【正文】 the surrounding area shows an angry glow of orange… An air of the dream dings to the place, a dream rising out of reality.” () As the foregoing description displays, Willy?s living surroundings indicate the repression of social reality on the small fry at that time, but they cannot present themselves substantially and directly on stage. Therefore, the author resorts to virtualization. Also noteworthy is the depiction that “Before the house lies an apron, curving beyond the forestage into the orchestra.” () Moreover, “This forward area serves as the back yard as well as the locale of all Willy?s imaginings and of his city scenes.”() In the stage direction, Arthur selects certain area as the locale of Willy?s imaginings and of his city scenes. And whatever happens on this region requires audience?s imagination. The following example illustrates this deliberate arrangement: in the forestage lie Howard?s and Charley?s offices while in the backyard Willy?s house. The shifts among these 3 scenes take place simultaneously: Willy departs from his house to Howard?s office, then to Charley?s. As a matter of fact, these shifts of places occur in the same stage. But because of the presence of mind?s eyes, audience can envision 8 the three different spaces. On the whole, the scope of the tangible stage is limited. However, the intangible range of space and time is boundless. Due to the participation of virtualization, the author can create this work beyond the limitation of space and time, which bears resemblance to Chinese opera. Stage Music and Lighting Susan Langer once remarked that melody or tonal structure shares the same logic with the form of human emotions. In Death of a Salesman, music not only simulates elemental sounds in the natural and human societies but also symbolizes the temporal environs and reveals the psychological states of the characters. Furthermore, the application of lighting and its various colors in the play also brings to light the inner world of the figures. Firstly, music in that play creates an emotional appeal to embellish the atmosphere. For example, when Willy recollects having an affair with the woman in a Boston hotel, “raw, sensuous music acpanies their speech” (). And “suddenly mucous music is heard and a red light glow rises the screen at right” (), which reminds the audience that the setting of the scene is shifted to a restaurant. Although there are not particular props to indicate the existence of a hotel or a restaurant, the audience can heartily sense it via music. Secondly, the music possesses clearcut idiosyncrasies. Willy?s representative music is melodies played upon flute. At the beginning of the Act One, the sound of the flute is a harbinger of his appearance on the stage. In the end, again es the music when Linda is mourning him. The pathos, rising from this kind of tune, is an emblem of Willy?s tragic and pathetic life. The author chooses 9 the ethereal sound of the flute as Willy?s exclusive music, which signifies flora and fauna and the wild world and more importantly, the American Dream. The remote sound has the magic power to bring us to Willy?s illusion, in which he can achieve success as long as he strives for his goal, sparing no effort. He always has a sense of rootlessness. Immersed in his memory, he looks back into his adolescence, when his father, driving a caravan with the whole family on it, set off from Boston, passing Ohio, Indiana and Illinois, for the Midwest. Wherever he stopped, he sold his homemade flutes. On the contrary, Willy gets nowhere, barely leading a handtomouth existence. He abandons his life and perpetrates suicide for the insurance money left as initial money for his sons? business, living in hopes that his two sons will carry on his American dream. This tragic ending adds an element of misery and desolation. Moreover, pastoral but horrendous music signals Ben?s arrival。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(xiàn)主義，而本文試從舞臺設計、人物塑造、情節(jié)安排三個方面探討其表現(xiàn)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(chuàng)造出非現(xiàn)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(xiàn)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(jié)安排一章中，本文重點研究其精湛的時空轉(zhuǎn)換技巧和心理外化的表現(xiàn)手段。 Death of a Salesman。 Death of a Salesman?！锻其N員之死》是其最典型和最具影響力的戲劇。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(shù)據(jù)庫進行定性及定量研究，對表現(xiàn)主義、《 推銷員之死》等關鍵詞的釋義進行分類統(tǒng)計、從而找到突破點?！锻其N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。 Time 曾指出，很多新近創(chuàng)作的戲劇“因得益于，至少是部分得益于《推銷員之死》”。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。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。米勒永恒的藝術魅力。本文試圖通過以上三方面的研究來分析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”。通過以上三方面的研究，本文從表現(xiàn)主義的角度解讀了《推銷員之死》的藝術魅力。 5 成果的理論或?qū)嶋H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 外文文獻資料與論文相近或相關，譯文漢字數(shù)為 1500－ 2020字，體現(xiàn)一定的外語水平 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(yōu)秀、良好、中等、及格、不及格五個等級，總成績 90— 100 分記為優(yōu)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。其關注焦點始終是生活在美國社會并與之斗爭的個人。 and the use of illusion to embody man?s subconsciousness. Therefore, the thesis tries to study the play from three aspects: stage design, characterization and plotting. In Chapter 1, the thesis analyses the stage settings which cross the boundaries of time and space, the stage lighting creating a sense of unreality, the artful exercise of music and the shifts of lighting colors to indicate different characters and situations. In Chapter 2, it discusses Arthur Miller?s masterful approach to construct Willy and Ben?s character features from two perspectives: multiple personal disorder and dramatic fantasy. The third chapter puts its emphasis on his virtuosity in the use of spatiotemporal changes and psychological externalization. Under a close scrutiny, the study is intended to bring to the full play the eternal enchantment of