relieve the audience. However, inevitably, the tension rises again at the conversation about oranges and lemons, when Rodolfo corrects Eddie. The build up in tension is shown through both stage direction and dialogue:
[resenting his instruction] "I know lemons are green...I didn't say nothin' about lemons."
This shows Eddie doesn't show respect for Rodolfo like he does to Marco, and disregards anything Rodolfo has to say. This minute correction forms a platform to step up from, and Eddie starts shifting his focus towards conflict with Rodolfo.
Despite a low level of tension and conflict, Arthur Miller always sustains some suppressed tension underneath the conversation like a stretched elastic band that both the audience and the characters in the story is aware of. Arthur Miller shows this by using pronouns instead of names:
"I have respect for her, Eddie,"- Rodolfo, and
"Well, he didn't exactly drag her off though."- Beatrice
No wherein this conversation are the name Catherine and Rodolfo mentioned, but everyone is aware of who "her" and "he" is. This emphasizes towards the audience the underlying problem's existence between the characters.
After the argument, naturally, Catherine is angry, shown by the stage direction:[ flushed with revolt]. Throughout the play, the audience can see Catherine's growth in character and independency, and this is an occasion where she switches on Paper Doll and asks Rodolfo to dance, and the audience can tell this is a deliberate action to provoke Eddie in a pure act of defiance. At first, she seems to be alone in trying to provoke Eddie, as after Eddie's relatively timid reaction: [Eddie freezes], Rodolfo declines, trying the diffuse the tension Catherine is so desperate to build. However, Rodolfo is pressured into dancing by Beatrice:
"Go ahead, dance, Rodolfo."
This shows Beatrice is also aware of Eddie's anger, and is repulsed by him and also wants to provoke him. Doing so also reminds the audience of the breakdown in Beatrice and Eddie's relationship despite Beatrice's love for Eddie, and is effective at building the tension and conflict between the characters. In a performance, a director may interpret that Catherine and Rodolfo's dance can be prolonged to create a dramatic pause to increase tension.
Eddie remains extremely self-controlled in reaction to this, and tries to start small talk again. Nevertheless, Marco mentions Rodolfo's cooking skills without any bad intention, but sparks off Eddie again, who is still desperately trying to restrain his anger. He makes snide remarks about Rodolfo, and everyone detects the sarcasm in the praises he makes, and also his tension:
[He has been unconsciously twisting he newspaper into a tight roll. They are all regarding him now;]
Eddie twisting the newspaper communicates wordlessly to both the other characters and the audience that he is holding back his frustration, as Rodolfo turns off Paper Doll and the whole family watches Eddie who is pressured into completing his point. The twisting of the newspaper can be interpreted in many ways, the most simple is that Eddie is under a lot of pressure and that he is very frustrated but refuses to show it. This act of body language is subconscious and exposes a lot about Eddie to the audience, forming a very tense atmosphere.
When Eddie finally snaps the newspaper, this shows the force he has been exerting on the newspaper, and the snapping of the newspaper also symbolises the snapping of Eddie's patience. Here, he once again reverts to seemingly harmless small talk, suggesting that they go boxing. He teasingly calls Rodolfo "Danish". This seems friendly, but in fact, Eddie seems to be teasing Rodolfo of his blond hair.
While Eddie is teaching Rodolfo to box, Eddie is lulling Beatrice, Catherine and Rodolfo into a false sense of security. However, the audience should be aware of Eddie's false friendliness. Beatrice's ignorance of the situation is shown by stage direction:
[she senses only comradeship in it now]
The ignorance of Beatrice almost indicates to he audience that the boxing is anything but comradeship, but Beatrice has been yearning so long for peace, that now there is the slightest sign of it, she is going to make the most of it and hope to prolong it.
Eddie's foolish action of hitting Rodolfo does little to satisfy his desire for Catherine, but instead creates distrust between him and Marco. The beginning of this is shown by the stage direction after Eddie hits Rodolfo:
[It mildly staggers Rodolfo. Marco rises]
Eddie losing control of himself alerted Marco, who stands up to indicate his disapproval to the audience. By doing this, Arthur Miller creates a new tension between the characters, Marco and Eddie.
Although Rodolfo seems to be very considerate and forgiving to Eddie, we can tell he is uncomfortable underneath as Arthur Miller includes that he switches Paper Doll back on and offers Catherine to dance:
"Dance, Catherine. Come."... [Rodolfo takes her in his arms]
This act of affection towards Catherine seems intended to aggravate Eddie, which is what Catherine was doing earlier. Doing so also tells the audience that although earlier Rodolfo was trying to please Eddie, now, he has lost his respect for him, decreasing Eddie's popularity with other characters in the play
The cliffhanger of Act I also rises from the boxing. Marco presents Eddie with the challenge of lifting the chair on an angle. Eddie fails, and Marco shows him he can do it with considerable ease. This proves to both the audience and Eddie that Marco is stronger than Eddie.
"...he transforms what might appear like a glare of warning into a smile of triumph..."
This shows that Marco is proud of being stronger than Eddie and is going to use it as a threat to Eddie. However, some performance interpretations of A View from the Bridge may not have Marco smiling to achieve the effect that Marco is deadly serious. The audience can see Eddie's reaction to this also:
"Eddie's grin vanishes as he absorbs his look."
This introduces the fact that Eddie is forced to admit that he is not the best and strongest in the house and that he cannot bully everyone else.
At the beginning of Act II, Catherine and Rodolfo are alone in the house, and the audience know that it is inevitable that they are going to have an honest confrontation. The tension starts of low, with Rodolfo gently urging Catherine to be honest to him. However, as Catherine braces herself and asks Rodolfo about living in Italy, the tension builds again, and Arthur Miller shows this by using repetition:
"You're fooling,"-Rodolfo
"I mean it," - Catherine
Rodolfo shows he is in disbelief that Catherine should accuse him by saying "You're fooling" again and again. Catherine repeatedly says "I mean it" to express her determination. This argument is a chance for Catherine and Rodolfo to confess to each other their suppressed feelings, and also informs the audience of their worries, forming a high tension point.
When Catherine finally asks about Rodolfo's intentions of marrying her, Rodolfo immediately says something that reflects the audience's mind:
"This is your question or his question?"
This shows his retort in being accused and also shows the audience that although he doesn't respond to Eddie's many remarks about him, he hides his own opinions about him that he is showing now to Catherine.
Arthur Miller frequently controls the tension levels here, as Rodolfo tries time and time again to reassure Catherine, and even tries to joke about their situation by saying Catherine is afraid of Eddie spanking her. However, Catherine takes offence at this and tension rises again:
"Don't, don't laugh at me!"
Catherine senses that even Rodolfo regards her a little girl, and is offended easily, showing she is sensitive and touchy. Rodolfo, although regarding Catherine as young and naïve, does also want to protect her:
"Oh, my little girl, ... don't cry any more."
This finishes the scene with much less tension than there was before, and the audience also know that after a painful but heartfelt and honest confession, Catherine and Rodolfo would be much closer both emotionally and physically, especially as they retreat to the bedrooms.
As soon as Eddie enters [unsteady, drunk], the audience are prepared that he may act differently to normal, and that under the influence of alcohol, Eddie may do something completely unexpected.
Catherine then appears on stage adjusting her dress, a simple action that poses many questions in the audience's mind, and the following entrance of Rodolfo almost confirms Eddie's worst fears. Eddie's reaction is shown through stage direction:
[his arm jerks slightly in shock]
The jerking of Eddie's arm tells the audience that he too knows what is going on, but the audience also know that he is going to do more than just jerk his arm. The tension that is beginning to be built up again is increases by the stage direction:
[Rodolfo nods to him testingly]
This is probably another harmless action designated by Arthur Miller to aggravate one of the characters, and he succeeds in doing so by using these small body language indications.
Here, Arthur Miller uses a popular technique to create tension, the dramatic pause in the stage direction: [Pause]. Here, Eddie supposedly collects his thoughts, and also is a time for the audience to prepare themselves or try to guess what Eddie is going to do next.
After the pause, with no explanation whatsoever, Eddie tells Rodolfo to leave, startling the audience, who have probably been expecting some kind of confrontation. Arthur Miller chose instead to miss that part out and go straight to telling Rodolfo to leave. This gives Catherine an opportunity to tell Eddie she wants to leave, an action that the audience know will anger Eddie. The audience can also see that Catherine is desperately trying to be strong by stage directions that contradict the words she chooses to use:
[trembling with fright], which contrasts with:
"I think I can't stay here no more."
Acted on stage, an actress can effectively portray Catherine's fear yet determination. She is trying to be strong and decisive , but the audience can obviously tell her real feelings.
Where Eddie starts crying, Catherine immediately weakens:
[Her sobs of pity and love for him breaks her composure]
This shows Catherine's kind nature but also poses the question in the audience's mind, did Eddie cry purposefully to weaken Catherine? Catherine's continuously changing composure creates tension, as it is had to guess what she will do next.
The highest part of tension in the whole play is possibly the two kisses Eddie forces upon Catherine and Rodolfo. This part of the scene begins with Catherine once again trying to standing up to Eddie:
"I'm not gonna be a baby any more! You- "
[He reaches out suddenly... he kisses her on the mouth]
This is a completely unexpected action at a completely unexpected time. Nothing could have prepared the audience for an action like this, and Arthur Miller placed it in the middle of Catherine's sentence to increase the pace of the storyline.
Rodolfo tries to stop Eddie, and possibly for the first time Rodolfo answers back, and by stage direction we can see how angry Rodolfo is:
[with tears of rage] "Don't say that to me!"
This shows under pressure what Rodolfo has probably wanted to say to Eddie many times before, and what Eddie has just done has snapped that elastic band, and the audience know how angry Rodolfo is.
Eddie then does something that is even more unexpected and out of place:
[Eddie pins his arms, laughing, and suddenly kisses him]
These kisses use the element of shock to attract the audience's attention. The fact that Eddie laughs is a way of showing he has completely lost control and telling Rodolfo, Catherine and the audience that he is mad and thinks what he is doing is right and just. There is very little dialogue between the two kisses, so the two kisses must happen in a short amount of time, chosen by Arthur Miller for maximum impact.
The effect of the kisses are very prominent on Rodolfo and Catherine, as shown by the stage direction:
[She is staring at him in horror. Rodolfo is rigid.]
This also indicates a dramatic pause, giving the audience a chance to reflect on the kisses and also time to think why Eddie would do such a thing.
Why Eddie kisses Rodolfo is revealed later when Edie says to Catherine later: "You see?" Somehow, Eddie is trying to prove that Rodolfo "ain't right". However, he has not managed to prove to anybody, neither Catherine nor the audience, anything. All he has done is ruin the relationship with another character in the play- Catherine.
Following, Eddie tries to pressure Rodolfo to leave by marking his territory, shouting and giving loud orders:
"I give you till tomorrow, kid. Get outa here. Alone. You hear me? Alone."
This marks Eddie's final release on tension towards Rodolfo, doing what he wanted all along, proving he is a homosexual and getting him out of his house. It also shows that he knows Catherine would want to follow him, so he emphasizes the fact that he should leave "alone".
Arthur Miller also uses threats towards Rodolfo to intimidate him and the audience:
"Just get outta here and don't lay another hand on her unless you wanna go out feet first." This threat seems to imply Eddie want s to kill Rodolfo, or at least injure him badly. Arthur Miller uses this to intimidate the audience as well, bringing the scene to a dramatic close.
A View from the Bridge is mainly built upon tension to sustain the audience's interest, and this is reflected in Arthur Miller's choice of title. The bridge is supposedly the Brooklyn Bridge, where the play is set near by, but more importantly, because the story is told in the view point of Alfieri. Alfieri, as a lawyer and the narrator of the story, has a very middle and unbiased view of the plot. A bridge is built to connect two areas without bias, like Alfieri's viewpoint of the story. Another interpretation is that a bridge is built on a certain amount of tension, like the story, and perhaps is the best interpretation for a play that relies so much on tension to function and structure.