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Modern Drama: The Dramaturgy in Arthur Millers ‘Death of a Salesman’

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Modern Drama: The Dramaturgy in Arthur Millers 'Death of a Salesman' 'Tragedy: a play in which the protagonist falls to disaster through the combination of personal failing and circumstances with which he cannot deal.' This is one of many conceptions of tragedy, but to what extent can it be justified as being its own? Certainly, this is a definition, when applied correctly in all its capacity will be true - but only of a limited era. Tragedy has been the influence of the greatest plays written by contemporary, and prior play writes, and with reason. After an evolution, which spanned over two thousand years, this genre has established a reign in its turf far more distinguished than that of horror or comic types. Throughout history, many writers have tried to define tragedy, but this has proved nearly impossible as the criteria for tragedy is always evolving, as are the audience. Therefore, a pandemonium has for a long time surrounded the issue of its definition. There are three essential definitions of tragedy throughout time, where most, take place at three different stages in the development of tragedy. These have established and evolved around Greek tragedy, Shakespearean tragedy, and Modern tragedy. Each period saw the development of a special orientation and emphasis, a characteristic style of theatre. ...read more.


He goes on to discuss the sense of personal dignity, and of how tragedies deal with noble passions. He amply suggests that a tragic protagonist should be a character, ideally the common man, who does not remain passive in the face of their oppression or subjugation. This character should fight for his or hers immensivation. Miller, in first essay discusses, 'Tragedy and the Common Man'. The renaissance conceptions of tragedy involve a tragic protagonist who is high born. It is through some character flaw, through concentrated hubris in his mind, which usually leads to a downfall. Miller says every one of us is a common person in a modern, democratic, individualised society. In this condition, every person is a hero in the drama of their own lives, whilst before, when the whole society was homogeneous, and everybody knew their place in cosmic order. Every person was subordinated into the larger design. Thus, important was the part they played in Gods design, and so individual pulses were passed with no significant meaning. Miller reflects upon how modern tragedy should be of a normal, common person. In addition to this, he also articulates his perspective, that in the modern world, because we have a heterogeneous society and do not all share the same beliefs, we do not believe in the same values, so we disagree on what is heroic. ...read more.


Instead, Loman should put that memory to decent use, and by not doing so tragedy is once again insinuated as being the centrepiece of the play, as of course it proves to be in the closing scenes of the play. A brief synopsis of tragedy would be to use its cycle of events to change the world for the better, and the way human past interacts with the human present to build the future. In effect, we can travel to any time in the past within a second or two by one recessive sense. By using light and music, Miller achieves this, and shows us how the past, has never passed. To conclude, from his finely crafted essays, we become exposed to what a tragedy really is in its greatest being. We, as humans, thrive on accomplishing the memorabilia recognised as dreams, and when the path leading to it is barraged, we commit almost any feat in order to reach it. The tragedy, eternally undergoing evolution, is when we do commit, and do not face consequences for the deeds, in our lives or thereafter. As human beings, we are perverse, and try to distinguish ourselves from the animal kingdom, however due to our surreal nature, as with primates, our decree in society is what drives us to commit, indispensably, the things we would otherwise fear. ?? ?? ?? ?? Mohammed Lukman Ahmed 1111 11 SMO ...read more.

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