2. How Miller’s studies being affected by the Great Depression?
Answer:
Explanation:
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PLAYWRIGHT ARTHUR MILLER’S CHALLENGES TO THE MYTHS OF AMERICAN CULTURE ARE ENJOYING A RENAISSANCE ON THE LONDON STAGE. ERICH HARTMANN/MAGNUM PHOTOS
MUSIC & THEATRE 27 FEBRUARY 2019
Arthur Miller’s anatomy of a nation
Arthur Miller saw the Great Depression and the years after as a period of moral catastrophe. His understanding of American hucksterism, greed and shame could hardly be more relevant in Trump’s world.
BY SARAH CHURCHWELL
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“There’s never been a society that hasn’t had a clock running on it,” declares a character in Arthur Miller’s play The American Clock, “and you can’t help wondering – how long? How long will they stand for this?” Whether time is running out is a question on many people’s minds today on both sides of the Atlantic, whether they’re watching the “Brexit clock” tick or wondering how long the Trump presidency will endure. The American Clock is set during the 1930s but was written in 1980, as Miller watched America’s headlong race back into the gleeful, reckless greed that dominated the 1920s and led to the Great Depression, and it’s one of several of Miller’s plays that are being revived in London. Clearly that sense of timeliness, in every sense, is mounting.
In addition to The American Clock, this year will bring a new production of The Price with David Suchet to the Wyndham’s Theatre, Sally Field and Bill Pullman will star in All My Sons at the Old Vic, The Crucible will be mounted at the Yard with a female-led cast (including a woman playing the hero, John Proctor), and an almost entirely black cast will revive Death of a Salesman at the Young Vic. Miller’s plays are emblematic, representative: they are often set at moments of national crisis, whether the Depression, the Second World War or the Salem witch trials, as the conflicts of the characters symbolise epochal conflicts in American life. Read them together and you start to get a sense of a nation in a constant state of crisis.
Miller called The American Clock a “mural for theatre”, evoking the agitprop social murals of the 1930s, with a large ensemble representing all of the United States, presenting vignettes that shift and adapt across geography and time. One character picks up another’s narration, finishes another’s line. The stories are the interconnected experiences of a nation struggling to survive, as Miller attempts to render a “mythopoetic” vision of America that might be sufficient to its mythopoeic vision of itself, a nation of shared values and impulses, despite its differences.
The American Clock suggests that out of chaos can come new possibilities, an idea that many people with whom Miller would have had little sympathy are today banking on (again, in every sense). Miller rejected both socialism and fascism as too rigid and extremist; like most of his work, The American Clock suggests that a healthy society needs to find a balance between individual and collective needs. He would have had no truck with disaster socialism or disaster capitalism, but these are still possibilities the play leaves open.
