Rich context example 1: The Crucible by Arthur Miller
Each context elaboration is coded, using the summary notation recorded with each arts strand. A bold strand code indicates a dominant strand in the given context. If both or all codes are bolded, they are considered to have equal weighting in the given context.
Relationships and connection
The contexts for learning outlined below make links to the
drama key concept of relationships and connection.
Possible context – acting out themes and ideas
(DI, CI, PK)
- Students identify themes and ideas in The Crucible such as lies and deceit, respect and reputation, compassion and forgiveness, good opposed to evil, and justice.
- They use these themes/ideas to create or devise short scenes and dramas, based on the students’ experience, for example, of dealing with lies or deceit in their own worlds.
- The students perform these created dramas for their peers.
Possible context – exploring staging
(PK, CI)
- Students discuss the most important themes, ideas, and concepts in The Crucible.
- They explore how costume, set, props, lighting, and sound could be used to communicate these concepts.
Possible context – exploring voice, body, movement, space
(PK, CI)
- Students choose short scenes from The Crucible and explore the use of voice, body, movement, and space to communicate the situation(s) and relationships between the characters in the scene(s), then share ideas with the class.
Possible context – performance
(CI, PK)
- Students perform The Crucible or another equivalent play (that is, a drama in the realism form) for an audience.
- They choose to act, direct a scene or scenes, or take a technical role (set, costume, lighting, sound) in the production.
- They build an environment of high trust, with the expectation that everyone will work together as a team to create an effective production.
- Ensure there is a shared understanding about the purpose of the performance, that is, communication and engagement with the audience.
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Embodiment and performance
The contexts for learning outlined below make links to the
drama key concept of embodiment and performance.
Possible context – creating character
(PK, CI)
- Explore Stanislavksi’s method of acting and use drama techniques to physically create believable and complex characters in performance of scenes from The Crucible.
Possible context – improvisation to explore characters
(PK, DI)
- Use improvisation to develop the physicality of the characters in different spaces, situations, relationships, and timeframes.
Possible context – exploring realism
(DI, PK, UC, CI)
- Students identify a current social issue and, in small groups, devise a short play in the realism form.
- They create fully developed and complex characters and set the whole play in one place and time.
- They consider which conventions and technologies best suit this form.
- Prepare to perform the characters using Stanislavski’s method.
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Reflection, challenge, and transformation
The contexts for learning outlined below make links to the
drama key concept of reflection, challenge, and transformation.
Possible context – exploring realism
(UC)
- Examine the features of realism drama/theatre by reading and discussing The Crucible.
- Reflect on the context in which the play was written and its relevance today.
-
Research realism as a theatre form in various times and places:
• Why was this theatre form developed and what social/political purpose did/does it fulfil?
• What role can theatre play in society?
- Read other plays or extracts from plays in the realism form and other plays by Miller.
-
Compare realism plays from Europe (Ibsen, Chekov) to American realism (Miller).
• Do the features differ and how?
• What may be the reasons for these differences?
• How are the features reflected in the plays?
• What demands do these plays make in terms of performance, the embodiment of the characters and situations?
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Last updated July 2, 2012
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