A view from the bridge pdf download

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Sign up for free Log in. A view from the bridge : a play in two acts Item Preview. EMBED for wordpress. Want more? A short history of the play I am grateful to Nicole de Sapio, who has provided this account. A View from the Bridge has an unusually complicated performance history. Inspired now by the true story of a Brooklyn dockworker who informed on two illegal immigrants, Miller reconceived The Hook as A View from the Bridge.

The play, a one-act verse drama, was a mild failure on Broadway in ; critics found its austere style uninvolving. Consequently, nothing was allowed onstage that did not directly contribute to the action. But Miller ultimately found that he had created a cold play, rather than a fascinating and suspenseful one. In , A View from the Bridge was revised for a new London production. The verse became prose, the length was expanded to two acts, and the characters were allowed to speak more - thus becoming more human and more sympathetic.

But it is more possible now to relate his actions to our own and thus to understand Originally published on www. This free PDF version is available from www. AM ourselves a little better, not only as isolated psychological entities, but as we connect to our fellows and our long past together. Drama, theatre, actor and tragedy are all Greek words. In these plays the tragic hero or protagonist first or most important actor commits an offence, often unknowingly.

He must then learn his fault, suffer and perhaps die. In this way, the gods are vindicated and the moral order of the universe restored. This is a gross simplification of an enormous subject. These plays, and those of Shakespeare two thousand years later, are about kings, dukes or great generals. Because in their day, these individuals were thought to embody or represent the whole people. Nowadays, we do not see even kings in this way.

In Eddie Carbone, Miller creates just such a representative type. He is a very ordinary man, decent, hard-working and charitable, a man no-one could dislike. But, like the protagonist of the ancient drama, he has a flaw or weakness.

This, in turn, causes him to act wrongly. The consequences, social and psychological, of his wrong action destroy him. If Eddie is meant to represent everyman, does this mean that Miller believes all men love their nieces those who have nieces?

Of course not. What Miller does suggest is that we have basic impulses, which civilisation has seen as harmful to society, and taught us to control. We have self-destructive urges, too, but normally we deny these. Eddie does not really understand his improper desire, and thus is unable to hide it from those around him or from the audience.

Clearly, Eddie is, in the classical Greek sense, the protagonist of the play. Next a catalyst is introduced, and we see, by steady and inexorable stages how the happiness is destroyed.

And with them new high heels on the sidewalk - clack, clack, clack. When this fails he comes to believe that Rodolpho is a homosexual, and tries to show up his lack of Originally published on www.

AM manliness. The failure of this in turn causes him to betray Rodolpho and Marco, a futile gesture, as Rodolpho is allowed to stay. Indeed, his marriage to Catherine is brought forward to secure his staying in the country. In his doomed attempt to force Marco to take back his accusation, Eddie dies. He is made uneasy by the talkative young man with his unusual blond hair.

Eddie will seek to discredit any rival. Rodolpho is slightly-built, blond, a good singer and dancer, and he can cook and make dresses. She protests disbelief but is clearly shaken until Beatrice reassures her.

In the conclusion to the first act, we see how Miller has choreographed the action. The three onlookers all see what Eddie is trying to do, but his attempt to make Catherine think less of Rodolpho has failed. Once more, the other characters watch the action attentively. The first kiss which is near-incestuous and the second because a man kisses another will repel the audience. In , when the play was first performed, the double kiss would have been utterly shocking.

Earlier in the play, Eddie has told the story of Vinnie Bolzano, precisely to show us his belief in loyalty to family and community. Originally published on www. AM Now he find this to be true: his feigned horror on finding the Liparis have relatives sharing with Marco and Rodolpho, and his suggestion that they are being tracked, coming just before the immigration officers arrive, is a giveaway. Eddie tries to outface Marco, but the accusation is believed.

Lipari and his wife, Louis and Mike, the stage representatives of the wider community, one by one leave Eddie alone, symbolizing his isolation. Marco believes it is dishonourable to let Eddie live, but has given his word not to kill him. Eddie literally dies by his own hand, which holds the knife, and is killed by his own weapon; but Eddie also metaphorically destroys himself, over the whole course of the play.

We have considered Eddie in terms of what he does and says, but we should also consider how we are meant, finally, to see him.

He has earlier told us with relief of the passing of the gangster era, and that he no longer keeps a loaded gun in his filing cabinet. Most of us, says Alfieri, being more educated, more sophisticated, more in control, can either hide our feelings or, better, overcome them.

This is shown in the early part of the play in the love and trust Catherine and Beatrice have for Eddie, and of what we learn of his hustling for work when Catherine was a baby.

He is, of course, in some not much of the action, as Eddie consults him. This is essential, as it explains how he has come to know the story.

Miller has said that he wanted to make this play a modern equivalent of classical Greek tragedy. In the ancient plays, an essential part was that of the chorus: a group of figures who would watch the action, comment on it, and address the audience directly.

In A View from the Bridge, Alfieri is the equivalent of the chorus. He introduces the action as a retelling of events already in the recent past.

By giving details of place, date or time, he enables the action to move swiftly from one episode to another, without the characters having to give this information.

And toward ten Originally published on www. We also trust a lawyer to be a good judge of character and rational, because he is professionally detached. Alfieri is not quite detached, however. In those brief scenes when Alfieri speaks to Eddie, we gain an insight into his idea of settling for half. Put it out of your mind. Stage directions refer not to exits and entrances but to the light going down or coming up on Alfieri at his desk, as we switch from the extended bouts of action flashbacks to Alfieri to the interludes which allow him to comment, to move forward in time, and give brief indications of circumstantial detail, such as the source of the whisky Eddie brings home at the start of Act Two.

But the audience has an ambiguous view. In the extended episodes of action we may forget, as Marco lifts the chair, or as Eddie kisses Rodolpho, that Alfieri is narrating. What we see is theatrical and exciting; we are involved as spectators. But at the end of the episode, as the light goes up on Alfieri, we are challenged to make a judgement. If Eddie, as we see him, appeals to our hearts, Alfieri makes sure we also judge with our heads.

Catherine and Beatrice Both Catherine and Beatrice are very likeable characters. Miller deliberately developed the part of each in revising the play for its London production and this is the version he has chosen to publish. In studying Catherine you should consider how Eddie sees her, and how she sees him.

In the course of the play the second of these changes considerably. Beatrice is a much more stable character. Where the young Catherine is uncertain, Beatrice is mature and has a clear view of matters. She talks to Eddie and to Catherine, but her relationship to Eddie seems more that of a friend than that of wife and lover. Eddie has a more obvious relationship with Catherine.

She is bitter in her condemnation of Eddie after he has betrayed Originally published on www. Beatrice has reason to be jealous but is generous to Catherine at all times. She knows Eddie has done a terrible thing in calling the authorities, but stands by him. It refers to the Virgin Mary as she is depicted in Old Master paintings of the nativity.

Marco and Rodolpho In the play the brothers, widely separated by age, are usually referred to in this order, but Rodolpho is more prominent in the first act and at the start of the second, while Marco becomes more important towards the end of the play.

In every sense except their being brothers, the two are unalike. This is not just a subtle matter of character, but is shown in ways which are obvious in a theatre. They look different, they act differently and their speech differs. Marco is not simply strong by contrast, he is unusually strong by any standard, and excites admiring comment from Mike. Marco is dark and powerfully built. Where Rodolpho speaks almost incessantly, Marco is often silent.

He has some difficulty speaking English, but this is not his only reason. He is very attentive to what is going on and being said, he thinks and then speaks, and he clearly believes actions speak louder than words, whether in unloading a ship or threatening Eddie.

In the latter case, as he raises a chair like a weapon, he is able to express an idea which he would not wish to put into words as it would seem to show ingratitude to his host. Rodolpho is an enthusiast for all things American.

This explains why he spends money on fashionable clothes and records, of which Eddie so disapproves. He loves Catherine but is appalled at her suggestion that they return to Italy.

Marco, on the other hand, clearly misses his family and has only come to the U. Rodolpho has learned, presumably from tourists, records and books, how to speak fluent English. Marco speaks more slowly and less correctly, but with simple dignity and clarity.

Because there is no regular paid work in his home country, Rodolpho Originally published on www. AM has learned other ways to support the family: there is nothing so odd in his singing, cooking and dress-making skills. Both Rodolpho and Marco are proud, but Marco has a stronger sense of the traditional values of the community. It is Marco who tells Alfieri that at home Eddie would already be dead for his betrayal: he feels even more strongly than Eddie the values which Eddie expresses in telling the story of Vinnie Bolzano.

Rodolpho, on the other hand, tries to calm his brother, and offers Eddie a chance to make peace, a chance which Eddie spurns. It is Rodolpho whom Eddie first seeks to eliminate by suggesting to Catherine that he is homosexual, then by betraying him and Marco to the authorities. In fact this is as impossible as it is for him to have Catherine as a lover.

How the playwright tells the story on stage is a matter of dramatic technique. Structure The structure of the play is quite simple. Originally a one-act drama, the play was extended to allow an expanded part for Catherine and Beatrice.

Within each act are clear episodes. Action Action is most important in this play. AM in gesture and action. Sometimes this is apparently minor detail, but at times it is highly symbolic. When we see Catherine serve food p. Without being lovers, they have the kind of intimacy only lovers should have. For a s audience, familiar with the image from hundreds of films, the lighting of the cigar would possibly be the most suggestive action. Later in Act One, we see Eddie sitting, reading the paper, while Marco reads a letter; Rodolpho helps Beatrice stack the dishes and then reads a movie magazine with Catherine.

At moments of high drama or climaxes, we often see some very striking action. When Marco is arrested he shows his condemnation of Eddie before he speaks it, as he spits in his face. The final action of the play is where Eddie dies by his own hand a metaphor of his self-destruction and his own weapon perhaps a metaphor for his sexuality.

Set, properties, sound and lighting The set of the play is not or should not be naturalistic closely or exactly resembling what it depicts. The area in use will be lighted when needed, otherwise dark.

Alfieri can remain on stage throughout, if need be: the light can go up or down as required. One very important prop is the phonograph record-player which is used in the dancing episode, to play Paper Doll.

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