Interviewer: Do any of the younger playwrights create heroes — in your opinion?

Miller: I tell you, I may be working on a different wave length, but I don't think they are looking at character any more, at the documentation of facts about people. All experience is looked at now from a schematic point of view. These playwrights won't let the characters escape for a moment from their preconceived scheme of how dreadful the world plays. It is very much like the old strike plays. The scheme then was that someone began a play with a bourgeois ideology and got involved in some area of experience which had a connection to the labor movement— either it was actually a strike or, in a larger sense, it was the collapse of capitalism—and he ended the play with some new positioning vis-a-vis that collapse. He started without an enlightenment and he ended with some kind of enlightenment. And you could predict that in the first five minutes. Very few of those plays could be done any more, because they're absurd now. I've found over the years that a similar thing has happened with the so-called absurd theater. Predictable.