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The Crucible ? Sample Essay on Playing Elizabeth Proctor

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The Crucible? Test Essay on Playing Elizabeth Proctor

GCSE Drama Mock Evaluation? The Crucible? sample essay on playing Elizabeth Proctor I am utilizing the Heinemann edition of the text and I will be talking about how I would enact Elizabeth Proctor in the provided scene. This scene is taken from Act Four, the last act of the play and the tragic plot is drawing to an end. Both Elizabeth and John Proctor have actually been locked up on incorrect charges of witchcraft.

Elizabeth’s pregnancy is, at present, sparing her from the possibility of hanging but her partner, John Proctor, in his vain attempts to secure his partner has unintentionally triggered his own downfall and he faces the noose if he will not admit to the charges of witchcraft. His only possible life saving option is to? confess’ to the false charges, have his land and farm seized, lose his reputation and sense of honour and remain in prison. In this scene the figures of authority, fronted by Danforth, have pleaded with Elizabeth to attempt to convince John to? onfess’ in order to spare his life for factors that are created by their own self-centered fears with regard to the security of the convictions. John and Elizabeth’s past has actually been a distressed one as an outcome of his brief, adulterous affair with his maidservant Abigail Williams. This affair has ended up being public understanding and the rigorous spiritual morality of seventeenth century? brand-new world’ Puritanism indicates that he will never ever be concerned with the esteem that he as soon as was: infidelity breaking one of the 10 Rules which needed to be strictly adhered to.

The Proctors have actually not seen each other for three months as this scene opens and, although their past problems stay somewhere in both their minds, they are irrelevant in relation to the catastrophe of the situation that they are now faced with. Elizabeth is already on stage as her partner goes into. I would stand motionless as he appears at the doorway, my downstage hand gently rested across my a little pregnant stomach, a position that I would go back to frequently as a means of defense for my unborn child, my maternal impulse clear and self-evident.

As he walks towards me I would swallow hard, as if my throat has actually ended up being dry and unhelpful in preparation for speaking with him, something that I have actually been yearning to do for so long. I would want the audience to be able to discover my horror at his look by the minor furrowing of my brow and a little narrowed eyes but I would do my best to conceal this from John because I would not want to increase his discomfort or anxiety. Hence, I would gather myself and as he? eaches out his hand’ just out of my reach, I would move towards him, offer him my hand willingly and without mirroring his doubt, to encourage his gesture of warmth and love, I would then, as the text says, cover his hand with mine to preserve the tactile contact. As the? unusual, soft sound comes from his throat’ I would check out his eyes and smile a really gentle, closed mouth smile, assuring him of my delight at seeing him again.

As he takes a seat in his weakened state I would move as if to physically help him, placing my arm under his elbow as he lowers himself tentatively onto the chair/stool an appearance of genuine concern and stress and anxiety on my face. I would retrieve a stool from nearby and location it opposite him, the proxemics close and rather intimate and I would then noiselessly lower myself onto this stool, leaning slightly towards him. When Proctor checks the coming kid, I would instinctively move my hand to my stomach and touch it carefully, as in the past, and I would respond to his question silently yet as favorably as I can manage?

I want him to pick up on the truth that the kid represents hope, that regardless of all the scaries and injury of occasions there remains this wonder of life? it is, actually, the something that keeps her going. Surprisingly, it is John who leads all of the questions at the beginning of their discussion. I realise that he is desperate for news of his children first and foremost and my replies would be provided clearly and calmly, my voice would stay measured and my feelings as firmly undamaged as I can manage.

I am identified not to contribute to his (or my) agony by becoming extremely emotional and hysterical, we might not have time for such display screens of emotion. However, when John states,? You have not seen them?’ I can barely deal with the fact spoken by my hubby who plainly is so desperately distressed for my plight. At this point I would inhale through my nose deeply however silently, clench my teeth slightly and for a moment look away in order to compose myself before I say,? I have not’. Proctor’s line,? You are a? marvel, Elizabeth. serves to increase the welling emotions that I am just handling to manage? his words are so wholehearted and unselfish that they epitomise the essence of the man I married, as an outcome, the tears threaten to spill themselves again and I would move my position in the chair, tuck a piece of roaming hair behind my ear, carry out any action that distracts the attention far from me and my sense of overwhelming feeling. John would recognise this and would reach his distribute to touch my cheek, or maybe attempt to tame a roaming hair of hair himself, nevertheless the effort makes him recoil and my next line,?

You? have been tortured?’ is stated as an automatic reaction, it is hard to ask? my eyes would expand in incredulity, the pitch of my voice would be raised and the pace quickened, the for a little while pause in the line would represent me not wanting to know but needing to know, to understand his treatment and situation. I would tentatively reach out my hand and gently touch his ribs where the pain seems to come from in a vain want to reduce his discomfort. On Proctor’s factual?

They come for my life now’ I would return his company eye contact, my reply soft however firm, she is a realistic woman who wants to support her spouse and share his pain in any way that she can. I want us now to be extremely honest with each other, even if this means acknowledging horrible possibilities. The? I know it’ would be gently said but extremely clear and regulated, the worst thing I could do now is to weep and wail, he needs my assistance however I can not risk of influencing his future decision? even if I wanted to.

As John concerns me on the news of those who have confessed I would answer calmly, with a clear, matter-of-fact tone to my voice? I would sense the enormity of what should be discussed later on with regard to his possible confession and I am nervous not to sway his instinctive choice by my opinions, despite how tough this is to do. Nevertheless, when we speak of Rebecca I can not stop my mouth from forming a half smile of utter regard and love and the tone of my voice is resolute and full of marked affection as I accentuate the expression,? naught might harm her more. When the subject of Giles is broached and the terrible realisation for Elizabeth that John has no understanding of his death, I would look directly at John, focusing intently on his eyes and imploring him with my eyes to do also, I would stop briefly, moisten my lips with my tongue, take his hand and cup it in between mine in my lap and after that deliver the words,? Giles is dead’ with firmness and a little increased volume, I can not bear the thought of John not hearing me appropriately and after that having to repeat it? he needs to be notified of the events clearly and reasonably and I consider it my responsibility to do so.

Miller’s stage instructions inform us that she delivers the info pertaining to Giles’ death? quietly, factually’ and I think that this is vital to the audience’s understanding and compassion with Elizabeth. I would continue to hold John’s hand, offering him with physical peace of mind as I provide the terrible circumstances of Giles’ death. The facts are challenging to tell him but he needs to know and I am the one who should impart this news. I would lean in towards him on the line,? They push him John’ I will not spare him the harsh facts however I will exist to comfort and assistance him if requirements be.

This discussion gives way to the one that Elizabeth knows is coming and her reply to his suggestion of making a false confession to spare his life instantly results in her line,? I can not evaluate you, John’ I would turn away from him somewhat as he makes this tip, our hands would lose contact and I would shake my head slightly and look down, my eyes momentarily shut as he asks these difficult concerns of me. My line here is spoken with a concrete sense of distress with small emphasise and higher pitch on the words? I’ and? udge’ to try to communicate to him the trouble of what he is anticipating of me, I know that he frantically desires me make his choice for him but my impassioned religious faith determines to me that I can not enable myself to be responsible for another human being’s soul, even if he is my hubby. I would desire the audience to see her quiet agony and chaos as she attempts to do the right thing. In the discussion that follows I would want to convey Elizabeth’s intense awareness of John’s desperation but that she can not venture an opinion despite his pleadings. Physically I would increase on the line,?

It is not for me to offer.’ and the distress in my voice would be matched by me turning away from him in an attempt to forcibly stop him from asking such a challenging thing of me. I would attempt to put some distance in between us, I would clench my fists hard to reveal my despair and inner chaos, I would shut my eyes firmly and tilt my head upwards in an attempt to? eliminate’ myself from such abuse. Regardless of this John keeps asking, keeps pleading, keeps moving towards me and urging me to be his judge and in the end I would spontaneously turn, sensing his close existence behind me, blurting? heaving sob’ and understanding him as strongly as I can mange by the shoulders in a desperate bid to make him comprehend as I deliver the line,? John, it come to naught that I should forgive you, if you’ll not forgive yourself’. As he turns away in? terrific pain’ I would require myself to continue, I can see how much this is harming him however I must go on. The line? It is not my soul, John, it is yours’ includes all monosyllabic words and for this reason these would be emphatic and pronounced whether provided loudly or silently. I would provide them in as measured, peaceful and controlled way as I can.

I would be physically and vocally fighting to tame the torrent of emotion and tears that exist but that I need to limit in order to have the ability to make him understand my deeply felt words. I would cover my arms across my abdomen in a self-protective motion however I would hold my head high, attempting to establish eye contact with John who has momentarily turned away from me. As I speak aloud my own sense of misdeed and? confess’ to him my mistakes I would search his confront with my eyes, prepared him to understand that the past lags us? hat we have actually both been to blame for events in our history. When I say the line,? It needs a cold spouse to prompt lechery.’ I would stress the word? cold’ utilizing the hard? c’ noise and narrowing my eyes and souring my face at my past? holier than thou’ behaviour. As this line is provided I would reach up to him, position my two hands around his face and lift it till his eyes are in line with mine so regarding reveal him how crucial these words are, that I no longer hold him accountable for our unfortunate and desperate situation.

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