6/21/2023 0 Comments Arthur miller's after the fall"I have a bit of a decision to make," begins Quentin, to an unnamed listener-perhaps society, perhaps his conscience-whether or not to commit himself again, to a woman. But his eternal question is overshadowed by Maggie (Miss Monroe), by The Committee, and family, persons, and issues which become foci of dramatic attention instead of paths to Quentin's answer. So you felt like a privileged voyeur when you took your seat in the Lincoln Center Repertory Company's temporary theatre in Washington, especially when you learned that the play's director was a character in the play-one of the bad guys.īut in undramatic Boston, at the end of the American National Theatre's tour, the tangibility of the real-life persons dissolves, leaving only the drama itself and its stated abstractions "in the mind, thought, and memory of Quentin, a contemporary man." It is Quentin's question, his search for hope and love after innocence has been lost, that must be real, not the past lives of Arthur Miller or Elia Kazan. The author's narrow face stared at you from the newspapers and magazines before the New York opening almost 17 months ago, and with his name came, whispered, Marilyn Monroe, now the late Mrs. It's easier to treat After the Fall like any other new American play, now that the shock and reverence of Arthur Miller's self-revelation have died.
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