學科分類號0502本科畢業論文ExpressionistTacticsinDeathofaSalesman學號院（系）指導教師本人鄭重聲明：所呈交的本科畢業論文，是本人在指導老師的指導下，獨立進行研究工作所取得的成果，成果不存在知識產權爭議，除文中已經注明引用的內容外，本論文不含任何其他個人或集體已經發表或撰寫過的作品成果。對本文的研究做出重要貢獻的個人和集體均已在文中以明確方式標明。本人完全意識到本聲明的法律結果由本人承擔。本科畢業論文作者簽名：

選題的根據：1）說明本選題的理論、實際意義2）綜述國內外有關本選題的研究動態和自己的見解阿瑟·米勒是美國現代最杰出的戲劇家之一，被譽為“美國戲劇的良心”和“美國的易卜生”。米勒關注的焦點始終是身處美國社會并與之斗爭的個人，絕大部分作品都在闡述人物生活中所遭遇的問題。米勒受到歧視的猶太人身份使其始終以局外人之姿清醒地旁觀美國主流文化。他的作品針砭時弊，直言不諱，對現實社會和戲劇技巧作了深刻探索。《推銷員之死》是米勒流傳最廣的作品之一，成為百老匯歷史上第一部一舉囊括托尼獎、普利策獎及紐約劇評界獎的劇作，并使米勒享有國際聲譽。Time曾指出，很多新近創作的戲劇“因得益于，至少是部分得益于《推銷員之死》”。PaulLieberman指出，該劇“呈現在大眾面前的不僅僅是一件藝術品，還是衡量國家及其人民的經濟、家庭、價值觀和夢想的尺度”。1983年米勒親臨指導的話劇《推銷員之死》在北京上演，掀起了中國文學界對其作品的研究熱潮。一些評論家從語言、結構方面研究米勒在《推銷員之死》中的表現主義，如周小進從劇本沖突及深層結構的角度研究其劇情的推進和沖突的發展；孫敏從人物心理外化的表現手法的角度切入研究。而本文從表現主義角度出發，較系統地闡述其舞臺設計、人物塑造、情節設計三個方面的策略技巧，從而對《推銷員之死》進行較為全面的分析，以客觀地認識阿瑟·米勒永恒的藝術魅力。主要內容：阿瑟·米勒是美國最杰出的戲劇大師，其戲劇幾乎成了20世紀前半期美國歷史的忠實記錄：大蕭條、二戰、麥卡錫主義及冷戰。《推銷員之死》是其最典型和最具影響力的一篇，使其成為享譽國際的作家。本文緒論介紹阿瑟·米勒的生平、相關作品創作背景及簡介、評論家對其作品的評價、本課題的理論依據和理論研究成果。在接下來的主體部分中，將從表現主義角度出發，試從舞臺設計、人物塑造、情節設計三個方面探討其表現主義手法。在舞臺設計一章中，本文分析其打破時空界限的舞臺布景、創造出非現實感的舞臺燈光、音樂的巧妙運用及色彩變換，認為這些技巧展現了不同的人物性格及情勢；在人物塑造一章中，本文通過多重人格障礙及舞臺想象兩個方面闡釋作者對主人公威利及夢幻人物本的塑造；在情節設計一章中，本文重點研究其精湛的時空轉換技巧和心理外化的表現手段。本文試圖通過以上三方面的研究來分析阿瑟·米勒在劇作《推銷員之死》中文學技巧的巧妙使用及創新，從表現主義角度解讀此劇經久不衰的藝術魅力。研究方法：本文主要采用文獻研究、定性及定量等研究方法進行課題的相關研究。查閱相關文獻，研究相關學者的學術成果，結合自己的相關研究得出觀點和看法；利用CNKI、ProQuest數據庫進行定性及定量研究，對表現主義、《推銷員之死》等關鍵詞的釋義進行分類統計、從而找到突破點。完成期限和采取的主要措施：完成期限：1.2014.9～2014.11分析原著，查找并研讀資料2.2014.12完成開題報告,擬定提綱3.2015.1完成第一稿4.2015.3月初完成第二稿5.2015.3月底完成第三稿6.2015.4定稿主要措施:查詢中國知網、ProQuest等論文數據庫；去圖書館和資料室查資料；閱讀并分析原著；請教指導老師意見；和同學相互討論；不斷修改與提高。主要參考資料：[1]ArthurMiller.DeathofaSalesman[M].NewYork:VikingPress,1949.[2]Lames,Hart&PhillipLeiginger(eds.).TheOxfordCompaniontoAmericanLiterature[M].London:OxfordUniversityPress,2001.[3]Toming.AHistoryofAmericanLiterature[M].Beijing:ForeignLanguageTeachingandResearchPress,2008.[4]Xu,Fengtian.DeathofaSalesmanandAmericanDream[A].OverseasEnglish,2012:37-45.[5]Zhu,Xiaojing&Xia,Chunhong.AFreeExchangeofSpaceandTime—AnAnalysisofSomeCreativeTechniquesin“DeathofaSalesman”[A].OverseasEnglish,2013:65-79.[6]常耀信.美國文學簡史[M].天津：南開大學出版社，2008：240-241[7]黃家修.美國文學閱讀與欣賞[M].武漢：武漢大學出版社，2007:422-423.[8]郝雪蓉.簡析推銷員之死中人物心理表現手法的兩大特征[M].經濟研究學報，2011:13-20.[9]李麗.論《推銷員之死》中的表現主義手法的運用[A].電影文學,2010:58-62.[10]任靜明.《推銷員之死》中的表現主義手法研究[A].牡丹江師范學院學報,2011:78-83.指導教師意見：簽名：年月日開題報告會紀要時間地點與會人員姓名職務（職稱）姓名職務（職稱）姓名職務（職稱）會議記錄摘要：會議主持人簽名：記錄人簽名：年月日指導小組意見負責人簽名：年月日學院意見負責人簽名：年月 日湖南師范大學外國語學院指導教師指導畢業論文情況登記表論文（設計）題目ExpressionistTacticsinDeathofaSalesman學生姓名所屬專業、年級英語專業2011級指導教師姓名曹波職稱教授學歷博士指導時間指導地點指導內容學生簽名教師簽名2014.12.012014.12.052014.12.102015.01.062015.01.152015.03.152015.03.252015.04.082015.04.152015.04.22二、湖南師范大學本科畢業論文評審表論文題目ExpressionistTacticsinDeathofaSalesman作者姓名外國語學院英語專業2011年級指導教師曹波教授78692015年4月23日中文摘要阿瑟·米勒是美國最杰出的戲劇大師之一，被譽為“美國戲劇的良心”，“美國的易卜生”。其關注焦點始終是生活在美國社會并與之斗爭的個人。他的戲劇幾乎成了20世紀前半期美國歷史的忠實記錄：大蕭條，二戰，麥卡錫主義，冷戰。《推銷員之死》是其最典型和最具影響力的戲劇。一些評論家從語言，結構方面研究米勒在《推銷員之死》中的表現主義，而本文試從舞臺設計、人物塑造、情節安排三個方面探討其表現主義手法。在第一章中，本文分析其打破時空界限的舞臺布景、創造出非現實感的舞臺燈光、音樂的巧妙運用及色彩變換，認為這些技巧展現了不同的人物性格及情勢。在第二章中，本文通過多重人格障礙及戲劇想象兩個方面闡釋米勒對主人公威利及夢幻人物本的塑造。在第三章中，本文重點研究其精湛的時空轉換技巧和心理外化的表現手段。通過以上三方面的研究，本文從表現主義的角度解讀了《推銷員之死》的藝術魅力。關鍵詞（3-5個）阿瑟·米勒；《推銷員之死》；舞臺設計；人物塑造；情節安排英文摘要ArthurMillerhasbeendistinguishedastheConscienceofAmericanDramaandAmerica’sIbsen,whoseplaysfaithfullyrecordAmericanhistoryduringthefirsthalfofthe20thcentury.DeathofaSalesman,hismasterpiece,winshiminternationalreputation.Manycriticshaveconfinedtheircritiquestothelanguageandstructure.Butthisthesistriestostudytheplayfromthreeaspects:stagedesign,characterizationandplotting.InChapter1,itanalysesthestagescenerywhichcrossestheboundariesoftimeandspace,thestagelightingandmusiccreatingasenseofunrealityandimplyingdifferentcharactersandsituations.InChapter2,itdiscussesArthurMiller’smasterfulapproachtoconstructWillyandBen’scharacterfeaturesandthethirdchapteremphasizeshisvirtuosityinthespatio-temporalshiftsandpsychologicalexternalization.ThestudyofthesethreeaspectsisintendedtoillustratetheeternalenchantmentofDeathofaSalesman.關鍵詞（3-5個）ArthurMiller;DeathofaSalesman;stagedesign;characterization;plotting畢業論文指導教師評定成績評審基元評審要素評審內涵滿分選題質量28%目的明確符合要求選題符合專業培養目標，體現學科、專業特點和綜合訓練的基本要求9理論意義或實際價值9選題恰當題目規模適當5難易度適中5能力水平28%查閱文獻資料能力能獨立查閱相關文獻資料，歸納總結本論文所涉及的有關研究狀況及成果，并恰當運用5綜合運用知識能力9研究方案的設計能力5研究方法和手段的運用能力9論文質量34%文題相符5寫作水平10寫作規范9論文篇幅5成果的理論或實際價值成果富有一定的理論深度和實際運用價值5外文資料翻譯10%外文應用能力10總成績：評定等級：指導教師評審意見：指導教師簽名：說明：評定成績分為優秀、良好、中等、及格、不及格五個等級，總成績90—100分記為優秀，80—89分記為良好，70—79分記為中等，60—69分記為及格，60分以下記為不及格。若譯文成績為零，則不計總成績，評定等級記為不及格。三、湖南師范大學本科畢業論文答辯記錄表論文題目ExpressionistTacticsinDeathofaSalesman作者姓名所屬院、專業、年級外國語學院英語專業2011年級指導教師姓名、職稱曹波教授答辯會紀要時間地點答辯小組成員姓名職務（職稱）姓名職務（職稱）姓名職務（職稱）答辯中提出的主要問題及回答的簡要情況記錄：會議主持人簽名：記錄人簽名：年月日答辯小組意見評語：評定等級：負責人（簽名）：年月日學院意見評語：論文學院最終評定等級：負責人（簽名）：學院（公章） 年 月 日學校意見評語：評定等級：負責人（簽名）： 年 月 日ContentsTOC\o"1-3"\h\uAbstract ExpressionistTacticsinDeathofaSalesmanWangLeleAbstract:ArthurMillerhasbeendistinguishedastheConscienceofAmericanDramaandAmerica’sIbsen,whoseplaysfaithfullyrecordAmericanhistoryduringthefirsthalfofthe20thcentury.DeathofaSalesman,hismasterpiece,winshiminternationalreputation.Manycriticshaveconfinedtheircritiquestothelanguageandstructure.Butthisthesistriestostudytheplayfromthreeaspects:stagedesign,characterizationandplotting.InChapter1,itanalysesthestagescenerywhichtranscendstheboundariesoftimeandspace,thestagelightingandmusic,creatingasenseofunrealityandimplyingdifferentcharactersandsituations.InChapter2,itdiscussesArthurMiller’smasterfulapproachtoconstructWillyandBen’scharacterfeaturesviathewritingtechniqueofmultiplepersonalitydisorderanddramaticfantasywhileChapter3emphasizeshisvirtuosityinthespatio-temporalshiftsandpsychologicalexternalization.Allinall,thestudyofabove-mentionedaspectsisintendedtoillustratetheeternalenchantmentofDeathofaSalesman.Keyword:ArthurMiller;DeathofaSalesman;stagedesign;characterization;plotting摘要：阿瑟·米勒是美國最杰出的戲劇大師之一，被譽為“美國戲劇的良心”，“美國的易卜生”。其關注焦點始終是生活在美國社會并與之斗爭的個人。他的戲劇幾乎成了20世紀前半期美國歷史的忠實記錄：大蕭條，二戰，麥卡錫主義，冷戰。《推銷員之死》是其最典型和最具影響力的戲劇。一些評論家從語言，結構方面研究米勒在《推銷員之死》中的表現主義，而本文試從舞臺設計、人物塑造、情節安排三個方面探討其表現主義手法：在舞臺設計一章中，本文分析其打破時空界限的舞臺布景、創造出非現實感的舞臺燈光、音樂的巧妙運用及色彩變換，認為這些技巧展現了不同的人物性格及情勢；在人物塑造一章中，本文通過多重人格障礙及戲劇想象兩個方面闡釋米勒對主人公威利及夢幻人物本的塑造；在情節安排一章中，本文重點研究其精湛的時空轉換技巧和心理外化的表現手段。通過以上三方面的研究，本文從表現主義的角度解讀了《推銷員之死》的藝術魅力。關鍵詞：阿瑟·米勒；《推銷員之死》；舞臺設計；人物塑造；情節安排

IntroductionOneofthemajorplaywrightsofthetwentiethcentury,ArthurMillerwasborninManhattanon17October,1915,thesecondsonofIsadoreMiller,awell-to-dobutalmostilliterateclothingmanufacturer,wholosthiswealthafterthestockmarketcrashin1929andAugustaBarnettMiller,aschoolteacheraswellasanavidreader.AttheUniversityofMichigan,hebecameconsciousofGermanExpressionism,AugustStrindberg,andHenrikIbsen,andbegantodelveintoplays.HediedinConnecticutonFebruary10,2005.ArthurMiller’searlyBroadwayplaysincludeTheManWhoHadAlltheLuck(1944),whichearnedhimaTheaterGuildaward,AllMySons(1947),whichgainedtheNewYorkDramaCriticsCircleAward,andDeathofaSalesman(1949),hismasterpiece.Inthefollowingtwodecades,hismajorworkscompriseoneadaptationofHenrikIbsen’splayAnEnemyofthePeople(1950)aswellasTheCrucible(1953),AMemoryofTwoMondays(1955),AViewfromtheBridge(1955),AftertheFall(1964)andIncidentatVichy(1964)andsoon.Throughouthisliterarycareer,heincessantlyexposesseveraldistinctbutrelatedsocialandpsychologicalissuesinbothhisdramaticandexpositorywritings:theinnovativeformoftragedystillbreakingtheshacklesofconventionsandinitiatinganeweraofdramaticcomposition,therelationshipandconflictsbetweenthemassesandthesociety,aswellasfamilyrelations,particularlythosebetweenfathersandsons.Insistingthattheindividualisdoomedtofrustrationwhenoncehegainsaconsciousnessofhisownidentity,Millersynthesizeselementsfromsocialandpsychologicalrealismtodepicttheindividual’spilgrimageforidentitywithinarepressingsociety.AfterArthurMiller’smasterpieceDeathofaSalesmanopenedattheMoroscoTheateronFebruary10,1949,itgainedfameovernight.742performancesonBroadwayandtouringthecountry,itspreaditsreputationnation-widely.Withinayearafteritspremiere,theplaywasvirtuallyonstageineverymajorcityintheUnitedStates,andwithinafewyearsitbeganitsphenomenalrunofinternationalproductions.Itwonmonumentalawards,includingtheNewYorkDramaCritics’CircleAwardandthePulitzerPrize.TheplayhaslongbeenexaminedfromtheperspectiveofRealismandsocialcriticism.Admittedly,basedinlargepartontheexperiencesofMiller’sfamilyduringtheDepressionandthedifficultiesoflivingtheAmericanDream,theplaylaysstressonrealisticlivingconditionsofthegeneralpublicanddealsaheavyblowonthatdog-eat-dogeconomicsystem:Willy,atravellingsalesmanwhohastwosons,BiffandHappy,whomhehastriedtoraisetobecomemenofinfluenceandpower,hasbeenrecentlyfired.HeandhiswifeLindaarestrugglingtopaythebills,whilethetwosonsarenothelpful.However,throughouttheplaywecangetaclearviewthatLomans,particularlyWilly,cannotdistinguishbetweenrealityandillusionmoreorless.Theauthorusesanepoch-makingmethodtorevealtheactors’psychologicalupsanddownsthroughacombinationofspatio-temporaltransformationandpsychologicalexternalization,whichfallstothecategoryofExpressionism.HavingmadeitsdebutinFrancein1910,ExpressionismwasintroducedtoGermanyandaffectedawiderangeoffieldsofartandliterature.AsfarasExpressionistsconcerned,thefundamentalrealityexistsinhuman’sinnerworld,encompassingman’sspirit,soul,desireandfantasy.Therefore,theylayemphasisonhumanbeings’psycheandintenttofullyexpresstheemotionaldriftsandwavesexclusivetothehumanrace.Asaresult,Expressionismcametoexistence.Itsdistinctivefeaturescanbemainlyfoundinthetechniquesofexpressionandtheartisticcharacteristics:protagonists’mentalactivities,ratherthantheplotframework,provetobethecoreofasuccessfuldramaticwork;theintroductionofmultiplepersonalitytodrama,reappearingactors’statesofmindbymeansofdeconstructingthesophisticatedlayersofacharacter’smultiplepersonality;andtheuseofillusiontoembodyman’ssubconsciousness.Therefore,thethesistriestostudytheplayfromthreeaspects:stagedesign,characterizationandplotting.InChapter1,thethesisanalysesthestagesettingswhichcrosstheboundariesoftimeandspace,thestagelightingcreatingasenseofunreality,theartfulexerciseofmusicandtheshiftsoflightingcolorstoindicatedifferentcharactersandsituations.InChapter2,itdiscussesArthurMiller’smasterfulapproachtoconstructWillyandBen’scharacterfeaturesfromtwoperspectives:multiplepersonaldisorderanddramaticfantasy.Thethirdchapterputsitsemphasisonhisvirtuosityintheuseofspatio-temporalchangesandpsychologicalexternalization.Underaclosescrutiny,thestudyisintendedtobringtothefullplaytheeternalenchantmentofDeathofaSalesman.Chapter1StageDesignAsoneofthemostprominentAmericanplaywrightsinthe20thcentury,ArthurMillerisrenownedintheliterarycircleforhisplaysdealingwithsocialandmoralproblems.Hismasterpiece,DeathofaSalesman,isreputedastheepitomeofclassicAmericandramasinthehistoryofdramaticcomposition,aplaywhichconfinesitselftoexposingbusinesscorruption,domesticdisputes,collapseofcitizenmorality,ortheillusionalAmericanDream.AccordingtoJ.T.Nourse,MillerhasskillfullycombinedthemeritsofHenrikIbsen’splays,ExpressionismandExperimentalism,sothathisplaysboastwell-constructedandcompactplots,unrestrainedandunlimitedflowsofstreamofconsciousnessandpsychologicalanalysis,onaccountofwhichheimprintshissurpassingandskillfulstagedesignontheaudience’sminds.Asanarenatomountaplay,thestageplaysanimportantroleinadramaticperformance.Generallyspeaking,astagefunctionsasfollows:providingspacefororganizingandpresentingdialoguesandactions,servingasamelieufortheirrecurrenceanddemonstratingtheunderlyingsenseandsignificanceinthem.Inaddition,onestageconsistsofaplatform,stagescenery,stageproperties,lightingandsoon.Theinterplayofthoseinterlockingelements,actingasawhole,influencesthecharmandcharismaofplays.1.1StageSceneryInDeathofaSalesmanminglethepresentreality,thereminiscenceofthepastandWilly’shallucinatoryexperiences.Still,thiskindoftemporalandspatialcrisscrossexpandsthelimitedstagespacetoaboundlessrange,insteadofbringingtoitasenseofconfusionandchaos.InActOne,Millergivesadetailedintroductiontothestagescenery:“Theentiresettingiswhollyor,insomeplaces,partiallytransparent.Theroof-lineofthehouseisone-dimensional;underandoveritweseetheapartmentbuildings.Beforethehouseliesanapron,curvingbeyondtheforestageintotheorchestra.ThisforwardareaservesasthebackyardaswellasthelocaleofallWilly’simaginingsandofhiscityscenes.”本文以下全部引文均出自本文以下全部引文均出自Arthur,Miller.DeathofaSalesman[M].NewYork:VikingPress,1949，故只標明頁碼。AndinordertoinserttherefulgenceforetimeandphantomsfromWilly’sheadintothecurrent,MilleremployssuchastagedesigntingedanExpressionistcolor,quote,“Whenevertheactionisinthepresenttheactorsobservetheimaginarywall-lines,enteringthehouseonlythroughitsdoorattheleft.”(p12)Howeverinthescenesofthepast,“theseboundariesarebroken,andcharactersenterorleavearoombystepping‘through’awallontotheforestage.”(p.12)Inotherwords,actionsinreallifemustbecarriedoutinaspaceseparatedbythreeimaginarywallswhilethoseinrecollectionandillusionarefreeofthislimitation.Therefore,realities,memoriesandillusionscantakeplacesmoothlywithoutshiftsofscenes,bywhichmeanscomestruethenaturalintegrationofthepresentwiththepastMillerpursues.Inaperspectiveofthestagescenery,wecanfindouttheoutstandingfeatureofcombiningthetangiblewiththeintangible:thetangiblereferstotherealspaceonthestage,mainactivityplacesforWillysuchasthekitchen,thebedroomsandthehotel.Inthemeantime,theintangibleisprincipallyconceivedinthepressurebroughtaboutbythetallbuildingssurroundingWilly’shouseandinotherscenes,Howard’sofficeandthehotelinWilly’sremembrance.Forexample,quote,“BeforeusistheSalesman’shouse.Weareawareoftowering,angularshapesbehindit,surroundingitonallsides.Onlythebluelightoftheskyfallsuponthehouseandforestage;thesurroundingareashowsanangryglowoforange…Anairofthedreamdingstotheplace,adreamrisingoutofreality.”(p.11)Astheforegoingdescriptiondisplays,Willy’slivingsurroundingsindicatetherepressionofsocialrealityonthesmallfryatthattime,buttheycannotpresentthemselvessubstantiallyanddirectlyonstage.Therefore,theauthorresortstovirtualization.Alsonoteworthyisthedepictionthat“Beforethehouseliesanapron,curvingbeyondtheforestageintotheorchestra.”(p.12)Moreover,“ThisforwardareaservesasthebackyardaswellasthelocaleofallWilly’simaginingsandofhiscityscenes.”(p.12)Inthestagedirection,ArthurselectscertainareaasthelocaleofWilly’simaginingsandofhiscityscenes.Andwhateverhappensonthisregionrequiresaudience’simagination.Thefollowingexampleillustratesthisdeliberatearrangement:intheforestagelieHoward’sandCharley’sofficeswhileinthebackyardWilly’shouse.Theshiftsamongthese3scenestakeplacesimultaneously:WillydepartsfromhishousetoHoward’soffice,thentoCharley’s.Asamatteroffact,theseshiftsofplacesoccurinthesamestage.Butbecauseofthepresenceofmind’seyes,audiencecanenvisionthethreedifferentspaces.Onthewhole,thescopeofthetangiblestageislimited.However,theintangiblerangeofspaceandtimeisboundless.Duetotheparticipationofvirtualization,theauthorcancreatethisworkbeyondthelimitationofspaceandtime,whichbearsresemblancetoChineseopera.1.2StageMusicandLightingSusanLangeronceremarkedthatmelodyortonalstructuresharesthesamelogicwiththeformofhumanemotions.InDeathofaSalesman,musicnotonlysimulateselementalsoundsinthenaturalandhumansocietiesbutalsosymbolizesthetemporalenvironsandrevealsthepsychologicalstatesofthecharacters.Furthermore,theapplicationoflightinganditsvariouscolorsintheplayalsobringstolighttheinnerworldofthefigures.Firstly,musicinthatplaycreatesanemotionalappealtoembellishtheatmosphere.Forexample,whenWillyrecollectshavinganaffairwiththewomaninaBostonhotel,“raw,sensuousmusicaccompaniestheirspeech”(p.109).And“suddenlymucousmusicisheardandaredlightglowrisesthescreenatright”(p.110),whichremindstheaudiencethatthesettingofthesceneisshiftedtoarestaurant.Althoughtherearenotparticularpropstoindicatetheexistenceofahotelorarestaurant,theaudiencecanheartilysenseitviamusic.Secondly,themusicpossessesclear-cutidiosyncrasies.Willy’srepresentativemusicismelodiesplayeduponflute.AtthebeginningoftheActOne,thesoundofthefluteisaharbingerofhisappearanceonthestage.Intheend,againcomesthemusicwhenLindaismourninghim.Thepathos,risingfromthiskindoftune,isanemblemofWilly’stragicandpatheticlife.TheauthorchoosestheetherealsoundofthefluteasWilly’sexclusivemusic,whichsignifiesfloraandfaunaandthewildworldandmoreimportantly,theAmericanDream.TheremotesoundhasthemagicpowertobringustoWilly’sillusion,inwhichhecanachievesuccessaslongashestrivesforhisgoal,sparingnoeffort.Healwayshasasenseofrootlessness.Immersedinhismemory,helooksbackintohisadolescence,whenhisfather,drivingacaravanwiththewholefamilyonit,setofffromBoston,passingOhio,IndianaandIllinois,fortheMidwest.Whereverhestopped,hesoldhishome-madeflutes.Onthecontrary,Willygetsnowhere,barelyleadingahand-to-mouthexistence.Heabandonshislifeandperpetratessuicidefortheinsurancemoneyleftasinitialmoneyforhissons’business,livinginhopesthathistwosonswillcarryonhisAmericandream.Thistragicendingaddsanelementofmiseryanddesolation.Moreover,pastoralbuthorrendousmusicsignalsBen’sarrival;monotonousandsofttunesbelongstoLindaandwhenthelustfulmelodyplayson,theaudienceareawareofthewoman’sentrance.Intheend,musicinthisplayisendowedwithstronglydynamicmovementsand,inasense,suggeststhetracksofcharacters’mentalactivities.Forinstance,thesceneofWilly’ssuicidegoesasfollows:Willy(utteringagaspoffear,whirlingaboutasiftoquiether):“Sh!(Heturnsaroundasiftofindhisway;sounds,faces,voices,seemtobeswarminginuponhimandheflicksatthem,crying.)Sh!Sh!(Suddenlymusic,faintandhigh,stopshim.Itrisesinintensity,almosttoanunbearablescream.Hegoesupanddownonhistoes,andrushesoffaroundthehouse.)Shhh!”….(Asthecarspeedsoff,themusiccrashesdowninafrenzyofsound,whichbecomesthesoftpulsationofasinglecellostring…Themusichasdevelopedintoadeadmarch.)(pp.136-137)Herein,theauthordoesnotdirectlygiveasketchofhowWillyputsanendtohislife.Nonetheless,theaudiencecanbeemotionallyaffectedbymeansofmusicalrendition.Thatistosay,musicinthatscenetakesplaceofactionandservesasatoolthatmanifestscharacters’motions.Intraditionalplays,theshiftsofscenesprimarilydependonactors’entrancesandexits,enteringandleavingthestage,orloweringthecurtaintochangethescene.WhatmakesDeathofaSalesmansopeculiarandthusdistinguishesitselffromconventionaldramasisthatittakesfulladvantageoflightingtoaccomplishtheshiftsofstagescenes.Duetotheinvolvementoflighting,Willy’slocationschangesixtimesbutclosingisabsent.InActTwo,WillyandBiffquarrelwitheachotheroverBiff’sfailureintherestaurant.Allofasudden,allthelightsintherestaurantareabecomedarkandduskyandlightsontheothersideofthestagegoon.Lightsshineuponthesamestagebutnightturnstodayandtimesuddenlyfleetsbackwardsafewyearsago,whenyoungBernardknockedthedoorandtoldLindathatBiffhadbeenflunkedinmath.Thesuccessfulinsertionofthisflashbackhingesonthechangesoflighting.Asafurtherexample,whenWillyplanstoleavehomeforHoward’soffice,onthestagefirstlyappearsLindapickingupaphonecall,thenthelightsgraduallyfadeawayandshineonHowardandthenWillygoesonthestage.Inconclusion,thetransferoflightsinsinuatesthatofscenes.Secondly,thedifferentcolorsdemonstratedifferentsituationsandemotions.WhenitcomestothepastorWilly’smemory,thestageisalwayswrappedinbrightredcolor,asymbolofvigorandvitality.Atthattime,Willywasfraughtwithambitionandaspiration;histwosonswerebreezyandcheeryandeveryonerespectedandreveredhim.WhenWillyburieshimselfinhisinteriorworld,allthesceneriesonthestageareshadowedbydarkness,onlyabeamofintensewhitelightilluminatinghisface.Thedistinctcontractionofwhiteandblackmakesasharpindiscrimination,justasaclose-upshotinamovie.Intheend,lightingalsodissectsthewholestageintoseveralpartstosufficethespecificrequirements.Forexample,astherealityandfantasyalternativelytakeplace,lightingonthestagewillbecomebrightordarkinsuccession,therefore,makingthefocalpointstoodout.

Chapter2CharacterizationSetinacommonAmericanfamily,DeathofaSalesmandepictsaseniorcitizen’smemories,fantasiesanddreamsandputsonamoderntragedy:WillyLoman,themaincharacter,sincerelyandfirmlybelievesinanachievementofsuccessdrivenbyindividualcharismaandpainstakinghard-working.However,thingsdon’tturnoutthewayhewants.Afterrenderinganearlylifelongservicetothecompany,hegainsneitherthepromisedsharesnoradecentjobwithstablesalaries.What’sworseisthat,sufferingfromageandpsychologicalinfirmity,heisdismissedbytheyoungerboss,whohasborneagrudgeforhispoorsales.Livingfromhandtomouthanduptohisneckindebts,hebecomesdelirious,murmuringaboutthepast.Althoughstuckinthepredicament,hebelieves,naively,thathewillleaveapremiumforhissonstoopenasportinggoodsstore.Drivenforwardbythatpipedream,hediesinacarcrash.Inthisplay,thedramatistadoptsaapproachofmultiplepersonalitytoexpoundhishero,WillyLoman’sintricatementalityandardentpsychologicalstruggles,whichisalsousedinShakespeare’sreputabletragedyKingLear.2.1WillyLomanandMultiplePersonalityDisorderInDeathofaSalesman,MilleremploysthismethodtoanalyzeLoman’smulti-levelandmulti-formegoandresultantlyreproduceshissubtleandflightystatesofmind,allofwhichcomposeaheartfeltandheartrendingsymphony.Moreover,hismultiplepersonalityisnotonlyatokenbutalsoanexternalizationofhispsychology,whichexternalizesthecharacter’spersonalfeelingsandmakesthemexplicitimagestangibleandaudibletotheaudience.Forexample,WillyseesmorethanonetimetheBostonhotelandroomandhearsofthewoman’slaughter.AndthemostappropriateexamplehappensintherestaurantinActTwo.Subjecttohisdismissal,WillycomestothearrangedrendezvoustomeethissonsandwishestoheargoodnewsthatBiffhaslentsomecash,which,infact,Biffhasfailedtoborrow.WhenBifftriestoconsolehimandtolethimrealizethatSuccessisnotanecessity,WillyturnsdownBiff’sadviceandblameseverythingonhimself.Atthesametime,thedaywhenyoungBiffflunkedmathandwenttohimrecurstohim.ItisonthatdaythatBiffdiscoveredWilly’sinfidelity.BiffwasstunnedandshockedtofindthewomanandhebegantoregardWillyasaliarandhypocrite.Heusedtoidolizehisfather,butthisaccidentaldiscoverymadethismonumentcollapse,breakingintopieces.Biffwassoangryandanguishedbythethoughtthathisfatherhaddeceivedthewholefamilythatafterhereachedhome,hegaveupthemakeupexaminationandhadnevergotovertheshockeversince.WillyLomanascribeshisson’sfailuretohimself,withtheconsequencethattherapidflowofhisself-reprovingspirithasneverceased.Suchobjectivesasmath,thewomen’ssharpandsqueakylaughter,theBostonhotelremotelybutincessantlyremindhimofhisdishonor:incontrasttohisclaimforhonestyandintegrity,heisahypocrite,thewomeninthathotelashamefulstampbornebyhim.Inaddition,Willy’smultiplepersonalityisalsobetrayedbyhistwosons,BiffandHappy,intwodisparateways:Happyisawomanizerandmoney-worshipper,whofindssolacefromflirtingwithwomen.Althoughvaguelyconceivinghisdefects,hekeepsfindexcusestodeceivehimself.Biffisontheoppositeside.Hehasbeenacutelyawareofothervalues??ratherthanmaterialinterests.Aswell,it’sBiffthathelpsWillytodigoutWilly’sself,somethingthatheburiesin