推销员之死中表现主义策略研究毕业论文(编辑修改稿)

推销员之死中表现主义策略研究毕业论文(编辑修改稿)内容摘要：

decades, his major works prise one adaptation of Henrik Ibsen‟s play An Enemy of the People (1950) as well as The Crucible (1953), A Memory of Two Mondays (1955), A View from the Bridge (1955), After the Fall (1964) and Incident at Vichy (1964) and so on. Throughout his literary career, he incessantly exposes several distinct but related social and psychological issues in both his dramatic and expository writings: the innovative form of tragedy still breaking the shackles of conventions and initiating a new era of dramatic position, the relationship and conflicts between the masses and the society, as well as family relations, particularly those between fathers and sons. Insisting that the individual is doomed to frustration when once he gains a consciousness of his own identity, Miller synthesizes elements from 3 social and psychological realism to depict the individual‟s pilgrimage for identity within a repressing society. After Arthur Miller‟s masterpiece Death of a Salesman opened at the Morosco Theater on February 10, 1949, it gained fame overnight. 742 performances on Broadway and touring the country, it spread its reputation nationwidely. Within a year after its premiere, the play was virtually on stage in every major city in the United States, and within a few years it began its phenomenal run of international productions. It won monumental awards, including the New York Drama Critics‟ Circle Award and the Pulitzer Prize. The play has long been examined from the perspective of Realism and social criticism. Admittedly, based in large part on the experiences of Miller‟s family during the Depression and the difficulties of living the American Dream, the play lays stress on realistic living conditions of the general public and deals a heavy blow on that dogeatdog economic system: Willy, a travelling salesman who has two sons, Biff and Happy, whom he has tried to raise to bee men of influence and power, has been recently fired. He and his wife Linda are struggling to pay the bills, while the two sons are not helpful. However, throughout the play we can get a clear view that Lomans, particularly Willy, cannot distinguish between reality and illusion more or less. The author uses an epochmaking method to reveal the actors‟ psychological ups and downs through a bination of spatiotemporal transformation and psychological externalization, which falls to the category of Expressionism. Having made its debut in France in 1910, Expressionism was 4 introduced to Germany and affected a wide range of fields of art and literature. As far as Expressionists concerned, the fundamental reality exists in human‟s inner world, enpassing man‟s spirit, soul, desire and fantasy. Therefore, they lay emphasis on human beings‟ psyche and intent to fully express the emotional drifts and waves exclusive to the human race. As a result, Expressionism came to existence. Its distinctive features can be mainly found in the techniques of expression and the artistic characteristics: protagonists‟ mental activities, rather than the plot framework, prove to be the core of a successful dramatic work。 the introduction of multiple personality to drama, reappearing actors‟ states of mind by means of deconstructing the sophisticated layers of a character‟s multiple personality。 and the use of illusion to embody man‟s subconsciousness. Therefore, the thesis tries to study the play from three aspects: stage design, characterization and plotting. In Chapter 1, the thesis analyses the stage settings which cross the boundaries of time and space, the stage lighting creating a sense of unreality, the artful exercise of music and the shifts of lighting colors to indicate different characters and situations. In Chapter 2, it discusses Arthur Miller‟s masterful approach to construct Willy and Ben‟s character features from two perspectives: multiple personal disorder and dramatic fantasy. The third chapter puts its emphasis on his virtuosity in the use of spatiotemporal changes and psychological externalization. Under a close scrutiny, the study is intended to bring to the full play the eternal enchantment of Death of a Salesman. 5 Chapter 1 Stage Design As one of the most prominent American playwrights in the 20th century, Arthur Miller is renowned in the literary circle for his plays dealing with social and moral problems. His masterpiece, Death of a Salesman, is reputed as the epitome of classic American dramas in the history of dramatic position, a play which confines itself to exposing business corruption, domestic disputes, collapse of citizen morality, or the illusional American Dream. According to J. T. Nourse, Miller has skillfully bined the merits of Henrik Ibsen‟s plays, Expressionism and Experimentalism, so that his plays boast wellconstructed and pact plots, unrestrained and unlimited flows of stream of consciousness and psychological analysis, on account of which he imprints his surpassing and skillful stage design on the audience‟s minds. As an arena to mount a play, the stage plays an important role in a dramatic performance. Generally speaking, a stage functions as follows: providing space for anizing and presenting dialogues and actions, serving as a melieu for their recurrence and demonstrating the underlying sense and significance in them. In addition, one stage consists of a platform, stage scenery, stage properties, lighting and so on. The interplay of those interlocking elements, acting as a whole, influences the charm and charisma of plays. Stage Scenery In Death of a Salesman mingle the present reality, the reminiscence of the past and Willy‟s hallucinatory experiences. Still, this kind of temporal and spatial crisscross expands the limited stage space to a boundless range, instead of bringing to it a sense of c。