Crafting Theatrical Magic: Insights on Staging and Performance

Imagine being present during a conversation that bridges the classical and contemporary worlds of drama.

What insights could we gain from such a unique assembly of minds? In this imaginary conversation, we bring together the legendary playwright William Shakespeare, whose works have shaped the foundation of drama; renowned literary critic Harold Bloom, whose deep analysis of literature has provided profound insights; celebrated actor and director Kenneth Branagh, known for his brilliant Shakespearean adaptations; the sharp and realistic dramatist David Mamet, who brings a modern edge to dramatic tension; and the powerful American playwright Arthur Miller, whose works explore the depths of societal and personal issues.

Moderating this stellar panel is Nick Sasaki. Together, they explore the art of staging and performance, revealing the secrets behind bringing written words to life on stage.

From understanding the psychological depth of characters to exploring innovative staging techniques, this discussion promises to enrich our understanding of drama and its timeless impact on audiences.

Join us for an enlightening journey through the world of theater.

Character Development and Complexity

Nick Sasaki: Welcome, everyone. It's a privilege to have such a distinguished panel to discuss the intricacies of character development and complexity in drama. Let's begin with William Shakespeare. William, your characters are renowned for their depth and complexity. Can you share your approach to crafting such compelling figures?

William Shakespeare: Thank you, Nick. The essence of a memorable character lies in their humanity. I aim to explore the full spectrum of human nature, embracing both virtues and flaws. Each character must be a mirror reflecting the myriad facets of the human experience. For instance, Hamlet's indecisiveness and Macbeth's ambition are as integral to their characters as their nobility or bravery. It is in their internal struggles and contradictions that they find their depth.

Nick Sasaki: That’s fascinating. Harold, how do you see this complexity in Shakespeare’s characters?

Harold Bloom: Shakespeare's characters are remarkable because they possess an unparalleled psychological depth. They are self-aware and capable of introspection, which makes them timeless. For example, Hamlet’s soliloquies offer us a profound glimpse into his psyche. These internal monologues are what make Shakespeare's characters feel so real. They think and feel deeply, and we, as readers or audience members, are privy to their innermost thoughts.

Nick Sasaki: Kenneth, as someone who has brought many of these characters to life on stage, how do you approach this complexity in your performances?

Kenneth Branagh: The key is to understand and internalize the character's motivations and background. Each gesture, tone, and expression must resonate with the character's inner life. For instance, when portraying Henry V, I delve into his journey from a reckless youth to a responsible king. This transformation must be evident not just in the dialogue but in every nuance of the performance. It’s about making the character's evolution believable and compelling to the audience.

Nick Sasaki: David, your works are known for their intense, realistic characters. How do you ensure your characters are complex and relatable?

David Mamet: I focus on the characters' needs and desires, which are often in conflict. Real drama emerges from these conflicts. My characters are driven by their wants, and their dialogue is shaped by what they are trying to achieve in each scene. This creates a natural tension and depth. For example, in "Glengarry Glen Ross," the desperation and ambition of the salesmen drive their interactions, revealing their complexities.

Nick Sasaki: Arthur, your characters often grapple with profound personal and societal issues. How do you balance these elements to create complexity?

Arthur Miller: The balance comes from grounding societal issues in personal stories. Characters must be relatable on an individual level. In "Death of a Salesman," Willy Loman's personal struggles reflect broader societal themes, such as the American Dream. By exploring his inner life—his dreams, disappointments, and delusions—we understand the larger commentary. It’s about ensuring that the character’s personal journey is compelling enough to resonate universally.

Nick Sasaki: William, back to you. How do you navigate the challenge of developing such intricate characters within the constraints of the plays' structure?

William Shakespeare: Structure is essential but should not constrain character development. The structure of a play provides a framework within which characters can evolve. Acts and scenes are opportunities to reveal different facets of a character. For example, in "Othello," we see Othello’s transformation through his interactions with others, his private moments of doubt, and the gradual unfolding of Iago’s deceit. Each scene builds upon the last, adding layers to the character.

Nick Sasaki: Harold, can you elaborate on the significance of a character’s internal conflict in adding depth?

Harold Bloom: Internal conflict is the essence of great drama. It is through these inner battles that characters reveal their true selves. Consider Lear’s journey in "King Lear." His internal struggle with his pride and his ultimate realization of his mortality and frailty add immense depth to his character. These conflicts make characters relatable and their stories impactful.

Nick Sasaki: Kenneth, how do you bring out these internal conflicts in your performances?

Kenneth Branagh: It’s crucial to convey the internal struggle outwardly without making it overt. Subtlety is key. In portraying Hamlet, for example, his hesitation and introspection must be visible in his demeanor, not just his words. The audience should feel his internal turmoil through his actions and expressions. It’s about embodying the character’s inner life fully.

Nick Sasaki: This has been an enlightening discussion. Thank you all for sharing your insights on character development and complexity. Your contributions to drama continue to inspire and educate.

Conflict and Resolution

Nick Sasaki: Welcome back, everyone. Today, we’re going to explore the crucial elements of conflict and resolution in drama. Let's start with David Mamet. David, your works are renowned for their intense conflicts. How do you create and sustain dramatic tension?

David Mamet: Thank you, Nick. For me, real conflict arises from characters' needs and desires clashing. Each character wants something, and they’re willing to go to great lengths to get it. This creates a natural tension. For example, in "Glengarry Glen Ross," the salesmen are desperate for success and security, which pits them against each other. The stakes are high because their livelihoods are on the line, making every interaction charged with tension.

Nick Sasaki: Arthur, your plays often explore both personal and societal conflicts. How do you balance these elements to create a compelling narrative?

Arthur Miller: Balancing personal and societal conflicts involves making the macro issues personal. In "The Crucible," the witch trials reflect broader societal hysteria, but it’s the personal vendettas and moral struggles that drive the drama. Characters like John Proctor face intense personal dilemmas that mirror the larger societal conflict. This dual focus makes the story resonate on multiple levels.

Nick Sasaki: William, your plays are filled with various types of conflicts. How do you decide which conflicts to highlight and how to resolve them?

William Shakespeare: Conflict is the essence of drama, and it can manifest in many forms—internal, interpersonal, or societal. The key is to ensure that each conflict serves the story and the characters' development. In "Othello," the external conflict with Iago’s manipulation mirrors Othello’s internal conflict with his insecurities and jealousy. The resolution often stems from the characters' own actions and choices, leading to a natural yet often tragic conclusion.

Nick Sasaki: Harold, how do Shakespeare’s resolutions enhance the dramatic impact of his plays?

Harold Bloom: Shakespeare’s resolutions are powerful because they often involve a deep catharsis. The conflicts reach a point where the characters must confront their innermost fears and desires. This leads to profound transformations or tragic downfalls. For instance, in "King Lear," the resolution brings a harrowing clarity to Lear’s folly and humanity, leaving a lasting impact on the audience.

Nick Sasaki: Kenneth, as an actor and director, how do you interpret and convey the resolution of conflicts in Shakespeare’s plays?

Kenneth Branagh: It’s about understanding the journey of each character and the stakes involved. The resolution should feel like a culmination of everything that has transpired. In "Henry V," the resolution of the conflict with the French isn’t just a military victory; it’s a personal triumph for Henry, who proves his worth as a king. Conveying this requires a deep connection with the character’s arc and the overall narrative.

Nick Sasaki: David, back to you. How do you ensure that the resolution of conflicts in your plays feels satisfying yet realistic?

David Mamet: The resolution must be true to the characters and their journeys. In "American Buffalo," the resolution isn’t a neat conclusion but a realistic portrayal of failed ambitions and shattered trust. It’s about staying true to the characters’ nature and the world they inhabit. A satisfying resolution doesn’t always mean a happy ending; it means an ending that feels inevitable and earned.

Nick Sasaki: Arthur, your plays often end on a poignant note. How do you approach the resolution to leave a lasting impact?

Arthur Miller: The resolution should resonate with the audience emotionally and intellectually. In "Death of a Salesman," Willy Loman’s demise is tragic but inevitable, given his delusions and the societal pressures he faces. The impact comes from the audience's understanding of his struggle and the broader implications of his downfall. It’s about crafting an ending that stays with the audience long after the curtain falls.

Nick Sasaki: William, many of your plays end in tragedy or resolution that reflects the characters' flaws. How do you ensure these resolutions are impactful?

William Shakespeare: The resolution must reflect the journey and growth, or lack thereof, of the characters. In "Macbeth," the resolution is a direct consequence of Macbeth’s unchecked ambition and moral decay. It serves as a powerful commentary on the consequences of one’s actions and choices. The impact comes from the audience’s realization of the inevitability of the outcome given the character’s path.

Nick Sasaki: Harold, can you elaborate on how internal conflicts contribute to the overall resolution in drama?

Harold Bloom: Internal conflicts are often the most compelling because they reveal the character’s true nature. In "Hamlet," the resolution of his internal struggle—his indecision and moral contemplation—culminates in the final act, where action and introspection merge. The internal journey enriches the external conflict, making the resolution deeply satisfying on multiple levels.

Nick Sasaki: Kenneth, how do you bring out these internal conflicts in your performances to enhance the resolution?

Kenneth Branagh: It’s essential to convey the character’s internal journey through subtlety and nuance. The audience should feel the weight of the character’s internal conflict in every gesture and expression. In "Hamlet," conveying his hesitation and eventual resolve requires a deep understanding of his psychological state. The resolution becomes impactful when the audience has been with the character every step of the way.

Nick Sasaki: This has been an incredibly insightful discussion on conflict and resolution in drama. Thank you all for your valuable contributions. Your expertise continues to inspire and educate us.

Dialogue and Language

Nick Sasaki: Welcome back, everyone. Today, we’re diving into the art of dialogue and language in drama. Let's begin with William Shakespeare. William, your use of poetic language has set a high bar. How do you balance poetic dialogue with the need to keep the story moving?

William Shakespeare: Thank you, Nick. The balance lies in ensuring that every line serves a dual purpose: advancing the plot and revealing character. Poetic language enriches the experience, but it must never detract from clarity. Take "Macbeth," for example. The witches’ dialogue is rich in imagery, setting a foreboding tone while foreshadowing the play’s events. Even in poetic passages, the rhythm and diction propel the narrative forward.

Nick Sasaki: Harold, how do you interpret Shakespeare’s use of language in adding depth to his characters?

Harold Bloom: Shakespeare's language is unparalleled in its ability to convey psychological depth and complexity. His characters use language not just to communicate but to explore their inner worlds. Hamlet’s soliloquies are a prime example—they reveal his philosophical musings, doubts, and existential angst. This linguistic richness allows us to see the multifaceted nature of his characters.

Nick Sasaki: Kenneth, as an actor and director, how do you bring Shakespeare’s poetic dialogue to life on stage?

Kenneth Branagh: The key is to make the language accessible and emotionally resonant. Understanding the meaning behind the words is crucial. When delivering lines like Henry V’s St. Crispin’s Day speech, it’s not just about the words themselves but the passion and conviction behind them. Clear articulation and emotional engagement help the audience connect with the dialogue.

Nick Sasaki: David, your dialogue is known for its sharp realism. What’s your approach to writing impactful dialogue?

David Mamet: I focus on the subtext and the economy of words. Realistic dialogue emerges from characters speaking with intent—what they want and what they’re trying to avoid saying. In "Glengarry Glen Ross," the dialogue is terse and loaded with tension, reflecting the characters’ desperation and cutthroat environment. The rhythm and cadence of natural speech patterns are essential in making dialogue believable.

Nick Sasaki: Arthur, your plays feature emotionally charged conversations. How do you craft dialogue that is both powerful and natural?

Arthur Miller: Authenticity is key. Dialogue must feel true to the character and situation. In "Death of a Salesman," the conversations between Willy Loman and his family are grounded in reality, reflecting their struggles and aspirations. The emotional weight comes from the characters’ lived experiences, making their words resonate deeply with the audience.

Nick Sasaki: William, your plays often mix poetic language with prose. How do you decide when to use each?

William Shakespeare: The choice between verse and prose depends on the character and the situation. Nobility and formality often call for verse, while prose is more suited to common characters or moments of levity. In "Henry IV," Falstaff’s prose contrasts sharply with Prince Hal’s verse, highlighting their different worlds. This contrast enhances character differentiation and thematic richness.

Nick Sasaki: Harold, can you elaborate on how Shakespeare’s use of language varies across different plays and characters?

Harold Bloom: Shakespeare’s versatility with language is one of his greatest strengths. Each play and character has a distinct linguistic style. In "Othello," Iago’s manipulative rhetoric contrasts with Othello’s dignified speech, reflecting their moral oppositions. This linguistic diversity enriches the narrative and deepens our understanding of the characters.

Nick Sasaki: Kenneth, how do you interpret the subtext in Shakespeare’s dialogue during your performances?

Kenneth Branagh: Uncovering the subtext is about understanding the character’s underlying motivations and emotions. In "Much Ado About Nothing," Benedick’s witty banter with Beatrice is layered with hidden affection and past hurt. Bringing out these nuances in performance requires careful attention to the character’s history and the dynamics of their relationships.

Nick Sasaki: David, how do you ensure that the subtext in your dialogue is clear to the audience?

David Mamet: The subtext should be evident through the character’s actions and reactions as much as their words. In "Oleanna," the tension between the characters is palpable because of what remains unsaid as much as what is spoken. Directing actors to focus on their objectives and obstacles helps bring out these underlying currents.

Nick Sasaki: Arthur, your dialogue often reflects larger societal issues. How do you weave these themes into the characters’ conversations?

Arthur Miller: The key is to ground societal themes in personal experiences. In "The Crucible," the hysteria of the witch trials is mirrored in the characters’ dialogues, reflecting their fears and prejudices. The conversations are a microcosm of the larger societal issues, making the themes resonate on a personal level.

Nick Sasaki: This has been a deeply insightful discussion on dialogue and language in drama. Thank you all for sharing your wisdom. Your contributions continue to inspire and elevate the craft of storytelling.

Themes and Universality

Nick Sasaki: Welcome back, everyone. Today, we’re delving into the role of themes and their universality in drama. Let’s start with Arthur Miller. Arthur, your works often deal with profound human experiences like guilt, betrayal, and redemption. How do you ensure these themes remain relevant?

Arthur Miller: Thank you, Nick. The relevance of these themes comes from their rootedness in the human condition. Regardless of the time period, people grapple with guilt, betrayal, and the quest for redemption. In "Death of a Salesman," Willy Loman’s struggle with these issues reflects broader societal pressures and personal delusions, making his story timeless. By focusing on these universal experiences, the themes naturally resonate with audiences across different eras.

Nick Sasaki: Harold, how do you see Shakespeare’s themes maintaining their relevance today?

Harold Bloom: Shakespeare’s themes are enduring because they touch on fundamental aspects of human nature. Love, power, betrayal, ambition—these are universal experiences that transcend time and culture. In plays like "Macbeth," the destructive nature of unchecked ambition is a theme that remains pertinent. Shakespeare’s ability to weave these themes into complex characters and compelling narratives ensures their continual relevance.

Nick Sasaki: William, your plays are celebrated for their exploration of universal themes. How do you approach incorporating these themes into your works?

William Shakespeare: The key is to anchor these themes in the characters’ journeys. Themes like love and power are not abstract concepts but are experienced through the lives of the characters. In "Romeo and Juliet," the theme of love is explored through the intense and tragic relationship between the protagonists. By embedding these themes in the characters’ experiences, they become palpable and relatable.

Nick Sasaki: Kenneth, as someone who has brought many of these plays to life, how do you ensure the universality of these themes is communicated to modern audiences?

Kenneth Branagh: It’s about making the themes accessible without losing their depth. Modern adaptations and performances should highlight the timeless nature of the themes while ensuring that the language and staging resonate with contemporary audiences. In "Much Ado About Nothing," the themes of love and honor are timeless, but presenting them in a setting that feels familiar to the audience helps bridge the gap between Shakespeare’s time and ours.

Nick Sasaki: David, your works often tackle themes relevant to contemporary society. How do you integrate universal themes into your modern settings?

David Mamet: The core of any great drama lies in universal themes that resonate regardless of the setting. In "Glengarry Glen Ross," the theme of survival in a competitive environment is explored through the cutthroat world of real estate. By placing universal themes in a modern context, the issues become immediately relatable to contemporary audiences. It’s about reflecting the current world while tapping into timeless human experiences.

Nick Sasaki: William, many of your plays deal with themes like power and ambition. How do you explore these themes through your characters?

William Shakespeare: Themes of power and ambition are often explored through the rise and fall of my characters. In "Macbeth," the titular character’s ambition leads him down a path of moral corruption and ultimate destruction. The theme is intricately linked to his character arc, making it a powerful commentary on the consequences of unchecked ambition. By showing the personal impact of these themes on the characters, they become more engaging and thought-provoking.

Nick Sasaki: Harold, how do Shakespeare’s themes contribute to the psychological depth of his characters?

Harold Bloom: Shakespeare’s themes provide a framework within which his characters operate, adding layers to their psychological makeup. In "Hamlet," the themes of revenge, mortality, and madness are not just plot devices but integral to Hamlet’s psychological complexity. These themes drive his actions and inner turmoil, creating a richly textured character that continues to fascinate audiences.

Nick Sasaki: Kenneth, can you share how you highlight these universal themes in your direction and performances?

Kenneth Branagh: Highlighting universal themes involves emphasizing the emotional truth behind the characters’ experiences. In "Henry V," the themes of leadership and responsibility are brought to the forefront through Henry’s speeches and decisions. By focusing on the emotional and moral dilemmas the characters face, the themes become more relatable and impactful for the audience.

Nick Sasaki: David, how do you balance contemporary issues with timeless themes in your works?

David Mamet: The balance comes from intertwining contemporary issues with universal themes in a way that feels organic. In "Oleanna," the theme of power dynamics is explored within the context of academia, reflecting both the specific societal issue and the broader human experience of power and control. This dual focus ensures that the drama resonates on multiple levels.

Nick Sasaki: Arthur, your plays often end on a poignant note that underscores the themes. How do you craft these endings to leave a lasting impact?

Arthur Miller: The ending should resonate emotionally and intellectually, reinforcing the themes explored throughout the play. In "The Crucible," the resolution brings the themes of integrity, hysteria, and redemption to a powerful climax. It’s about creating an ending that stays with the audience, prompting them to reflect on the deeper meanings and implications of the story.

Nick Sasaki: This has been an enlightening discussion on themes and their universality in drama. Thank you all for your invaluable insights. Your contributions to the art of storytelling continue to inspire and educate us.

Staging and Performance

Nick Sasaki: Welcome back, everyone. Today, we’re going to explore the transformation of written drama into live performance. Let's start with Kenneth Branagh. Kenneth, you’ve directed and performed in numerous Shakespearean plays. What are the key challenges in bringing these texts to life?

Kenneth Branagh: Thank you, Nick. One of the main challenges is making the language accessible while preserving its beauty. Shakespeare’s texts are rich in meaning and emotion, but they can be dense for modern audiences. It’s about finding a balance between authenticity and clarity. For instance, in "Hamlet," conveying the depth of Hamlet’s introspection requires careful interpretation of the text, ensuring the audience can connect with the character’s turmoil without getting lost in the archaic language.

Nick Sasaki: William, your plays have been performed for centuries. How do you envision the transition from page to stage?

William Shakespeare: The essence of drama lies in its performance. While the text provides the blueprint, the true life of a play emerges through its staging. The actors, the setting, and the director’s vision bring the words to life. In "A Midsummer Night’s Dream," the magical elements and the interplay between characters require a vibrant and imaginative staging to capture the audience’s imagination. Each performance breathes new life into the text, making it a living, evolving entity.

Nick Sasaki: Harold, how does the interpretation of Shakespeare’s plays evolve with different stagings?

Harold Bloom: Shakespeare’s plays are remarkably adaptable, which is why they’ve endured for centuries. Each generation brings its own sensibilities to the staging of these works. Directors and actors interpret the themes and characters through the lens of their contemporary experiences. This adaptability is a testament to Shakespeare’s genius, allowing his plays to remain relevant and engaging. For example, the political intrigue in "Julius Caesar" can be staged to reflect modern-day political climates, enhancing its resonance with current audiences.

Nick Sasaki: David, your plays often feature contemporary settings and issues. How do you approach staging to enhance the narrative?

David Mamet: The staging of a play should serve the story and characters, not overshadow them. In "American Buffalo," the confined setting of the junk shop reflects the characters’ entrapment and desperation. The physical space becomes a part of the narrative, intensifying the tension and conflict. Simplicity in staging allows the focus to remain on the characters and their interactions, making the drama more immediate and impactful.

Nick Sasaki: Arthur, your works are known for their powerful, realistic settings. How do you use staging to deepen the audience’s engagement?

Arthur Miller: Realism in staging helps ground the story in the audience’s reality, making the themes more relatable. In "The Crucible," the stark, oppressive setting of the Puritan village enhances the sense of paranoia and fear. The authenticity of the environment immerses the audience in the world of the characters, making their struggles and dilemmas more vivid and affecting. Staging should amplify the emotional and thematic currents of the play.

Nick Sasaki: William, how do you see the use of space and technology enhancing the performance of your plays today?

William Shakespeare: The evolution of staging techniques and technology offers exciting possibilities for interpreting my plays. The use of lighting, sound, and multimedia can create immersive experiences that highlight the play’s themes and emotions. In "The Tempest," the integration of modern technology can enhance the magical elements, making Prospero’s island feel otherworldly and enchanting. These advancements should be used to serve the story, adding layers of meaning and engagement for the audience.

Nick Sasaki: Harold, how do modern interpretations of Shakespeare’s plays benefit from contemporary staging methods?

Harold Bloom: Contemporary staging methods allow for a fresh exploration of Shakespeare’s timeless themes. Modern technology and innovative set designs can bring new dimensions to the plays, making them more accessible to today’s audiences. For example, the use of digital projections and dynamic lighting can transform "Macbeth" into a visual spectacle that underscores the psychological darkness of the story. These methods can reveal new facets of the text, enriching the audience’s experience.

Nick Sasaki: Kenneth, how do you balance traditional and modern elements in your Shakespearean productions?

Kenneth Branagh: The balance comes from respecting the text while embracing the possibilities of modern staging. Traditional elements, such as period costumes and settings, can ground the play in its historical context. Meanwhile, modern techniques can highlight the play’s relevance to contemporary issues. In "Henry V," blending historical authenticity with modern cinematic techniques can create a powerful, immersive experience that speaks to both the past and present.

Nick Sasaki: David, how do you use staging to highlight the subtext in your plays?

David Mamet: Staging should subtly enhance the subtext, drawing the audience’s attention to the underlying tensions and conflicts. In "Oleanna," the intimate, claustrophobic setting of the office heightens the power dynamics and escalating tension between the characters. The physical space and actors’ movements are choreographed to reflect the shifting power and psychological battles, making the subtext more palpable and engaging.

Nick Sasaki: Arthur, how do you ensure that the staging of your plays leaves a lasting impact on the audience?

Arthur Miller: The staging should resonate with the audience both visually and emotionally. In "Death of a Salesman," the set’s fluidity, moving between different times and spaces, mirrors Willy Loman’s fractured sense of reality. This creates a powerful visual metaphor for his inner turmoil. The goal is to leave the audience with a strong emotional and intellectual impression, prompting them to reflect on the themes and characters long after the performance ends.

Nick Sasaki: This has been an incredibly insightful discussion on staging and performance in drama. Thank you all for your valuable contributions. Your expertise continues to inspire and elevate the craft of storytelling.

Short Bios:

William Shakespeare: Often hailed as the greatest playwright in the English language, William Shakespeare (1564-1616) wrote numerous plays and sonnets that have profoundly influenced literature and theater. His works, including "Hamlet," "Macbeth," and "Romeo and Juliet," are celebrated for their complex characters, poetic language, and timeless themes.

Harold Bloom: Harold Bloom (1930-2019) was a preeminent literary critic and scholar, known for his extensive work on Western literature. He authored several influential books, including "The Western Canon" and "Shakespeare: The Invention of the Human," offering deep insights into literary traditions and the significance of key authors, especially Shakespeare.

Kenneth Branagh: Sir Kenneth Branagh is an acclaimed actor, director, and screenwriter known for his work in both Shakespearean and contemporary drama. His notable Shakespearean film adaptations, such as "Henry V," "Much Ado About Nothing," and "Hamlet," have earned him critical acclaim and multiple awards for making the Bard's works accessible to modern audiences.

David Mamet: David Mamet is a prominent American playwright, screenwriter, and director, known for his sharp, realistic dialogue and exploration of power dynamics. His notable works include "Glengarry Glen Ross," which won the Pulitzer Prize for Drama, and "American Buffalo." Mamet's contributions to theater and film are marked by his distinctive voice and intense character studies.

Arthur Miller: Arthur Miller (1915-2005) was a renowned American playwright whose works address social issues and personal struggles. His most famous plays include "Death of a Salesman," "The Crucible," and "A View from the Bridge." Miller's ability to capture the human condition and critique societal flaws has cemented his legacy in American theater.