The PEN records occupy 180 linear feet, span 1912 to 2008, and document the history and activities of the English PEN and PEN International, as well as the formation (and sometimes dissolution) of other PEN centers around the globe.
The Ransom Center has acquired the papers of actors, and husband and wife, Eli Wallach (1915–2014) and Anne Jackson (1925–2016). [Read more…] about Papers of actors Eli Wallach and Anne Jackson acquired
Kenneth Williams is an English and Plan I Honors student in Dr. Elon Lang’s “Drama in the Archives” course. In the class, students used resources at the Harry Ransom Center to better understand plays, texts, dramatists, cultures from which they are drawn, and the archival process itself. Below, Williams shares his experience in the class. [Read more…] about Notes from the Undergrad: Reviving Linda Loman in “Death of a Salesman”
The atria on the first floor of the Ransom Center are surrounded by windows featuring etched reproductions of images from the collections. The windows offer visitors a hint of the cultural treasures to be discovered inside. From the Outside In is a series that highlights some of these images and their creators.
Etched into the windows of the Ransom Center is an image of one of Arthur Miller’s typescripts for the play Death of a Salesman. The excerpt depicted is between the title character, Willy Loman, and his wife, Linda, in the opening scene of the second act. Large scratch-outs zigzag through whole paragraphs, arrows rearrange the words, and new lines have been handwritten into place. The first lines discuss the couple’s dreamy expectations for a brighter future soon to come—a business loan his son might be given, a new house in the country, and an office job in the city so Willy can stop traveling. But Linda’s reminder “to ask [Willy’s boss] for a little advance” in the last lines “because we’ve got the insurance premium” exposes the discrepancy between their dreams and a reality in which they are barely getting by. The passage encapsulates the play’s central theme that valuing oneself in terms of the American dream is a setup for failure.
Although Death of a Salesman was not Miller’s first successful play, it was the play that established him as a great American playwright. Miller wrote the play in the spring of 1947, within a small studio he built himself next to his Connecticut farmhouse. The writing flowed easily for Miller, who finished the first half of the play in one day and night, and the second half in the next six weeks. According to his biographer Christopher Bigsby, Miller wanted “to take the audience on an internal journey through the mind, memories, fears, anxieties of his central character.” Rather than adhering to earlier playwrights’ conventions, Miller gave the play a radical structure in which the past and the present coexist, and where walls can sometimes be stepped through. The play opened at the Morosco Theatre on February 10, 1949, and was met with critical acclaim, winning Miller numerous awards, including the Pulitzer Prize. The play has remained popular and has since been produced into films, translated, performed internationally, and revived on Broadway. Playwright Tony Kushner, while discussing the continuing importance of Arthur Miller’s Death of a Salesman, has stated, “Willy is part of our mythology now.”
This typescript represents one of several papers within the Arthur Miller archive held at the Ransom Center, which includes the manuscripts of 34 different works, dated from 1935 to1953. Viewing Miller’s early notebooks and seeing how his works took shape gives one a more intimate understanding of the playwright who represented his generation so well by writing about the dreams and tragedies of his era. A leading scholar of Arthur Miller’s work and life—Christopher Bigsby, Professor of American Studies and Director of the Arthur Miller Centre at the University of East Anglia—benefited from studying these papers. Regarding his 30 years of research in the archive, Bigsby has stated, “The Ransom Center is what the House of the Medicis once was to 14th century Florence… it has had a hand in a new Renaissance.”
Ransom Center volunteer Amy Kristofoletti wrote this post.
“Mommy, is that God?” a little girl once whispered to her mother as Stella Adler swept into a party in New York City. The girl’s mistake was understandable: Adler was known as a presence of divine proportions, a tall, glamorous woman whose grand gestures and dramatic one-liners captivated audiences both large and small. Adler began acting at age four in the “Independent Yiddish Art Company,” run by her parents, and continued her acting career until 1961. In 1931, Adler joined the Group Theatre, where she worked closely with Harold Clurman and Lee Strasberg.
In 1934, she went with Clurman to Paris to study with Constantin Stanislavski, an acting great famous for developing the Stanislavski System, a set of acting techniques that was tweaked by Strasberg and is known today as Method acting. Adler believed strongly that actors should use their imagination to synthesize characters, whereas Strasberg relied on emotional memory exercises, and the two eventually split over their differences. Adler left the Group Theatre and later opened her own acting school, The Stella Adler Studio of Acting, in 1949 in New York City, where she taught famous actors such as Marlon Brando and Robert De Niro. She opened another school, The Stella Adler Academy of Acting, in Los Angeles in 1985 with her friend and protégé Joanne Linville, who continues to run the school today.
The Ransom Center hold Adler’s papers, which were used extensively by Barry Paris in his book Stella Adler on America’s Master Playwrights (Knopf). The volume peeks into Adler’s classroom and explores the acting master’s take on American playwrights such as Eugene O’Neill, Tennessee Williams, Arthur Miller, Edward Albee, Clifford Odets, and others.
The book was put together using transcripts from Adler’s script analysis classes, where lively discussions of American culture, socioeconomics, and history fleshed out the context of the plays—a practice on which Adler placed the utmost importance. Adler once said of the great artists featured in the book: “these playwrights all saw what was wrong.” She believed it was imperative for the actor not only to bring personal experience to the role, but to truly understand the beliefs, prejudices, and lives of the playwrights who crafted the plays she taught. Peter Bogdanovich, one of Adler’s former students, praised the book for “bring[ing] back the sound of Stella’s unique voice and thought processes, as well as her own particular vision.”
Paris, the book’s editor, did extensive research in the Ransom Center’s holdings on Stella Adler and Harold Clurman.