The Crucible: Background
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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). -
A Comprehensive Look at the Salem Witch Mania of 1692 Ashley Layhew
The Devil’s in the Details: A Comprehensive Look at the Salem Witch Mania of 1692 __________ Ashley Layhew Nine-year-old Betty Parris began to convulse, seize, and scream gibber- ish in the winter of 1692. The doctor pronounced her bewitched when he could find no medical reason for her actions. Five other girls began ex- hibiting the same symptoms: auditory and visual hallucinations, fevers, nausea, diarrhea, epileptic fits, screaming, complaints of being bitten, poked, pinched, and slapped, as well as coma-like states and catatonic states. Beseeching their Creator to ease the suffering of the “afflicted,” the Puritans of Salem Village held a day of fasting and prayer. A relative of Betty’s father, Samuel Parris, suggested a folk cure, in which the urine of the afflicted girls was taken and made into a cake. The villagers fed the cake to a dog, as dogs were believed to be the evil helpers of witches. This did not work, however, and the girls were pressed to name the peo- ple who were hurting them.1 The girls accused Tituba, a Caribbean slave who worked in the home of Parris, of being the culprit. They also accused two other women: Sarah Good and Sarah Osbourne. The girls, all between the ages of nine and sixteen, began to accuse their neighbors of bewitching them, saying that three women came to them and used their “spectres” to hurt them. The girls would scream, cry, and mimic the behaviors of the accused when they had to face them in court. They named many more over the course of the next eight months; the “bewitched” youth accused a total of one hundred and forty four individuals of being witches, with thirty sev- en of those executed following a trial. -
Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood
LH 19_1 FInal.qxp_Left History 19.1.qxd 2015-08-28 4:01 PM Page 57 Michael Gold & Dalton Trumbo on Spartacus, Blacklist Hollywood, Howard Fast, and the Demise of American Communism 1 Henry I. MacAdam, DeVry University Howard Fast is in town, helping them carpenter a six-million dollar production of his Spartacus . It is to be one of those super-duper Cecil deMille epics, all swollen up with cos - tumes and the genuine furniture, with the slave revolution far in the background and a love tri - angle bigger than the Empire State Building huge in the foreground . Michael Gold, 30 May 1959 —— Mike Gold has made savage comments about a book he clearly knows nothing about. Then he has announced, in advance of seeing it, precisely what sort of film will be made from the book. He knows nothing about the book, nothing about the film, nothing about the screenplay or who wrote it, nothing about [how] the book was purchased . Dalton Trumbo, 2 June 1959 Introduction Of the three tumultuous years (1958-1960) needed to transform Howard Fast’s novel Spartacus into the film of the same name, 1959 was the most problematic. From the start of production in late January until the end of all but re-shoots by late December, the project itself, the careers of its creators and financiers, and the studio that sponsored it were in jeopardy a half-dozen times. Blacklist Hollywood was a scary place to make a film based on a self-published novel by a “Commie author” (Fast), and a script by a “Commie screenwriter” (Trumbo). -
The Ideology of the John Birch Society
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Ideology of the John Birch Society Max P. Peterson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Political Science Commons Recommended Citation Peterson, Max P., "The Ideology of the John Birch Society" (1966). All Graduate Theses and Dissertations. 7982. https://digitalcommons.usu.edu/etd/7982 This Thesis 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 Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THEIDEOLOGY OFTHE JOHN BIRCH SOCIETY by Y1ax P. Peterson A thesis submitted in partial fulfillment of the requirements for the degree of MASTEROF SCIENCE in Political Science Approved: Major Professor Head of Department Dean of Graduate Studies UTAH STATE UNIVERSITY Logan, Utah 1966 ACKNOWLEDGMENTS I wish to express my appreciation to Dr. Milton C. Abrams for the many hours of consultation and direction he provided throughout this study. To Dr. M. Judd Harmon, I express thanks, not only for his constructive criticism on this work, but for the constant challenge he offers as a teacher. A very special thanks is given my wife, Karen, for her countless hours of typing, but first and foremost for the encouragement, u nderstanding, and devotion that she has given me throu ghout my graduate studies. TABLE OF CONTENTS Introduction 1 Chapter I. The Background and Organization of the John Birch Society 4 The Beginning 4 The Symbol 7 The Founder 15 Plan of Action 21 Organizational Mechanics 27 Chapter II. -
Perjurium Maleficis: the Great Salem Scapegoat
Perjurium Maleficis: The Great Salem Scapegoat by Alec Head The Salem Witch Trials, often heralded as a sign of a religious community delving too deep into superstition, were hardly so simple. While certainly influenced by religion, the trials drew upon numerous outside elements. Though accusations were supposedly based in a firm setting of religious tradition, an analysis of individual stories—such as those of Rebecca Nurse, John Alden, and George Burroughs—shows that the accused were often targeted based on a combination of either fitting the existing image of witches, personal feuds, or prior reputations. The Puritans of Salem considered themselves to be “God’s chosen people,” building a new land, a heaven on earth.1 As with many endeavors in the New World, the Puritans faced innumerable struggles and hardships; their path would never be an easy one. However, rather than accepting their hurdles through a secular perspective, the Puritans viewed matters through a theological lens to explain their difficulties. While other, non-Puritan colonies faced similar challenges, the Puritans took the unique stance that they lived in a “world of wonders,” in which God and Satan had hands in the daily lives of humanity.2 In effect, this led to desperate—eventually deadly— searches for scapegoats. Upon his arrival in Salem, Reverend Samuel Parris publicly insisted that the hardships were neither by chance nor mere human hand. After all, if they were God’s chosen people, any opposition must have been instigated by the devil.3 Satan would not simply content himself with individual attacks. Rather, Parris insisted, grand conspiracies were formed by diabolical forces to destroy all that the Puritans built. -
Curriculum Vitae: Bruce F. Kawin
October 30, 2020 Curriculum Vitae: Bruce F. Kawin Professor Emeritus of English University of Colorado at Boulder Boulder, CO 80309 Home: 4393 13th St. Boulder, CO 80304 Phone: (303) 449-4845 (land line) — (303) 514-6707 (cell; use this or e-mail until further notice) Fax: (303) 449-2503 E-mail: [email protected] Born: Los Angeles, CA Education: Ph.D.: Cornell University, September 1970 Major: 20th Century British and American Literature Minor: Film History and Aesthetics Thesis: Telling It Again and Again: The Aesthetics of Repetition M.F.A.: Cornell University, June 1969 Major: Creative Writing Minor: Filmmaking Thesis: Slides Summer program in Documentary Film Production, UCLA, August 1968 B.A. cum laude: Columbia College, Columbia University, June 1967 Major: English and Comparative Literature Teaching Experience: Professor of English: English Department, University of Colorado at Boulder, 1975-2015. (Professor Emeritus, 2015-present; Full Professor since 1980; tenure awarded, 1979; Associate Professor, 1977- 80; Assistant Professor, 1975-77.) Taught half-time in Film Studies Program 1975-2006 (two Film Studies courses/year), then one Film Studies course/year through 2014; other film courses after 2006 taught in English Dept. Fields: Modern Literature, Film History and Theory, Creative Writing. Visiting Fellow: Theater Arts Board, College 5, University of California at Santa Cruz, 1980-81. Fields: Film History and Theory. Specialist in Film Analysis: Center for Advanced Film Studies, American Film Institute, 1974. Lecturer in English and Film: English Department, University of California at Riverside, 1973-75. Fields: Modern Literature, Film History, Composition, Women Studies. Assistant Professor of English: English Department, Wells College, 1970-73. -
ABSTRACT Title of Document: from the BELLY of the HUAC: the RED PROBES of HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philos
ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947-1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un-American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951-1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on-going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe. -
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.