The audience does not have to wait while a new set is erected or an old one torn down, but instead moves directly and instantaneously into the next scene. This cues the audience that Willy is digressing in the past. He's a true master of the craft of writing, particularly dramas, which are written works meant to be performed on stage. However, Miller's manipulation of time and space creates a very non-traditional atmosphere that is unsettling but effective because it mirrors Willy's mental state, thereby allowing the audience to witness his mental instability and take part in it. Suspense Willy starts chatting with the imaginary figure of his brother and considers killing himself. Then again, the final clash between Biff and his father might be the climax of all the built up tension.
After getting fired, Willy Loman concludes that if only Biff had someone to give him money, he could still be a success and live out his destiny to be a great man. Now, the house is the site of Willy's frustrated ambitions. They almost get into a physical fight, but he suddenly lapses intro utter sadness and desperation, and cries, holding on to Willy. Surely we move on from purist classical definitions to embrace new modes of thinking. Willy then leaves, and the next scene we see is his pitiful funeral.
Yet as was to be expected, this is not what happens, none of the people he sold to come. Conflict Willy is deteriorating and suicidal; Biff is told to get serious. He tells his wife Linda that he has returned unexpectedly because he cannot seem to keep his mind on driving anymore. At first glance, it seems that an audience must either read the information in the program or listen to a long-winded narrator. Willy assures Biff that he is attractive and that Oliver has always liked him. In fact, Willy's wife Linda says at the very beginning of the drama that the two have never gotten along.
But he ignores this knowledge which he carries in himself, and goes on with his plan. His home now represents the reduction of his hopes. With his sons visiting and urging him to speak to his boss about his job, Willy gets up the nerve to ask for a transfer. Willy commits suicide so that his son can inherit the life insurance money. For this play, that conflict might be the one between Willy Loman and his son Biff. After all, Biff is attractive and was a star football player in high school with several scholarships; however, he could not finish his education, for he flunked math. Willy decides to kill himself, for Biff would get twenty thousand dollars of insurance money.
This puts the audience at ease, but once Ben's music is heard, it is evident that the play has not reached its final conclusion. He is fired by the company that he believes will promote him; he is rejected by his sons, for whom he has worked and struggled; and he is forced to see that his life and his philosophies are lies. The key aspect of the lack-of-love interpretation is to realize that it is a misogynistically determined outcome: a symptom of a male-ordered social-universe which has sacrificed essential elements of human survival, like love, to the more expedient materialistic concerns of the moment. Biff was heartbroken, and wept when he discovered his father's treacherous actions. No further distribution without written consent. It's clearhe missed his calling and his chance for a good life lay beyond theconfines of his Brooklyn neighborhood.
Miller achieves this effect by manipulating the space and boundaries of the rooms. When Willy arrives, he tells Biff and Happy that he has been fired. As a result, the audience can distinguish present events from Willy's memories. As in Miller's play, we might define this type of subtle climax as anti-climactic. In this lesson, we'll examine the plot and dramatic structure of ''Death of a Salesman'' and consider how these literary devices contribute to our overall understanding of the play. Willy commits suicide so that his son can inherit the life insurance money.
Even though Biff is leaving in the morning, he and Willy have reconciled. The plot and dramatic structure, or sequence of the play, work together to create the story of Willy Loman and his family. When Willy and Linda purchased their home, the neighborhood was quieter than they now find it. At the age of 63, Willy Loman is a mess. The original production was directed by Elia Kazan with Lee J. Linda is something of an enabler, helping her husband to continue in his delusions about reality.
In this lesson, we'll examine how Arthur Miller applies the tools of plot and dramatic structure to tell the story of Willie Loman and his family. Only characters that are talking or involved in direct action are lit on stage, all other rooms, characters, and props remain in shadow. Willy's dreams, memories, or recollections of past events must be revealed in a manner that is distinct from actions taking place in the present. He simply wants to end their relationship in a dignified way. This is important for two reasons: First, the audience must be able to differentiate between the present and the past in order to follow the action of the play; second, Willy's increased agitation must be apparent to the audience, and there is no better way to reveal it than to have the audience observe his inability to separate the past from the reality of the present. This is followed by much shouting and crying, and at last Willy finds out that Biff really does love him.