Arthur Miller (Bloom's Modern Critical Views) by Harold Bloom

By Harold Bloom

-- Brings jointly the easiest feedback at the most generally learn poets, novelists, and playwrights -- offers advanced serious photos of the main influential writers within the English-speaking global -- from the English medievalists to modern writers

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As LeCompte suggests in her letter to Miller, the performance distances the spectator so that the play’s attitudes are made visible. D. as a historical document of the early ’50s, as a reminder of both a particular dramatic style and an approach to social and political issues. It becomes an index of ideology, a memento of a particular attitude toward dissent, and a highly equivocal portrait of the counter-cultural hero. D. is the very opposite of nostalgia. It indulges no melancholic yearning but instead keeps the icons of the ’50s and ’60s at a distance that allows us both to feel their seductive power and to be made uneasy by the attraction.

Just the High Points . ) and performed the first three parts in New York. The fourth was not yet ready for an audience. D. (. . Just the High Points . ) to Boston, where it was opened to the critics, who reviewed it favorably. In the final days of the Boston run, the Group presented Part IV publicly for the first time. D. in New York. LeCompte sent a letter to Sanjurjo informing him of the piece’s development and explaining The Crucible excerpts had been conflated to a 25-minute sequence. D. to the press at the end of October.

Elizabeth LeCompte: When I think of texts, / think of them in the way that Kurt Schwitters used to, in a collage. He found a certain amalgam of words that looked good, physically, and pasted it up flat, on a canvas, with the colors. You’d read the words, but you knew that he had just taken the paper off the floor. Elizabeth LeCompte: The reason that I keep something . . for instance, someone will say, “This doesn’t work here. ” But by chance, in an improv, Ronnie has done that. And I take that chance occurrence and say, that is the sine qua non, that is the beginning, that is the text.

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