【正文】 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。 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 aspirati