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In Arthur Miller’s play, The Crucible,
characterization takes place within the parameters of a seventeenth century New
England village. Yet, the message that Miller is sending to his audience
parallels the political ramifications of the anti-communist hearings in the
United States, when fear of communism heavily influenced the psychological
landscape. He creates a series of events that illustrate iconic realism through
his use of lighting, characterization and dialogue. As each member of the town
accused of witchcraft is called to trial, the lighting and stage presence
illuminates the audience to the author’s intention. Written in 1953, shortly
after the anti-communist hearings, known as the House Committee on Un-American
Activities,[1] each
character could represent some facet of the House Committee’s representation,
for actions by the House committee resembled those of the drama’s magistrates.
However, the reality of the
play is a seventeenth century New England village, during a time when actual
witch hunts did take place. Miller admits to changing a few names and facts
regarding the characters, “This play is not history in the sense in which the
word is used by the academic historian… However... the reader will
discover here the essential nature of one of the strangest...chapters in human history.”[2]
Miller chooses a tale of human interaction to demonstrate his concern for the
cultural future of the United States and humanity in general. (Lakatos 2009)
I wonder... Have some current politicians and media anchors read this play? Somehow, I think not.
[1] Carr, Robert K. “The Un-American Committee.” The
University of Chicago Law Review. 18.3 (Spring, 1951) 598-633.
[2] Miller, Arthur. The Crucible. (New York:
Penguin Books, 1976) 2.
