The set, properties, and lighting also increase the drama in the play. The set is not naturalistic, although it does need to show some aspects of reality. The set arrangement enables the inside of the apartment, the street outside, and Alfieri's office all to be represented without any scene changes. This arrangement means that the lighting is essential as it indicates which part of the set is in use. The lighting is also important as it is used to draw focus to a particular character or event.
'A phone booth begins to glow on the opposite side of the stage; a faint, lonely blue.' This is an example of when light is used to symbolise a characters thoughts. As the light grows brighter, it represents Eddie's growing determination to call the immigration office and also Alfieri's realization of Eddie's plan. This lighting effect acts as a viewpoint for the audience and emphasises the phone, making the whole event more dramatic. The lighting adds profundity to the play, and outlines different moods by using different shades.
'The lights have gone down, leaving him in a glow,' This stage direction occurs after Eddie's death. The darkness signifies and end, and also the sorrow felt by Eddie's loved ones. Alfieri is left in a faint glow which illustrates his detachment. The lighting creates a very intense atmosphere.
The props on set add realism and interest to the play. The characters can interact with the props so there is more action and a greater impression of every day life. They add texture to the scene and give the characters something to react with.
'Beatrice is taking down Christmas decorations and packing them in a box.' The props in this scene are very explicate as they inform the audience of the time of year. They could also hold greater meaning. The joy and excitement of Christmas is over and this could symbolize the end of the happiness in the family as the immigration officers are about to arrive.
Props can also be used to express a characters feelings. An example of this is when Eddie is trying to imply that Rodolfo is homosexual and at the same time is unconsciously twisting a newspaper.
'He has bent the rolled paper and it suddenly tears in two.' This action represents Eddie's growing drive to convey his opinion of Rodolfo. The newspaper also denotes the growing tension in the room. When the newspaper tears in two, the tension breaks and Eddie changes the subject.
Each part of the set suggests particular themes in the play. Alfieri's office represents the law. The apartment symbolises family ties, and the apartment above is not seen and therefore signifies the untold, unpredictable events. The street is where feelings are released, the fight occurs in the street and Beatrice's confrontation with Eddie.
The language in the play allows the audience to know the characters' relationships, emotions and thoughts. It is the most obvious feature of drama. The dialogue in the play also separates the characters. Alfieri is the only coherent, eloquent speaker in the play as all the other characters converse in slang. They use the wrong tenses and shorten words, for example; "sump'm" and "talkin'". Miller uses this language to create a working-class, poor environment.
Pauses are a very effective way to create dramatic tension. The audience is not accustomed to silence, so when the characters are quiet it has great impact. The silence is usually due to a dramatic event and it allows the audience to absorb the full impact of the situation. These pauses create suspense and the audience want to know what will happen next.
Eddie uses language to distance Rodolfo as he is jealous of him.
'He is coming more and more to address Marco only.' This shows how Eddie disregards Rodolfo and tries to exclude him from the conversation. Eddie uses language to subtly show his contempt for Rodolfo.
The dialogue can be employed to set the scene and atmosphere. The opening of the play is a joyous scene.
Catherine says, "Hi Eddie!", showing she is pleased he is home. The characters speak with excitement and it is clear they have a close relationship.
How the character performs the dialogue is an important factor as devices such as sarcasm can change the meaning of the speech. Eddie often says things, concerning Rodolfo, which have a different meaning.
"He sings, he cooks, he could make dresses." Eddie says this to humiliate Rodolfo, implying that he is homosexual, even though it is in fact a compliment as these are his talents. The actor's tone of voice also has a great effect on the meaning of the speech.
The language of a character gives the audience an insight into their personality. Marco seldom speaks. This could be due to his poor English, but it could also show that he is a man of action, not words and he spends most of his time deep in thought.
Alfieri is a vital part of the play. He adds grandeur to the play and sets it in a wider context and broadens the subjects of people, humanity, and our society. Alfieri clarifies the real meaning of events for the audience. He raises the many issues of the play. Alfieri does this by delivering a speech after a dramatic event and makes the audience reflect on this episode. He also prepares the audience (with a speech) for an upcoming incident.
The play is divided into two acts. The first act establishes the tensions between Eddie, Catherine, Rodolfo and Beatrice. The second act activates these tensions and the divergence gradually builds until the altercated climax. Alfieri breaks up these acts into short episodes, with each episode unmasking further tension. He does this by providing a commentary on events.
Alfieri speaks mostly fact, so the audience automatically believe hi sown opinion. The playwright presents him in the role of a chorus, from an ancient Greek play. The chorus was a figure who watched the action and commented on it, addressing the audience directly.
Alfieri represents being civilized and rational, unlike the people around him. He is separated from the other characters due to his profession and he is also separated from the vents of the play. This makes the audience trust him as he, like them, is able to watch and judge what is happening. This element indicates that the title, 'A View From The Bridge', represents Alfieri looking down on events. The fact that it is Brooklyn Bridge is significant as it symbolizes a pathway of opportunity to Manhattan and is the linkage between Italian and American cultures. This prospect of a new beginning and a better life is the reason the immigrants go to America. The bridge could also represent Alfieri in many ways. He bridges the gap between the audience and the characters, as he is connected with Eddie.
"I had represented his father in an accident case some years before, and I was acquainted with the family in a casual way." Alfieri says this, demonstrating his attachment to the family. Alfieri is also the bridge between the middle class and working class people. He is a lawyer and therefore represents both classes. He can also be seen as the link between American law and Italian justice, as his roots are in Italy.
Alfieri also epitomises God. He looks down on the imprudence of others. He is also powerless to stop any events in the play.
" ...and sat there as powerless as I, and watched it run its bloody course." Alfieri acknowledges that there is nothing he can do. This powerlessness suggests that God is limited in his power.
Alfieri intimates at the complexity and abstruseness around the concept of justice with the paradox,
"many there were justly shot by unjust men." With this statement, Alfieri also demonstrates that the community is dangerous at times, and the law is not respected.
"this is the slum," Alfieri says, identifying that Red Hook is poor and in bad condition.
Alfieri is the voice of reason in the play. He tries to discourage Marco from confronting Eddie as he knows it will end in tragedy. But, as justice overrules the law, Alfieri's efforts are in vain. At that time in Red Hook, a man's 'name' encapsulated his integrity, self-respect and dignity. If a man's name was tarnished (like Eddie's was when Marco accused him) then no law could stand in the way. That man would want his name back, just as Eddie did.
Alfieri informs the audience, in his opening speech, what is going to happen. It is how it gets to the final, bloody climax that is significant. The play is structured almost as Alfieri's flashbacks. He is usually in a spotlight and everything else is silent and in darkness. This means the focus on him is very intense and it makes him a very effective source of dramatic tension.
The stage directions are the most essential dramatic device in the play. They bring the play to life and show how the characters interact.
'Eddie is pleased and therefore shy about it.' This stage direction displays Eddie's true feelings which there is no dialogue to express. Some matters cannot be openly discussed, so are shown in gesture and action. This minor detail is highly symbolic. When Catherine serves Eddie's food, or lights a cigar for him, this illustrates the relationship they have. For a 1950's audience, the lighting of a cigar would be a very indicative action, suggesting they have an intimacy only lovers should have.
Stage directions can also show a build up of tension. For example when Lois and Mike talk to Eddie about Rodolfo, Eddie tries to infer that Rodolfo is homosexual and he wants them to support his accusation. However, Lois and Mike do not submit to this. They try and disguise Eddie's suggestion with gradual laughter until they finally 'explode in laughter', showing the release of tension as they leave.
In the scene where Eddie kisses both Rodolfo and Catherine, the kisses are a very effective way of generating drama. For an audience in 1955, the double kiss would have been scandalous. Eddie kissing Catherine proposes incest and Eddie's kiss with Rodolfo is demonstrating his supposed homosexuality. Both kisses repel the audience and Eddie loses the audience's sympathy further when he calls immigration.
The final part of the first act relies on action immensely. First Catherine dances with Rodolfo. Catherine is 'flushed with revolt.'. She uses this action to defy Eddie and signify that she is breaking free from his possession. This gesture is emphasized further given that the lovers dance to 'Paper Doll'. This words of this song represent Eddie's feelings for Catherine so it ironic that Catherine uses it to challenge Eddie. Eddie responds to this action by offering to teach Rodolfo how to box.
'He feints with his left hand and lands with his right.' With this action Eddie exposes his underlying aggression and jealousy towards Rodolfo. His true feelings become apparent to the other characters. Marco concludes this scene by challenging Eddie to lift a chair by one leg. Eddie fails this task.
"the chair raised like a weapon over Eddie's head." Marco does this to warn Eddie. This event reveals a different side to Marco, as he stands up for his brother and is seen as a very potent, dominating character. Marco proves he is stronger than Eddie. This makes Eddie's final action of confronting Marco, before his death, more tragic as he knows he is the weaker man. It also accentuates the concept that Eddie committed suicide as he knew he was helpless against Marco.
Beatrice confronts her husband, in the final scene, with the reality of their insufficient relationship and his desire for Catherine. This truth has been withheld from the characters throughout the play and it causes great turmoil and commotion. This final humiliation and realization of the truth proves too much for Eddie and pushes him to face Marco and in effect, commit suicide. The action of Eddie dying by his own weapon and hand, symbolizes the allegory that he gradually destroys himself throughout the play. This is what Alfieri proclaims at the very beginning of the play, the concept of a man progressively manufacturing his own failure.
Miller maintains and accentuates immense tension and suspense so that the audience is kept stimulated throughout. The devices work together to configure an exciting, effective, enjoyable play with many depths and morals and a high entertainment value.
