Explain the methods Miller uses to create dramatic tension.
Explain the methods Miller uses to create dramatic tension.
Consider
* Interactions between characters
* Conflicts in Language
* Setting
* Stage effects, sound effects and lighting.
Death of a Salesman is a fantastic example of a continuation of increasing Dramatic Tension. It is created by such methods mentioned in the title and further strengthened by the jumps between past and present. Miller also uses the continuing theme of symbolism to strengthen the tension of the play. The lasting impression is one of slight confusion, but this too aids the suspense as Willy Loman, the focus character of this tension, continues to lose his grip on reality and finally then, his life. Throughout the play the audience are invited to second-guess Willy's next actions or attempt to link his present as a result of past events.
The other characters in the play are also equally vital in allowing Miller to create such heightened dramatic tension. Often it is through their silent interactions, such as the complexity of relationships that exist only in thought or feeling. While the audience is aware of these unspoken family rifts, they are rarely exposed and this can create heightened dramatic tension. Linda then, is a character that we learn directly very little about. It is only through her interactions with her family that her nature is revealed, and this sense of mystery adds to the dramatic tension. Where uncertainty exists, suspicion can grow; the audience may sometimes question Linda's motives due to a lack of understanding into her character, creating dramatic tension. The audience cannot fathom why she stays with Willy and her dysfunctional family. Is she accepting her subordinate position as part of the nuclear family in order to hold it together? Or is she limited by her own personal inadequacies that prevent her from standing independently? Miller's creation of a character shrouded in ambiguity allows extensive scope for dramatic tension. In fact Miller claims that he had no choice as far as the creation of Linda's character because
'A woman who was thinking of herself more would simply not have been there one morning, or else she would have put up such a fight so as to crush him [Willy].'
This indistinct character of Linda has an effect on her relationship with Willy. From the beginning of the play, her interactions with Willy are almost unnaturally devoid of confrontation, instead she seems to be constantly looking to mother and appease her husband. We see constant references in the stage directions to the 'infinite patience' of Linda. A constant dramatic tension hangs over their relationship, as Willy breaks down and Linda is increasingly challenged by his behaviour and distressing mental state.
Willy and Biff are also a classic example of dramatic tension, most prominently in the 'Boston Bedroom' scene as Biff discovers his father's mistress. An instant tension springs up between father and son as Biff contemplates his next actions: whether to break the destroying news to his mother or to remain quiet. This tension translates well from past into the present as evidently, Biff continues to bear the burden of his secret. This burden then, becomes unbearable as Willy's increasing demands for success exert further pressure, causing much anger. The audience is aware that the secret could easily ...
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Willy and Biff are also a classic example of dramatic tension, most prominently in the 'Boston Bedroom' scene as Biff discovers his father's mistress. An instant tension springs up between father and son as Biff contemplates his next actions: whether to break the destroying news to his mother or to remain quiet. This tension translates well from past into the present as evidently, Biff continues to bear the burden of his secret. This burden then, becomes unbearable as Willy's increasing demands for success exert further pressure, causing much anger. The audience is aware that the secret could easily become ammunition in retaliation of Willy.
Dramatic tension is also created in direct and spoken interaction, such as the final scene before Willy's death. In this we see Linda finally confront her sons. This is alarming as throughout the play we are presented with an untiringly patient woman whose family orientation has caused her to avoid altercation. Biff furthers this tense atmosphere by disclosing his long harboured feelings of inadequacy. The dramatic tension is created as the audience is left to wonder what response will be warranted to the sudden and bitter accusations that are made. Bearing in mind Willy's volatile state of mind and Linda's uncharacteristic anger, the audience are left with a distinct sense of foreboding.
Dramatic tension is also seen through language conflict, which takes place on several accounts. The first then, is the conflict between Willy's language. Throughout his dialogues we can find examples of contrasting phrases and language. For example, early in the play we see him refer to Biff as a 'lazy bum' and then only four utterances later he tells Linda that 'There's one thing about Biff - he's not lazy.'
Such directly conflicting language reflects Willy's decreasing mental abilities, creating dramatic tension throughout the remaining scenes as we are aware Willy is confused and cannot be expected to react rationally to the situations that arise.
There is also a general conflict between the language spoken and the actions of the characters. Willy then, speaks of his own success in terms of the money he has earned and his important status. In fact, it becomes apparent that he is grossly exaggerating his success as he backtracks on his previous lies.
'That makes your commission ... two hundred - My God! Two hundred and twelve dollars!'
'Well no, -it came to- roughly two hundred gross on the whole trip.'
Finally then, there is also a conflict of the language used by Biff and Happy when discussing their true desires, and then those of their father. Their most animated language is used when talking of the outdoors. Strong and emotional language is used such as 'there's nothing more inspiring and beautiful' 'when all you really desire is to be outdoors with your shirt off.'
Furthermore, the stage directions indicate that when speaking off such natural desires, the Biff and Happy are 'enthralled' and speaking 'with enthusiasm' and finally 'avidly.'
This then, is clearly contrasted with the language used when describing a life spent as Willy's has been, selling and buying. Biff speaks off such a life using words such as 'suffer' and 'measly' and again, the stage directions are clear in indicating his tone 'with rising agitation.' A dramatic tension is created then, between the different lifestyles, as Biff and Happy are portrayed as struggling with the inner conflict of conforming to their father's ideals, or obeying their natural desires.
The setting is also crucial in conveying dramatic tension. The use of scenery illuminates the attitude of Willy, and the audience is engaged in a sensory experience with the actor. Furthermore, the setting reflects the events taking place and can set the mood and atmosphere that are so important in creating dramatic tension. The house then, is a place of an increasingly dramatic tension. The house is an important part of the setting as it represents Willy's flawed ambition. Details such as the single 'silver athletic trophy' being one of the only furnishings represents the importance of success but also the lack of it due to the bard setting of the home. The kitchen then, shows only 'three chairs' at the table. This may represent the absence of Biff as part of their lives. Dramatic tension is woven throughout, hinting at difficulties surrounding the return of 'the prodigal son' and the lack of selling success that is soon revealed to be haunting Willy. He built the house as a part of his success however; it has become overshadowed by apartment blocks. The street outside is packed with cars showing that success is now being achieved by many and in comparison; Willy's small house is now insignificant, as is his dwindling success. Many of the events take place in the house, and most prominently, the family arguments. It is in the house that Biff comes to terms with flunking maths, that Biff and Willy argue about success, that Linda yells at her sons, and finally, Biff produces the rubber piping and confronts his father. These arguments create dramatic tension as what should have been the perfect family set-up and home becomes fractured, and so is Willy's dream, to the point of suicide.
The Garden or Backyard is also an important part of the setting. Willy attempts to plant seeds remarking 'I've got to get some seeds, right away. Nothings planted, I don't have a thing in the ground.' The garden is a motif then, of Willy's need and desire for success. It also represents the legacy that that Willy never leaves with his family. Though Willy attempts to plant his garden near the end of the play, this is too little too late. His life then, had already been a failure and he has left nothing remarkable by which to be remembered. This is a very high point of dramatic tension as the audience is very aware that Willy seems to sense the end of his life is incredibly close. Linked to the production of the rubber pipe only moments later, an overhanging reminder of Willy's contemplation of suicide creates incredible tension.
Dramatic tension is also created through the use of stage and sound effects as well as lighting. Miller uses all three methods as mood and atmosphere creators to enhance and create dramatic tension. Miller is very specific when describing the effects to depict the Loman house. Staging effects include transparent walls in order to make to whole house accessible to the audience. Furthermore, it creates a sense of vulnerability and rawness enhanced by the towering blocks surrounding the house. This vulnerability then, creates a sense defence from attack that enhances dramatic tension. Miller describes the Tower blocks as 'tall angular shapes' that reflect Willy's feeling of inferiority and also claustrophobia and then create a threatening presence.
Lighting is crucial in creating atmosphere and dramatic tension. The beginning scene is the most prominent example of this. At first Miller uses the 'blue light of the sky' to recreate a depressed and sorrowful mood. The dramatic tension arises when this becomes and 'an angry glow of orange.' This change suddenly shows a threatening and angry, harsh and dangerous mood. Tension is obvious as the two moods seem far apart but are obviously both linked to the events that will unfold in the Loman house.
Sound effects are also important at this point and then throughout the novel. At this stage, the music of a lilting flute is described as fragile and small and fine. It can be seen to represent the better times of the family in which Willy was more successful. It also becomes associated with Willy's self-delusion of success and his dream of fortune. This music is played then at varying points throughout the play, symboling to the audience a flashback or a sad remainder of a once optimistic dream. The dramatic tension is created as music appears before the events, leaving the audience with a sense of suspense. Other characters 'theme music' are that of Bens, and that of the boys, described as 'gay and happy.' Miller uses these ahead of the character appearance to show that they are about to become involved in the plot, creating dramatic tension as the audience wonders how this will effect the unfolding events. Miller uses more than just music to create dramatic tension. Sound effects such as the screech of Willy's tyres as he commits suicide create vivid, realistic and highly tense moments. Miller also uses voices to create confusion in Willy's last actions, thereby recreating the confusion and breakdown of Willy's mental state. The tension is increased, as his next moves cannot be predicted. The voice of 'The Women' constitutes much dramatic tension. Upon hearing her voice and laugh, even beyond the 'Boston Bedroom' scene, we are then led to consider whether Willy has ended the affair and the consequences the relationship would cast. Combined with the way in which the family seems to further splinter, an incredible tension is created. Moreover, Biff's growing agitation toward his indicates that he may be ready to reveal hidden affair. 'The Woman's' laugh adds to this dramatic tension by sounding ironic and mocking, and this further exposes Willy's vulnerability and confusion.
Symbolism is also used throughout both to create dramatic tension and to link the past and the future. Perhaps the rubber piping creates the highest point of tension. It represents Willy's insecurities and contemplation of death, a prospect that is in itself, an incredibly dramatically tense subject throughout as the audience is constantly left to wonder whether or not Willy will commit suicide. Furthermore, Linda knows of its existence but is reluctant to confront her husband. From the point that Biff decides to remove and keep the piping, we are aware that he now has two strongholds over his father, and tension is evident in his conflict between using this advantage over the now weakened Willy, and the reminder of the awesome respect he used to hold for his Father. In this final scene, Biff finally confronts his father by producing the tubing. Linda is horrified; Biff is angry and confused while Willy is left to defend himself. Such dramatic tension is highly powerful as it plays on the volatile emotional and relational ties found linking the characters. Their interactions then, are charged emotional, created by Miller as part of an incredibly tense sense of drama.
Miller combines these methods of creating intense dramatic tension and as a result has produced a highly successful play that continues to capture the audiences rapt attention throughout.
