Dramatist Arthur Miller pulls back the curtain
to reveal how he performs his craft

Arthur Miller, author of such soul-wrenching dramas as "Death of a Salesman" and "The Crucible," argues with those who would label him a "serious playwright." His plays, he insists, can be really quite humorous.

"If you sit in the back during one of my plays, you'd be surprised by how often people are laughing. It's just that they've forgotten the funny parts by the time they're heading for the exits," said Miller during his recent visit to Yale. "At home, I'm known as a big joker," he added.

The Nobel Prize-winning playwright's wit was undeniably evident during his Nov. 18 "conversation" in the Yale University Art Gallery lecture hall, which was sponsored by the Maynard Mack Lectureship. Every possible perch in the hall was occupied for the event, which was emceed by Murray Biggs, associate professor (adjunct) of English and theater studies.

When introducing the playwright, Biggs noted that he had met Miller years ago when the two were tablemates at a dinner party. While he had hoped to grill Miller about his works on that occasion, recalled Biggs, the author insisted instead on talking about "how to grow horseradishes in rural Connecticut." Biggs told the audience, "You are here now to share in my gentle revenge."

Responding to questions posed by Biggs and audience members, Miller discussed his work, his career and his philosophy on a number of issues.

The author of numerous scripts for film and television, as well as fiction and essays, Miller openly scoffed at the oft-repeated description of his works as "naturalistic," saying, "I am the worst audience for naturalistic plays because I can go out on the street and hear it done better." Noting that he condenses the dialogue in his works as much as possible, Miller contended, "I have been writing a kind of poem all these years, but I've tried not to let the audience in on it."

Citing Ibsen, Strindberg and "the Greeks" as his strongest influences, Miller said his plays, like theirs, are about "birds that have come home to roost -- that to me is the tragic matrix." The people in his plays are "refracting the past all the time," explained the playwright. "We need the past in order to comprehend anything."

In his works, Miller said, he tries develop "a whole human being rather than what's called a dramatic character. My aim is to create someone who is seen as a creature of society, as well as a spirit all his own." He also noted, "Man in society is like a fish in water, but in this case, the water is also the fish."

He admitted that some plays are easier to write than others. For instance, he began working on his newest drama, "The Ride Down Mount Morgan," more than 25 times over the years before being able to complete it. "It's a wrestling match," he said. "It depends on who's stronger, the play or me."

Noting that "The Crucible" was really a commentary on the abuses during the 1950s by Senator Joseph McCarthy (symbolized by Satan in the play), one audience member asked Miller, "Who or what is the Devil in 1998?" After musing for a moment, the playwright finally concluded that the Devil today is "a lack of imagination ... an inability to see or understand another person's life, or another person's identity."

Miller contended that the theatrical world today suffers from an overemphasis on commercialism, which stifles artists' ability to take risks, as well as a lack of cultural and governmental support. As a result, he said, "Today's theater hits shallow water and stays there."

Asked what advice he would give budding playwrights, Miller quipped, "Apart from going into another line of work?" He recommended that would-be dramatists spend time observing their fellow human beings and reading their works out loud to others. Playwriting is "a mysterious business," he noted, although it's one he's happy he's pursued.

"I've enjoyed my existence," Miller said.

-- By LuAnn Bishop