Arthur Miller's Death of a Salesman invites many lines of interpretation. The thesis aims at presenting two of these, which move around two seemingly contradistory focal points: the irony of the American Dream and the universality of human existence.The comparative analyses of Sándor Zsótér's theatre production and Volker Schlöndorff's film apply theatre-semiotic methods in showing how these lines of interpretation are carried out in the composition of elements. In the case of the former, the main issue is the irony of the American dream, which is realised through drawing a comparison between The Wizard of Oz and Miller's play. The connection is indicated on stage both by the costumes and the set, and supported by musical devices.Regarding Schlöndorff's film, the thesis points out the difficulties of adaptation of dramatic texts onto film. This particular film is unique in its rather being a theatre on film than a "real" film with the exploitation of the different film techniques. It uses theatrical devices eg. the scenery resembles a theatrical stage. The analysis follows a similar structure as in the case of the theatre performance. By listing an interpreting the visual and audible signs, the universal nature of the direction is stressed out. A special emphasis is laid on the choice of the two actor playing Willy's role since the physical properties and mental disposition create an image of Everyman.The theatrical performance is based on irony, the film on real and serious human conditions; the first one shakes our faith in values such as love and respect, the second re-establishes them. Since the play offers the possibility for both, it is the director's choice which one to present. The two productions should be seen or rather read together so that we get a complex and comprehensive exegesis of Death of a Salesman.