THE CRUCIBLE by Arthur Miller
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Masterarbeit / Master's Thesis
MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master’s Thesis “Paranoia in Tony Kushner’s Angels in America and Arthur Miller’s The Crucible” verfasst von / submitted by Dott. Marta Palandri angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien 2018 / Vienna 2018 Studienkennzahl lt. Studienblatt / A 066 844 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Anglophone Literatures and Cultures degree programme as it appears on the student record sheet: Betreut von / Supervisor: Univ.-Prof. Mag. Dr. Alexandra GANSER Table of Contents Introduction 3 Methodology 5 The Plays: Angels in America and The Crucible 6 Arthur Miller’s The Crucible in Context 6 Tony Kushner’s Angels in America in Context 9 Theory 11 New Historicism 11 The Fear of the Other 12 Binary Oppositions 13 Analysis and Theory Application 14 How Does Paranoia Affect Culture? 14 Paranoia and Identity 14 Paranoia and Fear 15 Paranoia in Postwar America 16 Mass Hysteria, Witch Hunts, and Scapegoating in The Crucible 18 A Dual Historical Context 18 Scapegoating 25 Monsters 30 The Role of Guilt 32 The Myth of Witchcraft 34 Conclusion 35 Psychosis, Symbolism, and Apocalypse in Angels in America 36 Historical Context through the Eyes of the Other 36 The Approach of the Millennium 37 Apocalyptic Narratives 41 Binary Oppositions 42 Symbolism and Apocalyptic Visions 44 Psychosis 46 Apocalyptic Otherness 47 Change and Stasis -
The 200 Plays That Every Theatre Major Should Read
The 200 Plays That Every Theatre Major Should Read Aeschylus The Persians (472 BC) McCullers A Member of the Wedding The Orestia (458 BC) (1946) Prometheus Bound (456 BC) Miller Death of a Salesman (1949) Sophocles Antigone (442 BC) The Crucible (1953) Oedipus Rex (426 BC) A View From the Bridge (1955) Oedipus at Colonus (406 BC) The Price (1968) Euripdes Medea (431 BC) Ionesco The Bald Soprano (1950) Electra (417 BC) Rhinoceros (1960) The Trojan Women (415 BC) Inge Picnic (1953) The Bacchae (408 BC) Bus Stop (1955) Aristophanes The Birds (414 BC) Beckett Waiting for Godot (1953) Lysistrata (412 BC) Endgame (1957) The Frogs (405 BC) Osborne Look Back in Anger (1956) Plautus The Twin Menaechmi (195 BC) Frings Look Homeward Angel (1957) Terence The Brothers (160 BC) Pinter The Birthday Party (1958) Anonymous The Wakefield Creation The Homecoming (1965) (1350-1450) Hansberry A Raisin in the Sun (1959) Anonymous The Second Shepherd’s Play Weiss Marat/Sade (1959) (1350- 1450) Albee Zoo Story (1960 ) Anonymous Everyman (1500) Who’s Afraid of Virginia Woolf Machiavelli The Mandrake (1520) (1962) Udall Ralph Roister Doister Three Tall Women (1994) (1550-1553) Bolt A Man for All Seasons (1960) Stevenson Gammer Gurton’s Needle Orton What the Butler Saw (1969) (1552-1563) Marcus The Killing of Sister George Kyd The Spanish Tragedy (1586) (1965) Shakespeare Entire Collection of Plays Simon The Odd Couple (1965) Marlowe Dr. Faustus (1588) Brighton Beach Memoirs (1984 Jonson Volpone (1606) Biloxi Blues (1985) The Alchemist (1610) Broadway Bound (1986) -
[email protected] 2
FOR IMMEDIATE RELEASE Press Contact: Betsy Aldredge Media Relations Specialist 914-251-6959 [email protected] PURCHASE OPERA AND ALBANY RECORDS RELEASE “THE CRUCIBLE” THE FIRST RECORDING IN MORE THAN 50 YEARS OF THIS WORK Based on Arthur Miller’s Play with Music by Robert Ward Purchase, NY, January 13, 2017: Purchase Opera and Albany Records have partnered to release the first new recording in more than fifty years oF The Crucible, an opera by composer Robert Ward and librettist Bernard Stambler based on Arthur Miller’s play about the Salem witch trials. Originally commissioned by the New York City Opera, The Crucible premiered on October 26, 1961, just eight years after Miller’s play was first perFormed. The opera won a Pulitzer Prize among other accolades. The last recording oF the opera, also released by Albany Records, was From the early 1960s, and Featured the original New York City Opera cast, minus bass-baritone Norman Treigle. The production, directed by Jacque Trussel, was presented in March 2016 at Purchase College’s PerForming Arts Center and was later recorded in the Conservatory oF Music’s Recital Hall. This new recording of The Crucible (TROY 1656/57) features students and alumni oF the Conservatory of Music’s Department oF Opera PerFormance and Vocal Studies—a highly selective program that has won 13 top awards From the National Opera Association For its acclaimed productions, including one For this production. The recording also features Purchase Symphony Orchestra, conducted by Hugh Murphy. Maestro Murphy is a recent recipient oF the American Prize Competition’s Ernst Bacon Memorial Award for the Performance of American Music for his conducting of The Crucible. -
Undergraduate Play Reading List
UND E R G R A DU A T E PL A Y R E A DIN G L ISTS ± MSU D EPT. O F T H E A T R E (Approved 2/2010) List I ± plays with which theatre major M E DI E V A L students should be familiar when they Everyman enter MSU Second 6KHSKHUGV¶ Play Hansberry, Lorraine A Raisin in the Sun R E N A ISSA N C E Ibsen, Henrik Calderón, Pedro $'ROO¶V+RXVH Life is a Dream Miller, Arthur de Vega, Lope Death of a Salesman Fuenteovejuna Shakespeare Goldoni, Carlo Macbeth The Servant of Two Masters Romeo & Juliet Marlowe, Christopher A Midsummer Night's Dream Dr. Faustus (1604) Hamlet Shakespeare Sophocles Julius Caesar Oedipus Rex The Merchant of Venice Wilder, Thorton Othello Our Town Williams, Tennessee R EST O R A T I O N & N E O-C L ASSI C A L The Glass Menagerie T H E A T R E Behn, Aphra The Rover List II ± Plays with which Theatre Major Congreve, Richard Students should be Familiar by The Way of the World G raduation Goldsmith, Oliver She Stoops to Conquer Moliere C L ASSI C A L T H E A T R E Tartuffe Aeschylus The Misanthrope Agamemnon Sheridan, Richard Aristophanes The Rivals Lysistrata Euripides NIN E T E E N T H C E N T UR Y Medea Ibsen, Henrik Seneca Hedda Gabler Thyestes Jarry, Alfred Sophocles Ubu Roi Antigone Strindberg, August Miss Julie NIN E T E E N T H C E N T UR Y (C O N T.) Sartre, Jean Shaw, George Bernard No Exit Pygmalion Major Barbara 20T H C E N T UR Y ± M ID C E N T UR Y 0UV:DUUHQ¶V3rofession Albee, Edward Stone, John Augustus The Zoo Story Metamora :KR¶V$IUDLGRI9LUJLQLD:RROI" Beckett, Samuel E A R L Y 20T H C E N T UR Y Waiting for Godot Glaspell, Susan Endgame The Verge Genet Jean The Verge Treadwell, Sophie The Maids Machinal Ionesco, Eugene Chekhov, Anton The Bald Soprano The Cherry Orchard Miller, Arthur Coward, Noel The Crucible Blithe Spirit All My Sons Feydeau, Georges Williams, Tennessee A Flea in her Ear A Streetcar Named Desire Synge, J.M. -
Spectral Evidence’ in Longfellow, Miller and Trump
Clemson University TigerPrints All Theses Theses May 2021 Weaponizing Faith: ‘Spectral Evidence’ in Longfellow, Miller and Trump Paul Hyde Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Hyde, Paul, "Weaponizing Faith: ‘Spectral Evidence’ in Longfellow, Miller and Trump" (2021). All Theses. 3560. https://tigerprints.clemson.edu/all_theses/3560 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. WEAPONIZING FAITH: “SPECTRAL EVIDENCE” IN LONGFELLOW, MILLER AND TRUMP A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Paul Hyde May 2021 Accepted by: Dr. Michael LeMahieu, Committee Chair Dr. Cameron Bushnell Dr. Jonathan Beecher Field ABSTRACT This thesis explores a particular type of irrational pattern-seeking — specifically, “spectral evidence” — in Henry Wadsworth Longfellow’s Giles Corey of the Salem Farms (1872) and Arthur Miller’s The Crucible (1953). It concludes with observations of this concept’s continued and concerning presence by other names in Trump-era politics. The two works by Longfellow and Miller make a natural pairing because both are plays inspired by the Salem witchcraft trials (1692-93), a notorious historical miscarriage of justice. Robert Warshow calls the Salem witchcraft trials, aside from slavery, “the most disconcerting single episode in our history: the occurrence of the unthinkable on American soil, and in what our schools have rather successfully taught us to think of as the very ‘cradle of Americanism” (211). -
The Seagull Anton Chekhov Adapted by Simon Stephens
THE SEAGULL ANTON CHEKHOV ADAPTED BY SIMON STEPHENS major sponsor & community access partner WELCOME TO THE SEAGULL The artists and staff of Soulpepper and the Young Centre for the Performing Arts acknowledge the original caretakers and storytellers of this land – the Haudenosaunee Confederacy, and Wendat First Nation, and The Mississaugas of the Credit First Nation who are part of the Anishinaabe Nation. We commit to honouring and celebrating their past, present and future. “All around the world and throughout history, humans have acted out the stories that are significant to them, the stories that are central to their sense of who they are, the stories that have defined their communities, and shaped their societies. When we talk about classical theatre we want to explore what that means from the many perspectives of this city. This is a celebration of our global canon.” – Weyni Mengesha, Soulpepper’s Artistic Director photo by Emma Mcintyre Partners & Supporters James O’Sullivan & Lucie Valée Karrin Powys-Lybbe & Chris von Boetticher Sylvia Soyka Kathleen & Bill Troost 2 CAST & CREATIVE TEAM Cast Ghazal Azarbad Stuart Hughes Gregory Prest Marcia Hugo Boris Oliver Dennis Alex McCooeye Paolo Santalucia Peter Sorin Simeon Konstantin Raquel Duffy Kristen Thomson Sugith Varughese Pauline Irina Leo Hailey Gillis Dan Mousseau Nina Jacob Creative Team Daniel Brooks Matt Rideout Maricris Rivera Director Lead Audio Engineer Producing Assistant Anton Chekhov Weyni Mengesha Megan Woods Playwright Artistic Director Associate Production Manager Thomas Ryder Payne Emma Stenning Corey MacVicar Sound Designer Executive Director Associate Technical Director Frank Cox-O’Connell Tania Senewiratne Nik Murillo Associate Director Executive Producer Marketer Gregory Sinclair Mimi Warshaw Audio Producer Producer Thank You To Michelle Monteith, Daren A. -
The Crucible Giles Corey
THE CRUCIBLE GILES COREY He is in his early 80s at the time of the trials. He represents the many innocent victims of the witch-trials in Salem His conscience would not let him answer to, of confess to something which he was not guilty of and he paid for this with his life. He is an example of moral integrity and an inspiration for John Proctor when he urges his torturers to place more weights on him. He showed great bravery up to his death. Personality – wise he is an argumentative but fundamentally honest farmer, who seems to have made a hobby out of taking people to court over land issues. He was always under the suspicious eye of the community for something – if ever a fire started or something went missing the first port of call was always Corey. The worst he could be accused of was being a nuisance and a ‘crank’ – but certainly not witchcraft. He didn’t care what other people thought of him and had only come to the church late in life when he had married Martha. He has quarrelled with Thomas Putnam over a piece of land. His mention of his wife’s fondness for reading puts her under suspicion. He knows that if he answers the court’s charge of witchcraft his sons will lose their right to inherit his land so he refuses to answer to the court. If he had denied the charge and been hanged they would have forfeit the right to inherit. He is pressed to death under large stones. -
A Production Analysis of Arthur Miller's the Price
BELL, LOUIS P. A Production of Arthur Miller's The Price. (1976) Directed by: Dr. Herman Middleton. Pp. 189 The purpose of this thesis is to study the background surrounding the playwright and the play itself in preparation for a production of the play, and then present a critical evaluation of the production. Chapter One deals with the following: (1) research of the playwright's background, (2) research of the play's back- ground, (3) character description and analysis, (4) analysis of the set, (5) the director's justification of script, and (6) the director's interpretation of that script. Chapter Two consists of the prompt book for the pro- duction, performed October 22, 23, 24, 25, 26, 27 and 28, in Taylor Theatre at the University of North Carolina at Greens- boro. Notations include: (1) movement, composition, and picturization, (2) details of characterization and stage business, (3) rhythm and tempo, and (4) lighting and sound cues, production photographs are also included. The third chapter consists of critical evaluations in four areas. They are: (1) achievement of Interpretation, (2) actor-director relationships, (3) audience response, and (4) personal comments. A PRODUCTION ANALYSIS OF ARTHUR MILLER'S THE PRICE by Louis Bell A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Greensboro 1976 Thesis Adviser APPROVAL PAGE This thesis has been approved by the following committee of the Faculty of the Graduate School at the University of North Carolina at Greensboro. -
FINISHING the PICTURE by Arthur Miller
Press Information ! ! ! VIBRANT NEW WRITING | UNIQUE REDISCOVERIES June–August Season 2018 The UK premiere of Arthur Miller’s final play FINISHING THE PICTURE by Arthur Miller. Directed by Phil Willmott. Set Design by Isabella Van Braeckel. Costume Design by Penn O’Gara. Lighting Design by Rachel Sampley. Sound Design by Nicola Chang. Presented by Nastazja Somers for The Phil Willmott Company in association with the Finborough Theatre. Cast: Patrick Bailey. Stephen Billington. Jeremy Drakes. Nicky Goldie. Rachel Handshaw. Oliver Le Sueur. Tony Wredden. "She is frightened and resentful and angry – and we’ve got about half an hour to cure all three.” Following his critically acclaimed, up-close reinvention of Arthur Miller’s Incident at Vichy and sell-out revival of The American Clock, multi-award-winning director Phil Willmott brings the intense focus of the intimate Finborough Theatre to bear on Miller’s final work, Finishing The Picture, opening for a four week limited season on Tuesday, 12 June 2018 (Press Nights: Thursday, 14 June 2018 and Friday, 15 June 2018 at 7.30pm.) As the women of today’s Hollywood campaign for dignity and equality, Finishing the Picture is a razor sharp psychological study of an abused, misunderstood female star and the havoc her unpredictability brings to a film set in 1961. Inspired by the filming of The Misfits, the screenplay Miller wrote for his then wife, Marilyn Monroe, and focused on the bemused and exasperated director, screen writer, producer, acting coaches and crew that closely mirror the real life production team of The Misfits – and whilst leading lady Kitty shares many characteristics with Monroe herself, Finishing the Picture – Arthur Miller’s very final play – is a devastating indictment of how a male-dominated movie industry inadvertently destroyed a vulnerable young woman, even as they transformed her into a screen goddess, and how they were unable to deal with the wreckage they caused. -
Drama and Theatre
Drama and Theatre You need to do three things to be a top quality dramatist – watch theatre, read plays and create. The more you do these three things, the more you will fall in love with theatre, deepen your appreciation and understanding of the art form and develop your ability to produce sophisticated pieces of theatre. Doing any of these will develop your knowledge and ability, but the top drama students find the balance between all three: Watching theatre is the best way a drama practitioner gets inspired and generates initial ideas. You will see things on stage which will make you think or feel a certain way; it may prompt a cathartic response, shock you or make you consider a topic in a completely new light. As practitioners, we are constantly stealing and adapting each other’s ideas to create great theatre. Reading plays gives you a deeper appreciation of the history and tradition of theatre. It also allows you to consider a story and imagine your own directorial, design and performance interpretations. The more you read, the more you exercise your imagination. Creating is crucial to actually applying and practising the skills and ideas you get from watching and reading theatre. You cannot be a top quality dramatist if you do not practise the craft. And the process works both ways. Watching theatre and reading plays will make you a more inspired and informed creator. But creating will also give you a deeper and richer appreciation of the plays you watch and read. Below, I have outlined 16 of my favourite plays, all of which have made an incredibly important cultural contribution to theatre history. -
Roles Available for 2021 Opera Nuova Productions
ROLES AVAILABLE FOR 2021 OPERA NUOVA PRODUCTIONS: Of course, things may shift as the audition season approaches, but this is currently what is uncast or only single cast in our productions. Each role will be double-cast. DIDO AND AENEAS & AENEAS AND DIDO Dido (Purcell) o Soprano/Mezzo Soprano o Queen of Carthridge Aeneas (Purcell & Rolfe) o Tenor o Trojan Prince Sorceress o Counter Tenor/Mezzo Soprano Witch #1, Spirit, Mercury o Soprano Witch #2, Second Woman, Goat o Soprano/Mezzo Soprano Tenor Ensemble Baritone Ensemble THE CRUCIBLE Thomas Putnam o Baritone o Married to Ann Putnam. A greedy landowner in Salem. He systematically accuses his neighbors of witchcraft so that he might purchase their lands after they’re gone. Francis Nurse o Bass o Farmer and landowner in Salem. He is a respected member of the community often called upon to settle disagreements between individuals. Giles Corey o Tenor o Married to Martha Corey. Innocent, elderly citizen accused of witchcraft after he attempts to defend his wife, Martha, and expose scheming John Putnam. Elizabeth Proctor o Mezzo Soprano o John Proctor’s wife. Elizabeth fired Abigail when she discovered that her husband was having an affair with Abigail. Elizabeth is supremely virtuous, but often cold. Rebecca Nurse o Mezzo Soprano/Contralto o Charitable Salem resident whom Ann Putnam accuses of witchcraft. Betty Parris o Mezzo Soprano o Daughter of Rev. Parris. At the beginning of the opera, she lies in a stupor supposedly caused by witchcraft. Susanna Walcott o Soprano o Friend to Abigail. She also takes part in the trials by falsely accusing others of witchcraft. -
A Graduate Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1967 A Graduate Recital Report Jean Madsen Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Education Commons Recommended Citation Madsen, Jean, "A Graduate Recital Report" (1967). All Graduate Plan B and other Reports. 584. https://digitalcommons.usu.edu/gradreports/584 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. ACKNOWLEDGMENTS Sincere appreciation is acknowledged to the members of my committee for their assistance in preparation of my Master's work; to the chairman, Dr. Max Dalby, for his guidance in the program; t o Dr . William Ramsey and Professor Merle Puffer for their patience in the training and preparation of the recital; to Dr. John Carlisle, De an of Education, for his unde rstanding and advice; and to Dr. Alma Dittmer for his special help . To my accompanist, Naone Godfrey, I would like to express my since re thanks for the hours of rehearsal time she has given both to me and to the choir. To the Box Elder Four Stake Choir for the many hours and dedicated service they have given for the love of good music and respect for the director, my gratitude is extended . Jean Madsen TABLE OF CONTENTS PREPARATION OF INDIVIDUAL RECI~L CHOIR PREPARATION PROGRAM 4 PROGRAM ANALYSIS 5 Solo Selections ~ 5 German Lieder 8 French Selections 12 English Group 15 .!:!!, Traviata 17 Choir Selections 20 The Creation 20 Requiem 23 Madrigals 24 "The White Swan" 26 Folk Music 28 The Messiah 32 CONCWSION 36 LITERATURE CITED 37 PREPARATION OF INDIVIDUAL RECITAL In preparing for the recital many challenges were presented .