By Arthur Miller
Set at the gritty Brooklyn waterfront, A View from the Bridge follows the cataclysmic downfall of Eddie Carbone, who spends his days as a hardworking longshoreman and his nights at domestic together with his spouse, Beatrice, and niece, Catherine. however the regimen of his lifestyles is interrupted while Beatrice's cousins, unlawful immigrants from Italy, arrive in manhattan. As one among them embarks on a romance with Catherine, Eddie's envy and myth performs out with devastating results.
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In 1911 The Era reprinted a lecture on gesture given by one such figure, Miss Davies Webster, at the Conservatoire Theatre, London. 31 This reference to melodrama, along with the preceding comment from this same journal about the tastes of provincial audiences, is one 39 legitimate cinema of a number of clear hints and suggestions in the stage trade press that an older art of traditional vigorous gesture was still practised in many theatrical outposts immediately beyond the West End. Clarence Derwent asked rhetorically in 1912 if there could be any readers out there who had not sat at the provincial melodrama and marvelled at the grotesque movements which are supposed to lend point to the most obvious remarks, as for instance, the rigidly extended arm and upturned finger which invariably accompany the melodramatic heroine’s demand that somebody or other shall leave her house?
1 This opening chapter is an attempt to follow Levine’s recommendation and explores the cultural image and working practices of various representative types of professional stage actors in the late Victorian and Edwardian era. The exercise is necessary in order to understand better the ‘heritage’ which British filmmakers were drawing upon in hiring theatre stars: the stylistic and cultural values they intended to adopt and the kinds of audiences that, following Levine’s logic, could be expected to tag along with them.
What were actors and acting like on the stage at this time? What were the 27 legitimate cinema key trends and styles? What did critics see as the aims and values of good acting? Which kinds of actors did they celebrate and valorise most? Are there major differentiations in tastes across social classes with regard to audience preferences for particular actors and styles of acting? 2 The idea that there might be a performance style able to stand as a marker of national cultural identity and which might then be adopted in a formulation of national cinematic values is an intriguing one.