The script of the Crucible Essay Example

The script of the Crucible Paper In The Crucible there are many highly dramatic scenes where Miller creates a great deal of tension and emotion in the audience. Imagine you are directing a production of The Crucible. Describe how you would stage these scenes and how you would build up tension and emotion in your audience. The Crucible, by Arthur Miller, was written in America in the 1950s. It depicts an eye-opening analogy between the Salem witch-hunt in 1692 and the McCarthy communist trials in 1950s America. In fact, Miller used some of the exact recorded speech from the McCarthy trials in the script of The Crucible. While watching The Crucible the audience should remember that the people of Salem were devotedly puritan, and so anything that contradicted the commandments, or any part of the Bible would be heavily frowned upon. And so, within the context of the play, could be turned in to signs of witchcraft by people manipulating the truth. At the end of Act III Elizabeth denies that Proctor has had an affair after Proctor has admitted to it. If she tells the truth it would have cast strong doubts across Abigails accusations. Afterwards Hale- perhaps too late- tells the court he believes Proctor. Abigail, showing her ruthless resourcefulness again, pretends Mary is sending her spirit on her. Danforth believes her. Mary, due to the pressure from Danforth, the threat of death, and the girls hysteria accuses Proctor of witchcraft and returns to Abigail. Proctor and Giles are arrested at the end of the act. When Elizabeth is called in to the court I think she should be led in from the back of the auditorium, which will build up suspense and tension in the audience. We will write a custom essay sample on The script of the Crucible specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The script of the Crucible specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The script of the Crucible specifically for you FOR ONLY $16.38 $13.9/page Hire Writer I would group the girls on stage left, with Abigail slightly nearer the centre and facing back. The girls should stare wide-eyed at Elizabeth. Proctor should stand the mirrored position of Abigail, again facing back. Hale should be close to him, but further right, looking nervously, but slightly expectantly, at Elizabeth. This should show the audience how the pressure has all been shifted to Elizabeth. Danforth should stand down centre facing out, and when Elizabeth reaches the stage she should stand close in front of him facing towards him. This should create a dramatic triangle between Elizabeth, Proctor, and Abigail. This should symbolise Elizabeths dilemma. Whether to denounce Abigail and keep to her Christian convictions, or to save Johns name from shame. Elizabeth is called in to confirm Proctors claim that he and Abigail had an Affair. Proctor is certain she will tell the truth, as she never lies. He says that in her life she have never lied. This should create suspense in the audience, as they can sense Elizabeths dilemma, but know what John expects her to do. This is one of the points in the scene where one of the characters could have changed to outcome of the play. When Elizabeth denies her husband is a lecher replying timidly to Danforths ferocity No, sir I would have the whole court freeze except Elizabeth and a spotlight on her when she says the line No, sir, then instantly the lights should come back up, and the action continue. This should again build up huge tension in the audience in the wait for Elizabeths decision. When it comes the will be very taken aback, but will not be given time to recover as the action will continue quickly. The speed of Danforths reaction seems to suggest that this was the answer he wanted, as it is quick and dismissive of the appeals. This is shown as he immediately orders the Marshal to Remove her. This I think is because if she had not denied the affair it would have also left serious questions about Danforths skills of judgement. Hale then tells the court that he believe s Proctor and tells the court he has always struck me true. I think the audience would be thinking this has come too late. To emphasise this Danforth should ignore him, walking back to his bench, not even turning to say, she spoke nothing of lechery, and this man has lied. During this I would make Proctor place his head in his hands, and the girls passing very discreet smirks between one another. When Hale says [pointing at Abigail] This girl has always struck me false. She has- and Abigail cuts him off. Here we again see how Abigail uses her position of power in the court. She suddenly cuts in about the yellow bird saying You will not! Begone! Begone, I say! this suddenly draws attention away from the people who are doubting her.

David by Michelangelo Essays

David by Michelangelo Essays David by Michelangelo Paper David by Michelangelo Paper Name: Tutor: Course: Date: David by Michelangelo David is a Renaissance sculpture that was formed between 1502 and 1504, by the Italian sculptor, Michelangelo. The sculpture is a 17-foot marble bust that displays a naked standing male. The character used in the sculpture represents the biblical King David, a special subject in Florentine art. The sculpture was initially commissioned as one of a set of masterpieces of prophets to be situated alongside the roofline of the Florence Cathedral. However, the statue was alternatively placed in the Palazzo della Signoria public square, in Florence City where it was made public in 1504. Because of the personality of the individual it represented, it soon came to denote the defense of social liberties embodied in Florence, a self-governing city-state endangered from all directions by powerful adversary states. The original statue was relocated to the Accademia Gallery in Florence and replaced with a replica at the same location. Historical background Before Michelangelo became involved in the development of the statue, the management at the Florence Cathedral had planned to erect twelve massive Old Testament effigies that would also act as the buttresses for the building. In fact, work had already started on these sculptures led by Donatello (Joshua and David sculpture) and Agostino’s unfinished David sculpture. However, just before the project was complete, the cathedral management ran into the challenge of how to hoist the sculpture onto the roof. Finally, they appointed a team of several artists to deliberate on the most appropriate location for the statue. Interpretation of the sculpture Michelangelo’s David was slightly different from earlier representations of the theme in that the biblical character was not portrayed as the killer of the giant Goliath. Typically, David was always represented as holding Goliath’s head, and, in fact, Verrocchio and Donatello sculpted their own works with this traditional inclusion. Most academics believe that the masterpiece showed David when he was preparing for a battle with Goliath. Instead of showing signs of victory over an enemy mightier than he was, David’s face displayed a lot of tension and preparedness for combat. The muscles in his neck stood out stiffly; his facial especially his upper lip was taut; his forehead was wrinkled, and his eyes appeared to concentrate attentively on a far away object. While veins were protruding from his lowered hand, his body was in a tranquil pose, and he was armed with his sling that was lying offhandedly over his shoulder. The calm pose itself was dissimilar from any other earlier representations of David; Both Verrocchio and Donatello had created sculptures of David standing triumphant over Goliath’s head while Andrea del Castagno had portrayed the character while he was swinging his weapon and Goliath’s head down at his feet. However, the entire range of masterpieces done by earlier Florentine artist had not failed to include the Philistine giant overall. The difference between his powerful appearance and his peaceful pose, possibly suggested that David’s sculpture represented his demeanor after he decided to wrestle Goliath, but before the real encounter. The large part of his body mass was stressed on his back leg in a manner consistent with the Renaissance tradition of portraying its subjects in retreated, composed positions, just before they sprung into action. Michelangelo’s representation was that of the period between mindful choice and conscious battle. Michelangelo’s David was a Renaissance understanding of a general historical Greek theme of the upright valiant male nude. In the High Renaissance, contrapposto styles were regarded as a characteristic feature of historic sculpture. In David, the form stands with one leg supporting its complete weight and the other leg loosened up. This traditional pose makes the statue’s shoulders and hips to sit at conflicting angles, creating a small s-curve to the complete upper body. Additionally, the head was twisted to the left, whereas the left arm was lifted towards his left shoulder and his sling that was thrown on his back. Michelangelo’s David became one of the most celebrated sculptures of Renaissance sculpture, becoming a representation of both might and youthful human attractiveness. The gigantic mass of the sculpture was the most extraordinary feature of Michelangelo’s statue compared to that of his rivals. One of the artists, Vasari described the sculpture as a marvel created by Michelangelo that had the ability to bring to life the past memories of the dead. He concluded by mentioning all the other marvelous creations that were done by Michelangelo over the Renaissance period. The sizes of David and other sculptures were an atypical feature of Michelangelo’s efforts; the effigy had an abnormally large head and limbs especially the right hand. These exaggerations may be because the effigy would have been initially displayed on the cathedral rooftop, where the significant parts of the statue would unavoidably be emphasized in order to be noticeable from below. The statue was also abnormally slim when compared to its height. While most artist would have attributed this difference to individual taste, it was probably Michelangelo’s oversight that could not be rectified. It is probable that David was envisaged as a political effigy before Michelangelo started to sculpt it. Definitely, David had long been perceived as a political character in Florentine culture, and pictures of the Biblical personality were already influencing political actions there. Donatello’s David made of pure bronze as a distinct feature in the Medici family quarters. Later on, it still assumed a political role at the Palazzo della Signoria courtyard, where it represented the Republican government. Analysts have even pointed out that David’s undamaged penis that went against Judaic practice was in line with the traditions of Renaissance art. Conclusion Michelangelo’s David arrived from the Piazza della Signoria in 1873 due to the threat of natural erosion that would erode the sculpture as well as intentional damage. There were undocumented reports of vandalism in 1991 hen a man defaced the statue. After this incident, the statue was considered for renovation several times. A replica of the sculpture was however, made and placed in the exact position, in Piazza della Signoria. In spite of the awareness of the statue’s illustration, the utter magnitude of the marble effigy always surprised all the contemporaries and even the present day viewers. The present connection between Florence City and David is highly political. Since the Renaissance period, Florence perceived the David statue as a symbol of the city. David’s power, bravery and youthful assurance were the picture that Florence needed to project. In the 14th century, Florence regained its position as a republic. David signified the city’s sovereignt y from unknown authority, both the aristocracy and colonialists. Like Florence, David illustrated a calm power that was often overlooked by many. The strategic position outside the state offices also made it seem like he was a guard that reminded the citizens to defend bravely and lead fairly.