Arthur Miller
Arthur Miller
Arthur Asher Millerwas a prolific American playwright, essayist, and prominent figure in twentieth-century American theatre. Among his most popular plays are All My Sons, Death of a Salesman, The Crucibleand A View from the Bridge. He also wrote several screenplays and was most noted for his work on The Misfits. The drama Death of a Salesman is often numbered on the short list of finest American plays in the 20th century alongside Long Day's Journey into Night and A Streetcar...
NationalityAmerican
ProfessionPlaywright
Date of Birth17 October 1915
CityNew York City, NY
CountryUnited States of America
I know you're no worse than most men but I thought you were better. I never saw you as a man. I saw you as my father.
I love her too, but our neuroses just don't match.
It is rare for people to be asked the question which puts them squarely in front of themselves
Flight Reservation Systems decide whether or not you exist. If your information isn't in their database, then you simply don't get to go anywhere.
Suicide kills two people.
I am bewildered by the death of love. And my responsibility for it.
He's liked, but he's not well liked.
Data is a lot like humans: It is born. Matures. Gets married to other data, divorced. Gets old. One thing that it doesn't do is die. It has to be killed.
The task of the real intellectual consists of analyzing illusions in order to discover their causes.
It is my art. I am better at it than I ever was. And I will do it as long as I can. When you reach a certain age you can slough off what is unnecessary and concentrate on what is. And why not?
The witch-hunt was a perverse manifestation of the panic which set in among all classes when the balance began to turn toward greater individual freedom. The witch-hunt was not, however, a mere repression. It was also, and as importantly, a long overdue opportunity for everyone so inclined to express publicly his guilt and sins, under the cover of accusations against the victims.
Without alienation, there can be no politics.
The play is really a kind of nightmare. It ought to flow rapidly and effortlessly from one moment to another. In London, we had difficulty with the set, which required too much effort to move around. Having gotten the benefit of seeing it done once, I wanted to work on the script, to make it sharper and more pointed.
Today, [theatre's] more likely to be consciously not aimed at the public, but at a more sophisticated or educated public. . . . The result is that some of the sheer humanity has leaked out of the enterprise.