CAJ | 학술논문

《推销员之死》将现代派小说中惯用的意识流手法融入舞台艺术，社会评论与心理描写融为一体，为西方戏剧的发展开拓了道路。1983年米勒应邀来北京与英若诚携手合作，将《推》剧搬上中国舞台，被称为“文革”后第一台真正成功的新剧目。两位艺术大师的协作，发展了现代主义戏剧艺术传统，影响着现代主义戏剧的复兴。
《추소원지사》장현대파소설중관용적의식류수법융입무태예술，사회평론여심리묘사융위일체，위서방희극적발전개탁료도로。1983년미륵응요래북경여영약성휴수합작，장《추》극반상중국무태，피칭위“문혁”후제일태진정성공적신극목。량위예술대사적협작，발전료현대주의희극예술전통，영향착현대주의희극적복흥。
Death of a Salesman, which introduced stream of consciousness writing to Western Theatre, has been considered a turning point both in playwright Arthur Miller＇s career and in the history of American Theatre. In 1983, Miller and Ying Ruocheng, a renowned Chinese actor, director and translator, collaborated on staging this play in Beijing. Its success led to the revival of Death of a Salesman in the U. S. and breakthrough in Chinese Theatre in the 1980s. Based on first-hand materials such as Miller＇s 7-week diaries and Ying＇s memoirs, this paper traces and elaborates two artists＇ respective contributions to their joint effort to make the play new and worldly. It also discusses its impact on the theatre in the U. S. and China in the 1980s and afterwards.