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Consider how A View From The Bridge is a tense and dramatic play - Analyse its use of technique.

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Consider how A View From The Bridge is a tense and dramatic play. Analyse its use of technique. The story 'A View From The Bridge' is a human tragedy, set in Brooklyn, New York; a predominant drudgery with an intercontinental, chronological facet. The author, Arthur Miller, is a dramatist with an insight into the psychology of his characters and it is this delineation of infatuation, sentiment, consternation, responsibility and delusion that unify to supplement the expectancy of the play. Specific stage directions and inevitable rapidity merge with a claustrophobic set and a smart use of sound and lighting. Ingrained in a community and with insinuations afar, it accumulates to a flamboyant coverage of the American dream. Each individual character has their own way of creating anxiety. Rudolfo's, for example, is when he is trying to impress Catherine; the audience know this will aggravate the main character. And yet the audience also know that the antagonist doesn't know he is doing it, so there is a chance that he will do it again. When there is intimacy between Catherine and her lover, the monster in Eddie is woken but he is able to keep his anger under control. But when Marco shows his counter part up and embarrasses him, the tragic hero can't control his emotions. ...read more.


This gives the reader a sense of trust that he can believe him. In future scenes with the lawyer, the atmosphere is relaxed a bit, because of his cool, calm figure. It is shown that he has control of his story ever when he, "walks into the darkness". This illustrates that he can decide when to leave and when to begin. It is as if it is his story, and is commanding it like a director. The stage light doesn't really change when the other characters are present because they are the story, but Alfieri is the principal individual. The natural light affects the mood of the characters, shown when Eddie and Beatrice's argument begins, "It's after eight." Most of the family disputes happen at night, which could suggest that the outside light reflects the feelings of the characters. This gives an eerie feeling when day turns to night, and scenarios are running through the reader's mind of what could happen. It seems that there is a squabble every night that the play focuses on, so the audience are expecting something to happen when the next evening comes. The audience shine their own light by what they are centring on, which is mainly Eddie. This means that the protagonist never goes unnoticed, so when he enters the scene, all eyes are on him as if he is a wanted criminal. ...read more.


This works with the claustro-phobic setting to give an eerie atmosphere. The foghorn at the beginning signals there is danger. It could also symbolise a warning or the unexpected might happen. Laughing is a symbol of the relief of tension. It is also used to break or fill the silences during apprehensive times in the play. The audience can predict that this will increase Eddie's anger. Midway through the second act, the first of the two keys takes place. This act is one that greatly affects the pride of Rudolfo, and the dignity and righteousness of Eddie. This is because the tragic hero is drunk, so inevitably doesn't think twice about holding back; after kissing Catherine, he then pins Rudolfo down and kisses him also. This a great insult to Rudolfo, as Eddie is implying that the antagonist is so feminine that it is acceptable to kiss him on the lips. However, in Catherine's eyes, the protagonist has done an awful deed, and so it is a natural instinct to team with Rudolfo and have very little respect for her over zealous guardian. This, however, will only cause the lead character to feel more anger than ever before. This is the point at which the audience recognises that there is no point of return, and it is a certainty that tragedy is just around the corner. Jack Conway 11XY 2nd Draft Mr. Oliver AVFTB Coursework ...read more.

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