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.tries to talk to them.In this community, you doHe raises the idea of marriage pretty quickly innot inform on fellow workers and relatives.Eddietheir relationship—she may just be his meal ticketknows this, and his fate can be no different fromto a green card.that of their old neighbor, teenage Vinny Bolzano,However, like Catherine, Rodolpho also growswho was publicly beaten and spat on by his ownin the course of the play, and we see a serious sidefamily after calling in the Immigration Bureau onto him that reminds us of his brother and sug-an uncle.In many Greek plays, the writer includesgests a possibility of growth.He faces Catherine’ssuch a chorus—a group of minor characters whosuspicions with a quiet dignity and maturely for-lead the audience by their reactions to events.gives Eddie, even accepting some blame for theway things turn out and quietly asking for par-Marco Marco is the older of the brothers and the don.Despite Eddie’s accusations, we are given nomore serious and cautious; Rodolpho is youngerproof from Rodolpho’s behavior that any of themand is more eager and excitable.Marco’s valuesare true; indeed, alone with Catherine, he soundsare set in stone and the honor of himself and hismost sincere.family will come before anything else.Marco isEddie’s homophobic accusations that Rodol-politely formal and carefully observes; he dislikespho “ain’t right” are testament to the homopho-imposing on others and is very concerned aboutbic responses of many who feel that masculinity isappearing ungrateful in any way.Marco is in thedetermined by such a narrow set of appearances andUnited States to earn money for his wife and threebehaviors.Eddie’s whole social milieu is defined bychildren, fully intending to return to them in a fewits rigid conception of masculinity, and so to accuseyears.He looks after his brother and quietly takesRodolpho of homosexuality serves as the biggestcharge of situations; when he instructs, Rodolphoinsult that he can devise to deflate his rival.Eddieobeys.There is a palpable force to Marco, and heis apparently unaware of the inherent contradictionis not a man to cross.Though quiet, Marco is noof the claim since, if Rodolpho truly is homosexual,fool.Seeing how Eddie tries to belittle his brother,then how could he be a rival for Catherine? Eddie’sMarco calmly defends Rodolpho, warning Eddie offconstruction of Rodolpho as homosexual is basedwith the minimum of fuss.His ability to lift theon Rodolpho’s enjoyment of singing and interest inchair when Eddie cannot should prepare us for whoclothing and cooking.This is shattered on catch-will win their final conflict.Marco’s dignity anding him sleeping with Catherine.Eddie’s impulsesense of honor are so evidently at stake here, andis to kiss Rodolpho, as if to prove that he truly is ahis condemnation of Eddie is incontestable.homosexual, but given Rodolpho’s lack of response,the act only casts doubts on Eddie’s sexual pref-Rodolpho In contrast to his quiet, dark brother, erence.Its aggression also incenses Catherine toRodolpho is a voluble blond who loves to haveleave him forever and to go with Rodolpho and so it fun.A chatterbox full of jokes, dreams, and stories,is an assertion that backfires on every front.023-354_Miller-p2.indd 3475/3/07 12:52:55 PM348 A View from the BridgeMOVIE AND TELEVISION ADAPTATIONSFindlater, Richard.“No Time for Tragedy?” Twentieth A film version was made in France, directed byCentury 161 (January 1957): 56–62.Sidney Lumet under the title Vu du Pont with Raf Hartley, Anthony.“Waterfront.” Spectator, October Vallone, Carol Lawrence, Maureen Stapleton,19, 1956: 538–540.and Morris Carnovsky.The screenplay was writ-Hope-Wallace, Philip.“Theatre: A View from theten by Miller’s friend NBridge.” Time & Tide 37 (1956): 1267.ORMAN ROSTEN who rear-ranged and cut several scenes as well as dispensingHurd, Myles R.“Angels and Anxieties in Miller’s Awith Alfieri as narrator.It was released in 1962 toView from the Bridge.” Notes on Contemporary Lit-largely negative reviews that described Eddie aserature 13 (September 1983): 4–6.unappealing and the play a failed tragedy, despiteKael, Pauline.“The Innocents and What Passes for moments of authenticity.Pauline Kael declared,Experience.” Film Quarterly 15 (Summer 1962):“It’s not so much a drama unfolding as a sentence27–29.that’s been passed on the audience.” Grosbard alsoMarino, Stephen A.“Territoriality in Arthur Miller’sproduced his 1965 stage version of the play forA View from the Bridge.” In Arthur Miller: Twenti-television that same year.More recently, follow-eth Century Legend, edited by Syed Mashkoor Ali, ing his stage performance as Eddie in the 1997203–215.(Jaipur, India: Surabhi, 2006).Roundabout Theater production of the play, actor———.“Verse, Figurative Language, and Myth in AAnthony LaPaglia has been raising funds to pro-View from the Bridge.” A Language Study of Arthur duce a new film version, but the project has notMiller’s Plays: The Poetic in the Colloquial.New been completed to date.York: Mellen, 2002, 81–106.Murphy, Brenda.Congressional Theatre: Dramatiz-FURTHER READINGing McCarthyism on Stage, Film, and Television.Ambrosetti, Ronald.“Next Door to the Earthly Para-New York: Cambridge University Press, 1999,dise: Mythic Pattern in Italian-American Drama.”215–219.Journal of Popular Culture 19, no.3 (Winter 1985): Otten, Terry.“A View from the Bridge.” The Temptation 109–118.of Innocence in the Dramas of Arthur Miller.Colum-Bigsby, Christopher.“A View from the Bridge.” Arthur bia: University of Missouri Press, 2002, 76–88.Miller: A Critical Study.New York: Cambridge Uni-Rothenberg, Albert, and Eugene D.Shapiro.versity Press, 2005, 178–196.“The Defense of Psychoanalysis of Literature:Carson, Neil.Arthur Miller.New York: St.Martin’s, Long Day’s Journey into Night and A View from 1982.the Bridge.” Comparative Drama 7, no.1 (Spring Centola, Steven R.“Compromise as Bad Faith: Arthur1973): 51–67 [ Pobierz całość w formacie PDF ]
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.tries to talk to them.In this community, you doHe raises the idea of marriage pretty quickly innot inform on fellow workers and relatives.Eddietheir relationship—she may just be his meal ticketknows this, and his fate can be no different fromto a green card.that of their old neighbor, teenage Vinny Bolzano,However, like Catherine, Rodolpho also growswho was publicly beaten and spat on by his ownin the course of the play, and we see a serious sidefamily after calling in the Immigration Bureau onto him that reminds us of his brother and sug-an uncle.In many Greek plays, the writer includesgests a possibility of growth.He faces Catherine’ssuch a chorus—a group of minor characters whosuspicions with a quiet dignity and maturely for-lead the audience by their reactions to events.gives Eddie, even accepting some blame for theway things turn out and quietly asking for par-Marco Marco is the older of the brothers and the don.Despite Eddie’s accusations, we are given nomore serious and cautious; Rodolpho is youngerproof from Rodolpho’s behavior that any of themand is more eager and excitable.Marco’s valuesare true; indeed, alone with Catherine, he soundsare set in stone and the honor of himself and hismost sincere.family will come before anything else.Marco isEddie’s homophobic accusations that Rodol-politely formal and carefully observes; he dislikespho “ain’t right” are testament to the homopho-imposing on others and is very concerned aboutbic responses of many who feel that masculinity isappearing ungrateful in any way.Marco is in thedetermined by such a narrow set of appearances andUnited States to earn money for his wife and threebehaviors.Eddie’s whole social milieu is defined bychildren, fully intending to return to them in a fewits rigid conception of masculinity, and so to accuseyears.He looks after his brother and quietly takesRodolpho of homosexuality serves as the biggestcharge of situations; when he instructs, Rodolphoinsult that he can devise to deflate his rival.Eddieobeys.There is a palpable force to Marco, and heis apparently unaware of the inherent contradictionis not a man to cross.Though quiet, Marco is noof the claim since, if Rodolpho truly is homosexual,fool.Seeing how Eddie tries to belittle his brother,then how could he be a rival for Catherine? Eddie’sMarco calmly defends Rodolpho, warning Eddie offconstruction of Rodolpho as homosexual is basedwith the minimum of fuss.His ability to lift theon Rodolpho’s enjoyment of singing and interest inchair when Eddie cannot should prepare us for whoclothing and cooking.This is shattered on catch-will win their final conflict.Marco’s dignity anding him sleeping with Catherine.Eddie’s impulsesense of honor are so evidently at stake here, andis to kiss Rodolpho, as if to prove that he truly is ahis condemnation of Eddie is incontestable.homosexual, but given Rodolpho’s lack of response,the act only casts doubts on Eddie’s sexual pref-Rodolpho In contrast to his quiet, dark brother, erence.Its aggression also incenses Catherine toRodolpho is a voluble blond who loves to haveleave him forever and to go with Rodolpho and so it fun.A chatterbox full of jokes, dreams, and stories,is an assertion that backfires on every front.023-354_Miller-p2.indd 3475/3/07 12:52:55 PM348 A View from the BridgeMOVIE AND TELEVISION ADAPTATIONSFindlater, Richard.“No Time for Tragedy?” Twentieth A film version was made in France, directed byCentury 161 (January 1957): 56–62.Sidney Lumet under the title Vu du Pont with Raf Hartley, Anthony.“Waterfront.” Spectator, October Vallone, Carol Lawrence, Maureen Stapleton,19, 1956: 538–540.and Morris Carnovsky.The screenplay was writ-Hope-Wallace, Philip.“Theatre: A View from theten by Miller’s friend NBridge.” Time & Tide 37 (1956): 1267.ORMAN ROSTEN who rear-ranged and cut several scenes as well as dispensingHurd, Myles R.“Angels and Anxieties in Miller’s Awith Alfieri as narrator.It was released in 1962 toView from the Bridge.” Notes on Contemporary Lit-largely negative reviews that described Eddie aserature 13 (September 1983): 4–6.unappealing and the play a failed tragedy, despiteKael, Pauline.“The Innocents and What Passes for moments of authenticity.Pauline Kael declared,Experience.” Film Quarterly 15 (Summer 1962):“It’s not so much a drama unfolding as a sentence27–29.that’s been passed on the audience.” Grosbard alsoMarino, Stephen A.“Territoriality in Arthur Miller’sproduced his 1965 stage version of the play forA View from the Bridge.” In Arthur Miller: Twenti-television that same year.More recently, follow-eth Century Legend, edited by Syed Mashkoor Ali, ing his stage performance as Eddie in the 1997203–215.(Jaipur, India: Surabhi, 2006).Roundabout Theater production of the play, actor———.“Verse, Figurative Language, and Myth in AAnthony LaPaglia has been raising funds to pro-View from the Bridge.” A Language Study of Arthur duce a new film version, but the project has notMiller’s Plays: The Poetic in the Colloquial.New been completed to date.York: Mellen, 2002, 81–106.Murphy, Brenda.Congressional Theatre: Dramatiz-FURTHER READINGing McCarthyism on Stage, Film, and Television.Ambrosetti, Ronald.“Next Door to the Earthly Para-New York: Cambridge University Press, 1999,dise: Mythic Pattern in Italian-American Drama.”215–219.Journal of Popular Culture 19, no.3 (Winter 1985): Otten, Terry.“A View from the Bridge.” The Temptation 109–118.of Innocence in the Dramas of Arthur Miller.Colum-Bigsby, Christopher.“A View from the Bridge.” Arthur bia: University of Missouri Press, 2002, 76–88.Miller: A Critical Study.New York: Cambridge Uni-Rothenberg, Albert, and Eugene D.Shapiro.versity Press, 2005, 178–196.“The Defense of Psychoanalysis of Literature:Carson, Neil.Arthur Miller.New York: St.Martin’s, Long Day’s Journey into Night and A View from 1982.the Bridge.” Comparative Drama 7, no.1 (Spring Centola, Steven R.“Compromise as Bad Faith: Arthur1973): 51–67 [ Pobierz całość w formacie PDF ]