Why are the witches in the play?

The inclusion of the witches at the beginning, middle and end of the play, provides a constant reminder to the audience of the supernatural elements that are present throughout the play. In addition as conventionally witches are associated with teh dark arts and being evil they add to the Gothic nature of the play. The sing-song manner in which the text is presented is hypnotic perhaps suggetsing that they hold a certain influence over Macbeth. The witches personify corruption aoing against nature and being women with beards, so when Macbeth asks for their advice in act VI this shows clearly to the audience/reader how he is progressively siding with evil. Their inclusion also questions Macbeth's motivation - is he simply a cold herated murderer, or is he being toyed with by greater forces? They are also included for dramatic purposes - their presence contrasts the generall naturalism of dialogue between charcters, as their speech is rythmical often rhyming and in the stage directions it describes how they 'dance'. There inclusion creates variety and is an example of surrealism which ensures teh audience's/readers interest is maintained.

Director's blog act I scene III

TAking a contemporar7y approach to teh direction of Act I scene III I have seelcted the theme of powerful manipulative women specifically Lady Macbeth and teh three witches and would like to empaphasise how using ones gender is a contributing factorr to teh evil plottings. i alos believe that a more provaocative and physcaicl interpretation of teh paly would be more accessible toa wide audience. I would have the three witches tehn to be young and attractive female showever dressed ina gothic style ina blacjk heavy grungy dresses with long dirty greasy hair, I woukd also liek tehir dresses to be revealing and for them to be very overly made up, these women shpuld allude sleaze and the darker side of sexuality. A gothic scene is established immediatley as the stage directions state, 'A Heath. Thunder', the out door setting supports the theology of witches being at one with nature and a heath suggests wildness andthe potential for supernatural forces to be at work. In addition the sound effects of thunder accompainied by a flash of a strobe light would help create the idea of ominious wetaher conditions which in turn compliment the sinister scene. I would want teh actors to be wet when performing which would create a more realistic atmosphere as well as cause their make up to run whivh would distort their faces. The first scene in which the witches are introduced is also outside, 'an open space' and there is , 'thunder and lightining', a continual dark theme is established by the time scene III is staged as the setting motif is repeated in scene III. The idea of continuity is further emphasised as a question starts scene 1, not only does this help enforce the ominous aura the witches posses but intrigues the audience as they are immediatley wondering what is the answer to said question. The witches address eachother as 'sister', which suggests a strong bond and to emphasise this bond I would place the actors very tightly to create a claustraphobic, uncomfortable and provocative atmosphere for the audience which will make an excellent setting for the brutal line, 'killing swine'. An equall short sharp delivery should be adopted by the actor to compliment the violence intended to be portrayed. The section of spech in rhyming couplets depicting teh tale of teh murdeert of a sailor is in loose rhyming couplets ansd as a adierector i would want this rhythm to be identified and used t o cretae aritualistic style chant which in turn could be complicated by movement portraying the story. not only would the steady beat make it easier for a modern audience not neccessarily familar with teh shakesperian language, but the movement teh physical representation of teh words would aid thE audience ina more wholistic understanding. Some of teh language in this riddle like section haveaggressive connotations such as, 'quarters', 'drain', 'hang' which is a direct example that could be high lighted with movement. An element of comic relief could also be introduced as weak verbs are used to describe his actions such as, 'dwindle', 'peak' 'pine', the witches could adopt awhiny voice to imitate the sailor which would be particuarly effective when delivering, 'pine' as when whining there is an element of onomatampia similar to the word 'pine'. In the line directly before Macbeth's and Banquo's, 'Peace! - teh charm's wound up', evil connattions are apparent as peace cereates a hissing sound an dteh verb wound reminds teh audience of asnake coiled up. I would direct teh actrress to embellish the hissing sound behind the delivery of the line and perhaps to curl he rfinger around her hair not aonly to draw attention to teh power of her feminimity but to symbolise the image of something being wound. In addition I would perhaps direct her throughout teh scene to have a flickering tounge to suggest sexuality and teh fact that she uses her feminomity to manipulate men and ugliness of the apparance and personality, at this point I would encourage a flick of the tounge to further the image of a snake.

A marxist approach to, 'The Crucible'.

Abigail’s social background directly effects her actions and by the reader taking a Marxist approach to Act 1 pg28-30 the concept that Abigail has a more powerful status then John Proctor can be challenged.

On face value it seems that the Play Wright, Arthur Miller, intended Abigail to be perceived as flirtatious and struggling to become dominant over John Proctor, who is light heartedly trying to diffuse a potentially antagonistic situation developing, ‘(his smile widening): Ah, you’re wicked yet, aren’t y’!’. Seemingly, Miller has Abigail instantly take control by opening the section by addressing John Proctor, ‘Gah! I’d almost forgot how strong you are, John Proctor!’, the inclusion of more than one exclamation mark in the opening lines is significant as it suggests to the actor that a considerable amount of emphasise should be used which in turn supports the idea of Abigail trying to gain a higher status from the very beginning. However by taking a Marxist approach to the character analysis of Abigail and considering her social factors a contrasting conclusion can be created. Abigail’s parents are both dead and grotesque imagery is used to portray their death, ‘I saw Indians smash my dear parents’ heads’. Conventionally parents are expected to nurture, love and teach a child morals and enforce order; therefore with the absence of such crucial figures and the life lessons they teach, it is reasonable to suggest the odds are against the outcome of a disciplined and moral citizen. As well as such an event being disturbing to witness arguably the outcome of such a great loss would have a detrimental effect on the child which in turn might explain Abigail’s desire for attention of a considerably older respected man. In a more sensitive approach to the text, including ‘dear’, augments the reflection of a loving paternal relationship as does the intimate setting, ‘on the pillow next to mine’ which is literally [smashed] and leaves Abigail emotionally shattered. Although Abigail is cared for by her Uncle, she still does not feel accepted or loved, ‘Do you begrudge my bed, uncle?’ In the context of the scene could argue that Abigail merely says this in an attempt to emotionally blackmail her Uncle and prevent further interrogation about the suspicious dancing in the forest. However equally her inner turmoil must not be over looked as the stage directions state, ‘With ill-concealed resentment at him’. Re visiting the excessive use of exclamation marks, one could interpret that this highlights an unloved child craving attention, and invites the desired response of caring attention from John Proctor and in fact receives, ‘looking at ABIGAIL now, the faintest suggestion of a knowing smile on his face.’ Taking these factors into consideration, the representation of Abigail being on the surface a manipulative woman trying to seduce an honourable hero can be transformed in to a young impressionable girl, confused and desperate to find a loving father figure.

Coursework

I will be comparing, 'The Crucible', by Arthur Miller with, 'Lord of the flies', by William Golding. I am particuarly interested in the way in which freedom is presented and also how it is prohibited. Abigail and Jack are similar as they are both children who control a group of other children to the extent were the group behaves immorally. I find the the concept of how and why they are dominant fascinating.