【導(dǎo)讀】導(dǎo)下，獨立進行研究工作所取得的成果，成果不存在知識產(chǎn)權(quán)爭議，發(fā)表或撰寫過的作品成果。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(biāo)明。本人完全意識到本聲明的法律結(jié)果由本。米勒關(guān)注的焦點始終是身處美國社會并與之斗爭的個人，絕大部分作品都在闡。述人物生活中所遭遇的問題。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。普利策獎及紐約劇評界獎的劇作，并使米勒享有國際聲譽。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》”。1983年米勒親臨指導(dǎo)的話劇《推銷員之死》。在北京上演，掀起了中國文學(xué)界對其作品的研究熱潮。對《推銷員之死》進行較為全面的分析，以客觀地認(rèn)識阿瑟·米勒永恒的藝術(shù)魅力?！锻其N員之死》是其最典型和最具影響力的。本文緒論介紹阿瑟·米勒的生平、相關(guān)作品創(chuàng)作背景及。在接下來的主體部分。[10]任靜明.《推銷員之死》中的表現(xiàn)主義手法研究[A].牡丹江師范學(xué)院學(xué)報,2020:78-83.

　　

【正文】 s 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。 monotonous and soft tunes belongs to Linda and when the lustful melody plays on, the audience are aware of the woman?s entrance. In the end, music in this play is endowed with strongly dynamic movements and, in a sense, suggests the tracks of characters? mental activities. For instance, the scene of Willy?s suicide goes as follows: Willy(uttering a gasp of fear, whirling about as if to quiet her): “Sh! (He turns around as if to find his way。 sounds, faces, voices, seem to be swarming in upon him and he flicks at them, crying.) Sh! Sh! (Suddenly music, faint and high, stops him. It rises in intensity, almost to an unbearable scream. He goes up and down on his toes, and rushes off around the house.) Shhh!” 10 …. (As the car speeds off, the music crashes down in a frenzy of sound, which bees the soft pulsation of a single cello string… The music has developed into a dead march.) () Herein, the author does not directly give a sketch of how Willy puts an end to his life. Noheless, the audience can be emotionally affected by means of musical rendition. That is to say, music in that scene takes place of action and serves as a tool that manifests characters? motions. In traditional plays, the shifts of scenes primarily depend on actors? entrances and exits, entering and leaving the stage, or lowering the curtain to change the scene. What makes Death of a Salesman so peculiar and thus distinguishes itself from conventional dramas is that it takes full advantage of lighting to acplish the shifts of stage scenes. Due to the involvement of lighting, Willy?s locations change six times but closing is absent. In Act Two, Willy and Biff quarrel with each other over Biff?s failure in the restaurant. All of a sudden, all the lights in the restaurant area bee dark and dusky and lights on the other side of the stage go on. Lights shine upon the same stage but night turns to day and time suddenly fleets backwards a few years ago, when young Bernard knocked the door and told Linda that Biff had been flunked in math. The successful insertion of this flashback hinges on the changes of lighting. As a further example, when Willy plans to leave home for Howard?s office, on the stage firstly appears Linda picking up a phone call, then the lights gradually fade away and shine on Howard and then Willy goes on the stage. 11 In conclusion, the transfer of lights insinuates that of scenes. Secondly, the different colors demonstrate different situations and emotions. When it es to the past or Willy?s memory, the stage is always wrapped in bright red color, a symbol of vigor and vitality. At that time, Willy was fraught with ambition and aspiration。 his two sons were breezy and cheery and everyone respected and revered him. When Willy buries himself in his interior world, all the sceneries on the stage are shadowed by darkness, only a beam of intense white light illuminating his face. The distinct contraction of white and black makes a sharp indiscrimination, just as a closeup shot in a movie. In the end, lighting also dissects the whole stage into several parts to suffice the specific requirements. For example, as the reality and fantasy alternatively take place, lighting on the stage will bee bright or dark in succession, therefore, making the focal point stood out. 12 Chapter 2 Characterization Set in a mon American family, Death of a Salesman depicts a senior citizen?s memories, fantasies and dreams and puts on a modern tragedy: Willy Loman, the main character, sincerely and firmly believes in an achievement of success driven by individual charisma and painstaking hardworking. However, things don?t turn out the way he wants. After rendering a nearly lifelong service to the pany, he gains neither the promised shares nor a decent job with stable salaries. What?s worse is that, suffering from age and psychological infirmity, he is dismissed by the younger boss, who has borne a grudge for his poor sales. Living from hand to mouth and up to his neck in debts, he bees delirious, murmuring about the past. Although stuck in the predicament, he believes, naively, that he will leave a premium for his sons to open a sporting goods store. Driven forward by that pipe dream, he dies in a car crash. In this play, the dramatist adopts a approach of multiple personality to expound his hero, Willy Loman?s intricate mentality and ardent psychological struggles, which is also used in Shakespeare?s reputable tragedy King Lear. Willy Loman and Multiple Personality Disorder In Death of a Salesman, Miller employs this method to analyze Loman?s multilevel and multiform ego and resultantly reproduces his subtle and flighty states of mind, all of which pose a heartfelt and heartrending symphony. Moreover, his multiple personality is not only a token but also an externalization of his psychology, which externalizes 13 the character?s personal feelings and makes them explicit images tangible and audible to the audience. For example, Willy sees more than one time the Boston hotel and room and hears of the woman?s laughter. And the most appropriate example happens in the restaurant in Act Two. Subject to his dismissal, Willy es to the arranged rendezvous to meet his sons and wishes to hear good news that Biff has lent some cash, which, in fact, Biff has failed to borrow. When Biff tries to console him and to let him realize that Success is not a necessity, Willy turns down Biff?s advice and blames everything on himself. At the same time, the day when young Biff flunked math and went to him recurs to him. It