The Pulitzer Prize-winning tragedy of a salesman’s deferred American dream Ever since it was first performed in 1949, Death of a Salesman has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room. "By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, The New York Times "So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —Time

Every day, in some part of the world, an Arthur Miller play is performed.In the nearly 60 years since its first production, the Pulitzer Prizewinning Death of a Salesman has been become a classic, a staple of school anthologies of American literature and of acting companies' repertoires. It has received worldwide productions, whether as a study of parent-child relationships, as in its landmark 1976 production directed by Miller in Beijing, or as a critique of Western capitalism and has been filmed once for television and twice for movies.

The Pulitzer Prize-winning tragedy of a salesman’s deferred American dream Ever since it was first performed in 1949, Death of a Salesman has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room. "By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, The New York Times "So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —Time

Every day, in some part of the world, an Arthur Miller play is performed.In the nearly 60 years since its first production, the Pulitzer Prizewinning Death of a Salesman has been become a classic, a staple of school anthologies of American literature and of acting companies' repertoires. It has received worldwide productions, whether as a study of parent-child relationships, as in its landmark 1976 production directed by Miller in Beijing, or as a critique of Western capitalism and has been filmed once for television and twice for movies.

In 1983, Arthur Miller was invited to Beijing to direct the first Chinese production of Death of a Salesman. This book is the diary he kept during of that unique and eccentric production. The diary portrays the challenges that faced Miller as a Liberal American playwright and director working in Communist China. Miller's major concern was how to overcome the linguistic and cultural difficulties of trying to communicate his artistic vision to a Chinese cast. The result is not merely an interesting account of a highly unusual production, but it also reveals the process any production may go through, and is an insight into the mind of a considerate director. * Long-overdue reissue of a seminal theatre book by the grent American dramatist.

Arthur Miller was one of the most important American playwrights and political and cultural figures of the 20th century. Both Death of a Salesman and The Crucible stand out as his major works: the former is always in performance somewhere in the world and the latter is Miller's most produced play. As major modern American dramas, they are the subject of a huge amount of criticism which can be daunting for students approaching the plays for the first time. This Reader's Guide introduces the major critical debates surrounding the plays and discusses their unique production histories, initial theatre reviews and later adaptations. The main trends of critical inquiry and scholars who have purported them are examined, as are the views of Miller himself, a prolific self-critic.

Death of a Salesman has been called the quintessential American play , and Arthur Miller remains above all the creator of Willy Loman and his tormented family. Half a century after its epochal premire on Broadway the play is constantly revived in the USA and all over the world, including China. It has been made into several cinema and television films, and audiences are still deeply moved by this poignant American tragedy that manages to present all the contradictions and the beauty of the American Dream. Using colloquial American English, Miller has written not only a great play a world classic , but also a vibrant poetic tribute to his country. In his own words, Death of a Salesman is really, a love story between a man and his son, and... between both of them and America . The author of the present essay explores the various facets on the drama. Taking into account most of what has been written on Miller's masterpiece, he advances his own theories about a play he has taught in French and American universities for over twenty years.