Controlled hysteria is what's required. To exist constantly in a state of controlled hysteria. It's agony. But everyone has agony. The difference is that I try to take my agony home and teach it to sing.
Well, all the plays that I was trying to write were plays that would grab an audience by the throat and not release them, rather than presenting an emotion which you could observe and walk away from.
Interpretation
What this quote means
Arthur Miller emphasizes the importance of engaging an audience emotionally through powerful storytelling rather than merely presenting feelings for observation.
In this quote, Arthur Miller expresses his artistic intention to create plays that captivate the audience deeply, demanding their full attention and emotional involvement. He believes that effective theater should create a visceral experience, making the audience feel as if they are part of the story, rather than simply observing it from a distance. This approach encourages a connection that resonates beyond the theater, leaving a lasting impact on the viewers.
Themes
In practice
Example use cases
This quote could be used in a theater workshop to inspire writers to create immersive experiences.
More from Arthur Miller
All quotes →The word "now" is like a bomb through the window, and it ticks.
Amos Oz is one of the finest novelists of this entire period. MY MICHAEL is a beautiful work of great depth and in some indescribable way lingers in the mind as a lyric song to his country's people as much as a moving love story.
Just remember, kid, you can quicker get back a million dollars that was stole than a word that you gave away.
Oh,Elizabeth, your justice would freeze beer.
The structure of a play is always the story of how the birds came home to roost.
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The only music I don't like is bad music.
I wonder if I can write this history, or if on every page there will be some sneaking show of a bitterness I thought long dead. I think myself cured of all spite, but when I touch pen to paper, the hurt of a boy bleeds out with the sea-spawned ink, until I suspect each carefully formed black letter scabs over some ancient scarlet wound.
I feel that if I can show my demise artistically to the public, I can somehow cure my own legend.
And from that time on I bathed in the Poem Of the Sea, star-infused and churned into milk, Devouring the green azures; where, entranced in pallid flotsam, A dreaming drowned man sometimes goes down.
In the big picture I write for an audience of people I've never met. By the final draft I'm looking for anything in the prose that's prospectively boring to strangers.
I'm very much of the opinion that theatre is a collective art form, not just one person's vision.