Hi,
Too bad that folks here can not take this out of the just fun aspect and understand how much of their work came from it! And YES ... and with Tennessee Williams, William Inge and later Edward Albee (and others), these were the works that helped put the Acting Studio on the map.
Personally, it's not my favorite kind of theater, and it is way off its rocker emotionally, and it always felt like its main thrust was ... Marlon Brando screaming "Stellllllllllllaaaaaaaaaaa" as if it were some kind of a freedom cry to either be heard, or accepted. Elia Kazan is almost single handedly responsible for these ... and Lee Strasburg is also massive in the propagation of these actors and work.
Arthur Miller, is probably the most interesting of all the writers, and not tied up as much to the emotional drags in relationships that Tennessee Williams was, which later became overdone with beacan by Edward Albee to the point of the stink being all over the room with the grease!
What a lot of you do not see in this stuff is that it was the indicator that some of the arts were getting "free'r" by the pound, and when rock'n'roll and jazz became such a strong individualistic scene, it wasn't on account of cardboard movies and Elvis, because he was not exactly a representative of that group that ended up standing out so much and pretty much rule film and theater for 20 years! The rock scene in the 60's all of a sudden makes a lot more sense in America and England, who had its sister theater folks, and they were called the "angry young men".
There is a very strong connection between this stuff and music --- but you'll never know or understand that if you never read a play or more about it during its time.