ethnicity and ethnic nationalism, 471–73
Everybody Wins (Miller), 173
Everyman, 90
evil, 54–56, 227, 286, 393, 398–99
executions, privatization of, 513–15
expressionism, 51, 89–90, 96
“The Face in the Mirror: Anti-Semitism Then and Now” (Miller), xviii, 189–193
“The Family in Modern Drama” (Miller), xvi, 84–99
Fascism, 184, 188, 229–230
Faulkner, William, 129, 177
fear of the unknown, 242–43
Federal Bureau of Investigation (FBI), 261, 493, 505
Fifties era, 386–87
Fitzgerald, F. Scott, 129, 177
Flaubert, Gustave, 128
Focus (Miller), xviii, 189, 190, 191–93
foreign aid, 373–74
foreign policy of America, xxiii, 357, 358, 371, 373, 376, 377
Fry, Christopher, 118
Furtseva, Elena, 131–32
gangs, xxii
and disloyalty, 340
and New York City Youth Board, 314
in rich and slum neighborhoods, 337–38, 339
robberies by, 337
and script proposal for film on, 313–16, 319, 321–24, 326–29, 330–32
in Soviet Union, 334
time spent with, 313
Gas I (Kaiser), 89
Gas II (Kaiser), 89
Gassner, John, 165
Germany and Germans
and anti-Semitism, 274
and arts, 363
and democracy, xxvi, 474–75, 476, 478–79, 480, 481
and expressionism, 51, 89, 105
and guilt, 289–290
Lindbergh on Nazi Germany, 187–88
and modern perspective on Nazism, 286
and Nazi trials in Frankfurt, 289, 443–49
and unification, 474–481
and World War II, 189, 249, 255, 286, 289–290, 477–78, 479
“Get It Right: Private Executions” (Miller), xxvii, 513–15
Ghosts (Ibsen), 229
Gide, André, 338–39, 399
Giraudoux, Jean, 49, 203
The Glass Menagerie (Williams), 124, 140–41
Gogol, Nikolai, 358
Golden, John, 152
Golden Boy (Odet), 162
The Golden Years (Miller), xviii, 145, 167, 183–88
“The Good Old American Apple Pie” (Miller), xvii, 126–133
Gordon, Ruth, 28
Gore, Al, 424, 427–28, 431, 433, 435–36
Grand Design of classical Greece, 71
Great Britain, destroyer of, 370–71
Great Depression
and The American Clock (Miller), 301–3, 307
and collapse of key institutions, 274
delinquency during, 338
and devaluation of the individual, 186
lessons of, 294
and Miller’s youth, 101–3, 387–88
and nationalization of banks, 302, 386
and The Price, 294
The Great Disobedience (Miller), 138
The Great God Brown (O’Neill), 89
The Greeks (Kitto), 70
Greeks and Greek drama, 68–73
and emotionalism, 146, 171
and Ibsen, 119–120
and length of plays, 16
and pathetic vs. tragic, 75
and realism, 95
and social drama, 79–80
and subsidized arts, 76–77, 148, 153
and A View from the Bridge, 82
Greene, Graham, 365–66, 371–72
Group Theatre, 28
guilt, 53, 264, 284–290
“Guilt and Incident at Vichy” (Miller), xx, xxiv, 284–290
The Hairy Ape (O’Neill), 73, 87, 89, 141, 158
Hamlet (Shakespeare), 88, 109, 115
happiness, 12, 14
Hard Times (Terkel), 302–3
Harris, Jed, 28
A Hatful of Rain (Gazzo), 109
Havel, Vaclav, xxv, 298
Hedda Gabler (Ibsen), 97
Hellman, Lillian, 158
Hemingway, Ernest, 129
Hitler, Adolf
and American isolationism, 188
assassination attempt on, 449
and capitalism, 390
and German government, 448
and Jewish writers, 382–83
and modern Germans, 480
perceptions of, as moral, 423
and Spanish Civil War, 391
strategy of, 303
Hoffman, Dustin, 432–33
Hollywood system, 152, 263
Holocaust, xxiv
and Germans’ civic failure, 477
and Nazi trials in Frankfurt, 443–49
and our understanding of humanity, 121
and political radicals, 393
and public grief, 4
homosexuality, 114, 204
Hoover, Herbert, 379–380
House Un-American Activities Committee, xxii
film scripts presented to, 263
Miller’s hearing before, 259–260, 347
records of, on Miller, 270
Howard, Willie, 292
Humphrey, Hubert, 401, 403, 404, 405, 406
Ibsen, Henrik, xxiii
adaptation of An Enemy of the People, xix, 227–232, 350
characters of, 87
and contempt for public, 49
A Doll’s House, 85, 230
An Enemy of the People, xix, 119, 227–232, 233–35, 350
and fascism, 229–230
Ghosts, 229
and Greek drama, 119–120
Hedda Gabler, 97
and Ibsenism as technique, 32–33, 122
influence of, 104, 118
language of, 118–19, 227, 230–31
and Miller’s All My Sons, 24, 31–33
and mood plays, 97
Peer Gynt, 86, 153
and realism, 33–34, 84, 85–87, 118, 139, 143, 159
and Shaw, 118
and social drama, 70, 77, 78
“Ibsen and the Drama of Today” (Miller), xvii, 118–123
“Ibsen’s Warning” (Miller), xix, 233–35
Ickes, Harold, 274
Incident at Vichy (Miller), xx, 284–290, 481
India, 364–65, 374, 375
International PEN, 258, 274, 450, 471, 489, 499
“Introduction to the Collected Plays” (Miller), xvi, xix, 15–67
Ireland, William Henry, 126–28
irony, 4, 5
Isherwood, Christopher, 160
Israel, xxvi–xxvii, 375, 499–503
“It Could Happen Here—And Did” (Miller), xix–xx, 246–251
Japanese-Americans, 248–49
Jefferson, Thomas, 502–3
Jerusalem Prize, xxvi, 499
Jewish culture and people, xxiii
and anti-Semitism, 189–193, 274, 381, 502–3
and Death of a Salesman, 225–26
and Holocaust, xxiv, 4, 121, 393, 443–49, 477
and Incident at Vichy, 284–290
Jewish identity of Miller, 380–82
and Palestinian-Israeli conflict, 499–503
writers, 378–79, 382–83, 384–85
Johnson, Lyndon B., 403, 405, 412, 416, 483
Joyce, James, 128, 143–44
Julius Caesar (Shakespeare), 129
juvenile delinquency, xxi–xxii, 313–332, 333–342
and boredom, 334–36, 339, 341
and cult of sincerity, 339–340
; film proposal addressing, 270, 313–332
and Great Depression, 338
and rebellion, 335–36, 338
and social workers, 334
in Soviet Union, 334
See also gangs
Kaufman, George, 137, 155, 157
Kazan, Elia
and Death of a Salesman, 208–10, 211, 213, 215–16, 217
staging by, xix
and A Streetcar Named Desire (Williams), 204–5
Kennedy, John, 412, 436
Kennedy, Robert, 400, 402
Kent State massacre, 296, 484
Kerr, Walter, 107
Kesey, Ken, 392, 394
King Lear (Shakespeare), 88, 127–29
Kitto, H. D. F., 70, 72
language, xvii–xviii, 155–172
of Absurd theater, 144–45
and Broadway, 161–62
of Eisenhower, 425
of Ibsen, 118–19, 227, 230–31
and Lincoln-Douglas debates, 429
and O’Casey, 142–43
and Odets, 139–140
and poetry, 160
of public and private life, 90–91
and realism, 17, 135, 138, 140–41, 143, 159–171
and screenwriting, 173–180
verse, 73, 90–91
of Williams, 140–41
The Last Yankee (Miller), xvii, 145, 167–170
Lawrence, D. H., 128–29
“Let’s Privatize Congress” (Miller), xxvii, 516–18
Lewis, Robert, 425–26
life-lies, xxiii, xxvi, 142, 158
“The Limited Hang-Out: The Dialogues of Nixon as a Drama of the Antihero” (Miller), xxiii, 412–422
Lincoln, Abraham, 370, 379, 428
Living Newspaper of the WPA, 137–38, 157
Look Homeward Angel (Wolfe), 109
MacArthur, Douglas, 425, 478
Macbeth (Shakespeare), 129
The Madwoman of Chaillot (Giradoux), 49, 203
The Man Who Had All the Luck (Miller), xviii, 25–29, 183–88
Mandela, Nelson, xxvi, 463–470
“Many Writers: Few Plays” (Miller), xxii, 343–46
March, Fredric, xix
Martin, Robert A., xiii–xiv
Marxism
and All My Sons, 48
and Mandela, 463–64
and McCarthyism, 264–65, 266
and Miller’s ideological leanings, 258, 390
and occupation of Czechoslovakia, 482
and Odets, 141, 163
and Thirties radicals, 391
and Vietnam conflict, 484
material wealth and materialism, 362, 363, 389–390, 391
McCarthy, Eugene, xxiii
McCarthy, Joseph
authority of, 249–250
and Cain, 257
and The Crucible, 244, 273
death of, 272, 276, 351
and Democratic National Convention (1968), 400–404
influence of, 240–41, 242, 249–250, 347, 349
and “loss” of China, 249, 253
and Murrow’s broadcast, 349–350, 352, 353–56
McCarthyism and Red scare era, xxii–xxiii, 347–356, 357–377
and blacklists, 352
and Cain, 257–58
and The Crucible, 51–53, 59, 237, 240–42, 244, 247, 249–250, 259, 271–72, 273
and Death of a Salesman film, 254–55
and House Un-American Activities Committee, xxii, 259–260, 263, 270, 347
and March and Eldridge, xix
and Murrow’s broadcast, 349–350, 352, 353–56
playwriting during, 343–46
and political exiles, 259
terror and hysteria associated with, 242, 247
and widespread feelings of helplessness, 350
and witch hunts of Salem, 265–67, 350–51
“The Measure of the Man” (Miller), xxvi, 463–470
Meir, Golda, 501
melodrama, 11–12
A Memory of Two Mondays (Miller)
critics’ dismissal of, 60
description of, 80
language of, 167
as one-act, 80
as pathetic comedy, 61
preface of, xvi
and realism, 18
Miller, Mary, 218–19
“Miracles” (Miller), xxiii, 386–399
The Misfits (1962), 130
Mississippi, civil rights workers killed in (1964), xx, 288
“A Modest Proposal for the Pacification of the Public” (Miller), xxvii, 504–12
mood plays, 96–97
moral conscience of Miller, xxvii–xxviii
Morath, Ingeborg, xxv
Morrison, Toni, 440–41
movies, 173–180, 368–69
Mr. Peters’ Connections (Miller), xxi, 309–10
Murder in the Cathedral (Eliot), 91–92
Murrow, Edward R., 286, 349–356
musicals, 137
Nader, Ralph, 431
nationalism, 471–73
“The Nature of Tragedy” (Miller), xv, 11–14
“The Nazi Trials and the German Heart” (Miller), xxiv, 443–49
Nazis
and The Diary of Anne Frank, 110–11
German resentment regarding, 479
and Incident at Vichy, 285–290
Lindbergh on Nazi Germany, 187–88
public perceptions of, 189
and Soviet Union, 255
and trials in Frankfurt, 443–49
new ideas, 21–23
New York City, xxv–xxvi, 270, 313–332, 464, 465
New York City Youth Board, 313–332
New York World-Telegram and Sun, 270
“The Night Ed Murrow Struck Back” (Miller), xxii–xxiii, 347–356
“1956 and All This” (Miller), xxii, xxiii, 357–377
Nixon, Richard, xxiii–xxiv, 395, 412–422, 436
Noh plays of Japan, 147
“Notes on Realism” (Miller), xiv, xvii, 134–147
nuclear weapons, 78, 358, 376, 436–37
O’Casey, Sean, 118, 138, 142–43, 160, 164
Odets, Clifford
Awake and Sing, 162
and Broadway production, 224
and commercialization of theater, 151, 158
Golden Boy, 162
ideology of, 163
and language, 139–140, 161–62
and Marxism, 118
and realism, 139–140, 141–42, 163–64
Waiting for Lefty, 141–42, 158
Oedipus Rex (Sophocles), 88, 109, 117
Off-Broadway, 135, 150, 151, 152, 154
“On Politics and the Art of Acting” (Miller), xxiv, 423–438
“On Screenwriting and Language: Introduction to Everybody Wins” (Miller), xvii–xviii, 173–180
“On Social Plays” (Miller), xvi, 68–83
O’Neill, Eugene
and audiences, 156, 203
on Broadway, 137
and commercialization of theater, 151
Emperor Jones, 87
and expressionism, 89–90
family relations depicted by, 87
The Great God Brown, 89
The Hairy Ape, 73, 87, 89, 141, 158
politics of, 141–42, 158
and realism, 87, 164
and relations of man to God, 105, 159
social dramas of, 73
optimism, 10, 13
An Optimistic Tragedy (Ostrovsky), 390
order, hidden, 102–3, 104–5
original ideas, 21–23
Oswald, Lee Harvey, xx
“Our Guilt for the World’s Evil” (Miller), xx, xxiv
Our Town (Wilder), 92–94
Pakistan, 364–65
Palestinian-Israeli conflict, xxvi–xxvii, 499–503
“The Parable of the Stripper” (Miller), xxvi, 471–73
paranoia, 243, 247–250, 254, 263
parents, children’s conflicts with, 116
passport of Miller, 259, 351–52, 485
past, power of, 291–95
pathos and the pathetic, 10, 11–14, 74, 75, 77
Peer Gynt (Ibsen), 86, 153
pessimism, 10, 50
Pinter, Harold, xxv, 144, 450, 453–54, 455–56
Plato, 20
playwriting and playwrights
approach to, 16
and audiences, 136, 156, 203, 223–24
and commercial theater, 158
entertainer image of, 6
European, 203
and form, 84
and Grand Design of classical Greece, 71
McCarthyism’s effect on, 343–46
number of active writers, 150
original ideas of, 21
process of, xvi
role of writers, 104–5
self-effacement in, 96–97
subsidies for, 5
poetry and the poetic, 96, 135, 160
political prisoners in Turkey, 450–56
politics, xxiii–xxiv, xxv–xxvii, 423–438
and autonomy of art, 48–49
and Democratic National Convention (1968), 400–411
and House Un-American Activities Committee, xxii, 259–260, 263, 270, 347
and paranoia, 243, 247–250, 254, 263
political exiles, 259
politicians as actors, 423–25, 427–28, 429–431, 434–37
See also McCarthyism and Red scare era; specific politicians
“Politics and the Art of Acting” (Miller), xxiv, 423–438
poverty, 369, 373, 374, 489, 490–91, 497
power, misuse of, xxv, 482–87
presidential election of 2000, 424, 427–28, 431, 433–34, 435–36
The Price (Miller), xx, 145, 167, 169–170, 291–95
“The Price—The Power of the Past” (Miller), xx, 291–95
prison facilities, 325–26
producers, 150–52
production of plays, costs of, 134–35, 136, 148–49, 156
Prometheus Bound (Aeschylus), 89
prose, 90
Puritans, 128
The Quiet American (Greene), 371–72
racism, xxv–xxvi, 397–98
radicalism
and Miller’s ideology, 258
of Sixties, 386–87, 390, 391–94, 396
of Thirties, 387, 390, 391–94, 398
Reader’s Digest, 360
Reagan, Ronald, 429–430, 435
realism, xiv, xvii, 134–147
and art, 98
and artificiality, 140, 146
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