Arthur+Miller

Arthur **Asher** Miller (October 19,1915 - February 10,2005) was an American playwright and a essayist. He was a prominent figure in American literature and cinema for over 61 years, writing a wide variety of plays. Arthur Miller was born to moderately affluent Jewish-American parents, Isidore and Augusta Miller, in Harlem, New York City, in 1915. His father owned a women's clothes/coat-manufacturing business, which failed in the Wall Street Crash of 1929 after which his family moved to humbler quarters in Brooklyn. His father had lost all their money during the Great Deppression, he had no money to attend college. So after graduationg from Lincoln High School (New York), he attended the University of Michigan. In order to pay for his tuiton he worked many poor, low-paid jobs. Miller was first known when he won the Drama Critics Circle award for //All My Sons.// He was also popular for writing "The Crucible", "Death of a Salesman", and "A View from the Bridge." He was very famous because he won the Pulitzer Prize for Drama and was married to sex symbol, Marilyn Monroe. //Death of a Salesman// was one of his greatest plays. It one a tony award for best play. It premired on Broadway on 2/10/1949. It was so good that it ran 742 times! Miller's protrail of poltical amd moral covections showed in each of his characters within his stories. They faced issues of conflict, social responsability, gulit and hope. When he died he was known as one of the greatest American playwrights.

ARTHUR MILLER'S REMEMBRANCE On February 10, 2005, one of the most famous writer passed away. He was very well known for his work and everybody appreciated and enjoyed his talent. Many well people on in the showbiz work showed tribute to Arthur Miller after his death. They even darkened the lights on Broadway theathers to show their respect and appreciation. The University of Michigan also opened theatre bearing his name Arthur Miller Theatre on March,2007, being the only theatre that was named after him.

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ARTHUR MILLER'S PLAYS
 * //No Villain// (play, 1936)
 * //They Too Arise// (play, 1937, based on //No Villain//)
 * //Honors At Dawn// (play, 1938, based on //They Too Arise//)
 * //The Grass Still Grows// (play, 1938, based on //They Too Arise//)
 * //The Great Disobedience// (play, 1938)
 * //Listen My Children// (play, with Norman Rosten, 1939)
 * //The Golden Years// (play, 1940)
 * //The Pussycat and the Plumber Who Was a Man// (radio play, 1941)
 * //William Ireland’s Confession// (radio play, 1941)
 * //Jed Chandler Harris// (radio play, 1941)
 * //Captain Paul// (radio play, 1941)
 * //The Battle of the Ovens// (radio play, 1942)
 * //Thunder from the Mountains// (radio play, 1942)
 * //I Was Married in Bataan// (radio play, 1942)
 * //Toward a Farther Star// (radio play, 1942)
 * //The Eagle’s Nest// (radio play, 1942)
 * //The Four Freedoms// (radio play, 1942)
 * //The Half-Bridge// (play, 1943)
 * //That They May Win// (radio play, 1943)
 * //Listen for the Sound of Wings// (radio play, 1943)
 * //Bernardine// (radio play, 1944)
 * //I Love You// (radio play, 1944)
 * //Grandpa and the Statue// (radio play, 1944)
 * //The Philippines Never Surrendered// (radio play, 1944)
 * //[|The Guardsman]// (radio play, 1944, based on [|Ferenc Molnár]’s play)
 * //[|Pride and Prejudice]// (radio play, 1944, based on [|Jane Austen]’s novel)
 * //[|The Story of G.I. Joe]// (film, 1943)
 * //Focus// (novel, 1945)
 * //Three Men on a Horse// (radio play, 1946, based on George Abbott and John C Holm play)
 * //[|All My Sons]// (play, 1947)
 * //The Story of Gus// (radio play, 1947)
 * //[|The Hook]// (film, 1947)
 * //[|Death of a Salesman]// (play, 1949)
 * //[|An Enemy of the People]// (play, 1950, based on [|Henrik Ibsen] play)
 * //[|The Crucible]// (play, 1953)
 * //[|A View from the Bridge]// (play, 1955)
 * //[|A Memory of Two Mondays]// (play, 1955)
 * //The Misfits// (short story, 1957)
 * //[|The Misfits]// (screenplay, 1961)
 * //[|After the Fall]// (play, 1964)
 * //[|Incident at Vichy]// (play, 1964)
 * //I Don’t Need You Anymore// (short stories, 1967)
 * //[|The Price]// (play, 1968)
 * //Fame// (television play, 1970)
 * //[|The Reason Why]// (radio play, 1970)
 * //[|The Creation of the World and Other Business]// (play, 1972)
 * //[|The Archbishop's Ceiling]// {play, 1977)
 * //[|The American Clock]// (play, 1980)
 * //Playing for Time// (television play, 1980)
 * //[|Elegy for a Lady]// (short play, 1982, first part of //[|Two Way Mirror]//)
 * //[|Some Kind of Love Story]// (short play, 1982, second part of //Two Way Mirror//)
 * //[|Everybody Wins]// (screenplay, 1984)
 * //Playing for Time// (stage version, 1985)
 * //I Think About You a Great Deal// (play, 1986)
 * //[|I Can’t Remember Anything]// (play, 1987, also known as //[|Danger: Memory]//)
 * //[|Clara]// (play, 1987, also known as //Danger: Memory//)
 * //[|The Last Yankee]// (play, 1991)
 * //[|The Ride Down Mt. Morgan]// (play, 1991)
 * //Homely Girl// (short story, 1992, published UK as //Plain Girl: A Life// 1995)
 * //[|Broken Glass]// (play, 1994)
 * //[|The Crucible]// (screenplay, 1995)
 * //[|Mr Peter’s Connections]// (play, 1998)
 * //[|Resurrection Blues]// (play, 2002)
 * //[|Finishing the Picture]// (play, 2004)

http://www.ibiblio.org/miller/ This is a website dedicated to the study of Arthur MIller and his work. It's called the Arthur MIller Society. It also contains a link to the Arthur Miller journal. =**Quotes:**=


 * "You know, sometimes God mixes up the people. We all love somebody, the wife, the kids - every man's got somebody he loves, heh? Bus sometimes... there's too much. You know? There's too much, and it goes where it mustn't. A man works hard, he brings up a child, sometimes it's niece, sometimes even a daughter, and he never realizes it, but through the years - there is too much love for the daughter, there is too much love for the niece."** (from //A View from the Bridge//)

A child's spirit is like a child, you can never catch it by running after it; you must stand still, and, for love, it will soon itself come back.

A good newspaper, I suppose, is a nation talking to itself.

"A small man can be just as exhausted as a great man."

A playwright lives in an occupied country. And if you can't live that way you don't stay.

A suicide kills two people, Maggie, that's what it's for!

"An era can be said to end when its bais illusions are exhausted"

"Cleave to no faith when faith brings blood."

All we are is a lot of talking nitrogen.

Betrayal is the only truth that sticks.

Can anyone remember love? It's like trying to summon up the smell of roses in a cellar. You might see a rose, but never the perfume.

Certainly the most diverse, if minor, pastime of literary life is the game of Find the Author.

Don't be seduced into thinking that that which does not make a profit is without value.

Everybody likes a kidder, but nobody lends him money.

He wants to live on through something-and in his case, his masterpiece is his son. all of us want that, and it gets more poignant as we get more anonymous in this world.

He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him. So attention must be paid.

I cannot sleep for dreaming; I cannot dream but I wake and walk about the house as though I'd find you coming through some door.

I have made more friends for American culture than the State Department. Certainly I have made fewer enemies, but that isn't very difficult.

I know that my works are a credit to this nation and I dare say they will endure longer than the McCarran Act.

I love her too, but our neuroses just don't match.

I think it's a mistake to ever look for hope outside of one's self.

I think now that the great thing is not so much the formulation of an answer for myself, for the theater, or the play-but rather the most accurate possible statement of the problem.

I'm the end of the line; absurd and appalling as it may seem, serious New York theater has died in my lifetime. If I have any justification for having lived it's simply, I'm nothing but faults, failures and so on, but I have tried to make a good pair of shoes. There's some value in that.

If I see an ending, I can work backward.

In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.

It is my art. I am better at it than I ever was. And I will do it as long as I can. When you reach a certain age you can slough off what is unnecessary and concentrate on what is. And why not?

Let you look sometimes for the goodness in me, and judge me not.

Man must shape his tools lest they shape him.

Maybe all one can do is hope to end up with the right regrets.

Never fight fair with a stranger, boy. You'll never get out of the jungle that way.

That is a very good question. I don't know the answer. But can you tell me the name of a classical Greek shoemaker?

The apple cannot be stuck back on the Tree of Knowledge; once we begin to see, we are doomed and challenged to seek the strength to see more, not less.

The closer a man approaches tragedy the more intense is his concentration of emotion upon the fixed point of his commitment, which is to say the closer he approaches what in life we call fanaticism.

The job is to ask questions-it always was-and to ask them as inexorably as I can. And to face the absence of precise answers with a certain humility.

The number of elements that have to go into a hit would break a computer down. the right season for that play, the right historical moment, the right tonality.

The problem was to sustain at any cost the feeling you had in the theater that you were watching a real person, yes, but an intense condensation of his experience, not simply a realistic series of episodes.

The structure of a play is always the story of how the birds came home to roost.

The theater is so endlessly fascinating because it's so accidental. It's so much like life.

“The apple cannot be stuck back on the Tree of Knowledge; once we begin to see, we are doomed and challenged to seek the strength to see more, not less"

Well, all the plays that I was trying to write were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from.

What is the most innocent place in any country? Is it not the insane asylum? These people drift through life truly innocent, unable to see into themselves at all.

Where choice begins, Paradise ends, innocence ends, for what is Paradise but the absence of any need to choose this action?

Without alienation, there can be no politics.

You cannot catch a child's spirit by running after it; you must stand still and for love it will soon itself return.

You specialize in something until one day you find it is specializing in you.

Arthur MIller was very concentrating on the study of human behaviour.

"Society is inside of man and man is inside society, and you cannot even create a truthfully drawn psychological entity on the stage until you understand his social relations and their power to make him what he is and to prevent him from being what he is not. The fish is in the water and the water is in the fish." "The shadow of a cornstalk on the ground is lovely, but it is no denial of its loveliness to see as one looks on it that it is telling the time of day, the position of the earth and the sun, the size of our planet and its shape, and perhaps even the length of its life and ours among the stars."