The Plastic Theater: Music and Lighting in Tennessee Williams’ The Glass Menagerie and Arthur Miller’s Death of a Salesman

Abstract

Literary critics have generally agreed that Tennessee Williams was the pioneer of a movement in drama that sought to bring innovative aspects to the stage at a time when theater had become rather predictable. Following Williams’ lead, Arthur Miller subsequently contributed to this revolution that occurred in the American theater during the mid-twentieth century. In The Glass Menagerie (1944) and Death of a Salesman (1949), respectively, the two playwrights introduced what can be termed ‘plastic elements’ as an intrinsic and interesting way of shaping the characters, emphasizing the themes, and enhancing the plot. These ‘plastic elements’ include, but are not limited to, music, light, noise, colors, and other props.  Critics have, over the many years, frequently referred to their importance to the overall complexity of the two plays; however, no thorough study has emerged to show how these ‘plastic elements’, subtly incorporated into the two plays, serve to achieve dramatic objectives. This article offers a detailed study of the employment of music and lighting, demonstrating their significant contribution to characterization, themes, and action.  Furthermore, it illustrates how the two playwrights each found his own technique to utilize music and lighting as he crafted his story and spectacle.