March 30, 1990
Welcome to my second post in my series on teaching Arthur Miller’s drama, “The Crucible.” In my first post, I offer my top 5 tips on teaching the play, and in this one, I’m mapping out my entire unit, from pre-reading to assessment. The Crucible is a dramatic re-enactment of the Salem Witch Trials in Massachusetts in the late 1600’s. Arthur Miller intended to use the Salem Witch Trials as an allegory about the anti-communist Red Scare and the congressional hearings of Sen. Joseph McCarthy going on in the United States at the time. The destruction lead by the witch trials in Salem formed conflicts between characters in existing relationships. The book is filled with accusations, twists, drama, and excitement as you watched the town of Salem twist itself into one complicated knot. The characters are interesting and complex, as the play goes on you really see them develop. Note: This book is an analysis of the play only and does not include the original text of the play. Here, especially for high school students, is an analysis and summary of Arthur Miller's famous play. The destruction lead by the witch trials in Salem formed conflicts between characters in existing relationships. The book is filled with accusations, twists, drama, and excitement as you watched the town of Salem twist itself into one complicated knot. The characters are interesting and complex, as the play goes on you really see them develop.
Relearning the Lesson of Miller's 'Crucible'
By MEL GUSSOW
he Crucible' is not only Arthur Miller's most-produced play; it has also become his most continually relevant work of political theater. By focusing on the Salem witch hunts of the 17th century, the playwright placed the outrage of McCarthyism in historical perspective and created a drama that has remained meaningful to succeeding generations. Gerald Freedman's articulate revival at the Roundabout Theater Company is as resolute as the play itself.
Although this is the first New York production since the Lincoln Center version 18 years ago, 'The Crucible' is performed with frequency at America's regional theaters (and throughout the world). There were two recent major productions in the Northeast, four years ago at the Trinity Repertory Company in Providence, R.I., and earlier this season at the Long Wharf Theater in New Haven.
In the hands of different directors and actors, and with slight alteration in emphasis, each of the three revivals illustrates the consequential themes of the play: the epidemic of evil, the perversion of religion and civil order and the way that decency can outlive even the most disquieting events. For the playwright, justice and jurisprudence will always triumph over the immediate inequities of the legal system.
The law in various guises permeates Mr. Miller's work. Plays from 'All My Sons' through 'After the Fall' and his recent one-acts operate in a courtroom of ideas. In this sense, Salem, at the time of the witch hunt, becomes the crucible for tyranny, as the innocent are considered guilty even in the light of evidence to the contrary. 'Black mischief' and fear are loose, and neighbor deserts neighbor. For the time of the play, all reason has absented itself. To be 'somewhat mentioned' in a preliminary hearing is tantamount to being condemned to death.
The firm moral center of this insane universe is Elizabeth Proctor, a woman unable to tell a lie, except to try to save her husband's life. Depending on the performance, Elizabeth can seem sanctimonious, a good wife preoccupied with self-denial. In her restrained but moving performance, Harriet Harris avoids that danger, giving Elizabeth a firm individual identity before she has to face their joint crisis.
With equal perspicacity, Randle Mell studiously avoids making Proctor seem heroic or even stoic, at least until his final act of conscience. He is willful and temperamental, a more emotionally highstrung Proctor than is customary. Demanding that Mary Warren, Abigail's acolyte, testify in defense of his wife, he grabs the girl by the throat and lifts her off her feet, holding her aloft as if she were a rag doll. In this and other moments, Mr. Mell becomes a man enraged. The performances by him and Ms. Harris certify the strength of the couple's bond. For Mr. Mell's Proctor, the liaison with Abigail has been an aberration, a misstep but not something to shake his enduring attachment to his wife.
Abigail is character assassin as catalyst. From her first entrance, Justine Bateman - making her New York stage debut - projects the character's nervous intensity, a near demonism that derives from her rebuffed sensuality. A self-dramatizer, she drops her abrasiveness in a quiet plea for Proctor's love. When he rejects her for the last time, she moves unswervingly on her course of vengeance.
Using Christopher H. Barreca's spare, woodhewn set, Mr. Freedman's production is unadorned. Performed within a proscenium, the play loses a sense of a surrounding environment (which it had in the Long Wharf and Providence open-stage versions). No longer do we feel the swirl of predators around their prey. But the production compensates by focusing the audience's attention on the three principal characters and the central dramatic conflict.
The primary change that occurs in the course of the play is in the character of the Reverend Hale, who gradually awakens to the inhumanity around him. Then, to his surprise, he realizes he is contradicting his principles by asking the pure in heart to perjure themselves in order to survive. As Hale, William Leach moves forcefully from good intentions to acts of rebellion. There is watchful support from, among others, Vicki Lewis (as Mary Warren), Maury Cooper and Ruth Nelson.
In Mr. Miller's apt words, the play deals with 'one of the strangest and most awful chapters in human history.' Though the basic events are true, one always greets them with incredulity. Even today, with formerly repressive nations promoting individual liberty, the scourge that the playwright first identified in the 1950's remains a lingering global presence. In revival, 'The Crucible' leaves disturbing reverberations.
The Crucible is a nonprofitindustrial arts school in Oakland, California, United States. Established in Berkeley in 1999, the institute was moved to its present location in 2003.[1][2]
The mission of The Crucible is to foster a collaboration of arts, industry and community through training in the fine and industrial arts, The Crucible promotes creative expression, reuse of materials, and innovative design and serves as an arts venue for the general public.
The Crucible has classes in blacksmithing, ceramics, enameling, fire performance, foundry, glass, hot wheels, jewelry, kinetics and electronics, machine shop, moldmaking, neon and light, stone working, textiles, welding, woodworking, and other industrial arts with an average of 5,000 students a year.[3] The Crucible's Youth Program serves over 3,000 youth annually, half of whom are members of the West Oakland community who have access to free classes and workshops. Founder, Michael Sturtz, has created two fire operas, a fire ballet, and a burning version of Homer's Odyssey, in addition to the annual Fire Arts Festival held in July.
As a nonprofit organization, The Crucible relies on annual membership donations, grants and individual donations.
Youth & Community program[edit]
The Crucible Youth Program is committed to community service with local schools and neighborhoods. Since 2005, the Youth and Community Outreach Program has served nearly 8,000 youth between the ages of 8 and 18.
The program includes weekend and afterschool classes, camps, and field trips. The experiences support learning in areas such as mathematics, science, art, and world culture. Participants learn about the processes, tools, materials and applications of industrial arts.
Earn-A-Bike program[edit]
The workshop gives West Oakland youth hands on experience to learn about bike mechanics. In a six-week workshop, the youth work with volunteer bike mechanics to fix donated bikes. Each participant fixes two bikes and keeps one. The other bike is sold to raise money to support the bike program.
The Crucible holds 'Bike Fix-a-thon' workshops where youth and their families can learn about bike maintenance and safety.
Educational Response Vehicle (ERV)[edit]
The Crucible's Educational Response Vehicle (ERV) is a 1960 International Harvester fire engine, modified to a demonstration platform for industrial and fire arts. ERV can demonstrate:
- Blacksmithing
- Arc Welding
- Oxy-acetylene torch cutting
- Glass Flameworking
Events[edit]
Fire Arts Festival[edit]
Each July The Crucible’s Fire Arts Festival celebrates creativity through fire and light with an open-air exhibition of interactive fire art, performance and the largest collection of outdoor fire sculpture on the West Coast. The Fire Arts Festival is a fundraising event, and proceeds benefit The Crucible’s arts education programs for youth and adults.
Fire Operas and Fire Ballets[edit]
The Crucible has staged full-length performances of the following shows:
- Jan 2009: Dracul, Prince of Fire[4]
- April 2008: Firebird: 'L'oiseau de feu'[5]
- Jan 2007: Romeo and Juliet[6]
- Jan 2006: Seven Deadly Sins[7]
- Jan 2004: DidoO and Aeneas by Henry Purcell[8]
Fashion shows[edit]
The Crucible has put on fashion shows:
- Jan 2008: Hot Couture - a fusion of fire and fashion
- April 2007: Industrial Chic - fashion and art show
Studio access with the CREATE program[edit]
CREATE stands for the Crucible’s Expanded Access to Tools & Equipment. The Crucible offers the opportunity to use their tools and equipment through the CREATE program. After passing studio area check-outs, current and past students can use The Crucible’s tools and equipment during studio hours.
Corporate teambuilding[edit]
The Crucible offers workshops that inspire and encourage teamwork and fresh approaches to problem solving. The goal of each workshop is for the team to design and produce their own work of art. Each team creates something to take home.
Die Moto[edit]
Die Moto is a custom-built performance diesel motorcycle that has set the world speed record for diesel motorcycles at 130.614 mph. Capable of running on diesel, biodiesel, or straight vegetable oil (SVO) fuels, Die Moto was designed and fabricated at The Crucible by a team of vehicle enthusiasts, engineers and artisans. The Die Moto team wanted to prove the viability of alternative fuel technology in performance vehicles. The motorcycle's emissions are 78% less than a standard diesel engine at speeds over 130 mph. As fuel efficiency and low emissions become increasingly important, diesel technology has responded with improved mileage and easy adaptation to biodiesel and SVO. The team of volunteers, known as The Diesel Dozen, crafted Die Moto from BMW R1150RT motorcycle parts, replacing the motor with a high performance BMW automotive diesel engine found only in Europe.[9]
References[edit]
- ^Founders Cast the Crucible as a Melting Pot for East Bay Artists by Kimberly Chun
- ^Heavy Metal by Summer Burkes
- ^Overview of Classes
- ^DRACUL, Prince of Fire
- ^FIREBIRD: 'L'oiseau de feu'
- ^ROMEO & JULIET
- ^SEVEN DEADLY SINS
- ^DIDO & AENEAS by Henry Purcell
- ^The Kneeslider 'Biodiesel Motorcycle - Die Moto from The Crucible'
The Cruciblemr. Becker's Classroom Management
External links[edit]
- Reviews of The Crucible at Yelp
Coordinates: 37°48′17″N122°17′27″W / 37.80472°N 122.29083°W