Six

THE MICHIGAN DAILY

Sunday, December Z, 1973

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Six THE MICHIGAN DAILY Sunday, December 2, 1973


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ON SALE DECEMBER 11

Miller: Art and the critics

(Continued from Page 31
on him early last year. Miller ap-
parently didn't like it and he
uses it to illustrate a fundamen-
tal difference he sees between
the journalist and the artist: "He
(the Times writer) created
someone hecould recognize.le
was evidently a very troubled
and disappointed man. An artist
goes in and opens his head be-
cause he's looking for the para-
dox that's insoluble. He pushes
the paradox to its limits. The
journalist is looking for answ-
ers." I ask if all the criticism
and misrepresentation hurt. Mil-
ler sighs and shakesthis head.
"What are you going to do about
it?"
What's he going to do about
this piece for example? I don't
expect Miller will like it much,
for I too am creating (recreat-
ing) someone I can recognize.
Nonetheless, in the interview I
finally get shortly before Miller
leaves, I think I can sense the
evolution of his mood during the
week. He sits back in a chair in
his room, and I, realize it is
the first time I've seen him gen-
uinely relaxed. For twenty min-
utes our conversation wanders
between the University of old,
the Daily now-and-then, and just
plain trivia. What has brought
him down, I learn, is just what
he predicted would: he's been

made to act as teacher and cri-
tic. In talking about his own
work, he's been made to intellec-
tualize what are fundamentally
gut feelings.
4THE CRITICS," he explains
' between big bites of pizza
and slurps of coffee, "have tried
to dominate the theater by de-
manding work that they them-
selves could have written. In the
face of passion, they can't
imagine what it is like to feel.
They get susnicious, uneasy." I
was reminded of something he'd
said in cass when he became a
bit exnsner ted following yet an-
other oziestion about what Death
of a Salesman 'meant'. "I just
like to make something beautiful
on stage, something that works
and goes like hell. Theater is a
place of feeling. The rest is what
I s-v after.
"Theories in my opinion are re-
ductions made after the fact,"
Miller explains, standing to fetch
his pipe, moving constantly about
the room as he talks. "Among
the critics this. over-intellectual-
ization is a disaster area. They
compete with the author, for they
are mostly failed writers. I don't
write with critics in mind. Most
critics I know don't have any
standards. I read them and I am
appalled at how wrong they
are."

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The critics, for instance, hat-
ed Creation of the World, Mil-
ler's last play. It was panned
everywhere, and closed after a
Broadway run of two weeks.
Fittingly, as I prepare to leave
Miller's room, his point is si-
lently driven home. I notice a
sheet of paper in his large man-
ual typewriter. On it are snatches
of dialogue from Creation. Used
to first-run failures, Miller is
reworking it, convinced it will
eventually go down as one of his.,
best.
* * *
MILLER suffered during his
week here from much same
problems his critics do: trying
to get to the heart of artistic
creation by theory and deduc-
tion. "I have no interest in (the
university) for me," he said
shortly before leaving. "But I've
Be careful with fire:
There are babes
n the woods.

Daily Photo by TERRY McCARTHY
been around it long enough not
to imagine that anything would
happen which didn't happen. It's
just that I'm not constitutionally
set up to be a teacher. I haven't
got that turn of mind, so I can
only take is for about a week."
I don't think it was a bad week
for Miller. He admitted his reser-
vations but felt on the whole it
had been good, "intensified". He
probably did get the one or two
good conversations he was look-
ing for. Undoubtedly he made an
imprint on some of the students
with whom he came into contact,
probably even toppled a little of
the "over-intellectualization" he
decries.
.Richard Meyer spoke of the
visit more in superlatives, as-
suring me that Miller left feel-
ing he'd gotten a real sense of
where the student of 1973 is at.
I don't believe that, and I'd be
surprised if Miller really does.
As late as two days before de-
parting, he told me he's been
unable to make any formulations
about the student mood and I
don't siee how he could have,
for all week long he was shut-
tled from class to class, con-
stantly giving but seldom taking.
Perhaps that is the inevitable
plight of the over-committed
Writer-in-Residence.
AS I LOOK back, I can't help
being reminded of Kurt Von-
negut's abortive career as the
University's Writer-in-Residence
back in 1909. Not notorious for
his patience, Vonnegut left half-
way through a planned two-week
stay. He'd been asked to do too
much explaining. "It makes
more sense, for me and for my
audience," he concluded, "to go
home and write more."

--j I

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THE BALD SOPRANO
by EUGENE IONESCO
Nov. 29, 30 & Dec. 1 & 2
8 p.m.
at the
Union Gallery
1st Floor, Michigan Union
TICKETS ON SALE AT GALLERY-$1.00
GALLERY HOURS: 10-5 Tues.-Sat.

9Advwit s~ o,tiWWfor ,. public good,


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SENIORS!!

AD

Copyright 1973
Tony Schwartz

Stevens Studios is coming back
days-Retakes and additional
for yearbook. Dec. 7-12.

for 4
shots

til

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Professional Theatre Program

See Karl at Student Publications Bldg.
Business Office soon. 764-0550.

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by WILLIAM SHAKESPEARE
December 5-8, 1973
Trueblood Theatre
8:00 P.M.
TICKETS: $2.00-$3.00
TRUEBLOOD BOX OFFICE
DECEMBER 3-8
Mon. & Tues. 12:30-5:00
Wed.-Sat. 12:30-4:30,
5:30-8:00
THE UNIVERSITY
PLAYERS
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