‘The Crucible’ by Artur Miller - Free Essay Example

Sample details Pages: 5 Words: 1443 Downloads: 5 Date added: 2019/10/10 Did you like this example? For this year’s Celebration of the Arts, the ‘Trinity Theatre Players’ will be performing Arthur Miller’s ‘The Crucible’, but with a significant twist. They will be presenting a series of deleted scenes that could have been (but weren’t) included in the actual text. Your task is to write the SCRIPT of a deleted scene for the play. It should occur at a specific point within the play and develop the storyline further. It may provide insight into the life of a minor character or add depth around a character’s actions/decisions that occur in the play. You will also need to include the relevant stage directions and setting descriptions. Don’t waste time! Our writers will create an original "‘The Crucible’ by Artur Miller" essay for you Create order The subject matter contained within your scene cannot alter the events of the play and your character representationsmust be in keeping with the original text. You may select one of the ideas listed below or have another option approved by your teacher. At the meeting house, where one character is defending themselves against charges of witchcraft/making an accusation of witchcraft against another character (with supporting ‘evidence’). In the forest, amidst a frenzied discussion between the girls around their choices, morals and possible consequences of their behaviour. On the way to the gallows, before the curtain falls, during a final and very candid conversation between John, Hale and Rebecca – the three ‘sensible’ members of Salem. TRINITY COLLEGE, BEENLEIGH – WRITTEN IMAGINATIVE CRITERIA NAME: 1.Understanding and responding to contexts The student work has the following characteristics: * exploitation of the conventions of a dramatic text   to engage readers * discerning selection, organisation and synthesis of relevant and substantive subject matter to support opinions and perspectives. * manipulation and control of the writer’s role and their relationship with readers. * effective control of the conventions of   a dramatic text   to engage readers * effective selection, organisation and synthesis of relevant subject matter to support opinions and perspectives * establishment and control of the writer’s role and their relationships with readers. * use of the conventions of a dramatic text to engage readers * selection, sequencing and organisation of relevant subject matter to support opinions and perspectives * establishment and   maintenance   of the writer’s role and their relationships with readers * use of aspects of the conventions   of a dramatic text   to achieve some purpose * selection and organisation of subject matter to support opinions and perspectives * establishment of some of the writer’s role and relationships with readers. * use of aspects of a dramatic text * selection of some   subject matter to state an opinion * use of roles of the writer. 2.Understanding and controlling textual features The student work has the following characteristics: * a discerning combination of a range of grammatically accurate language structures for specific effects, including clauses and sentences *discerning use of cohesive devices to develop and emphasise ideas and connect parts of the written text including paragraphing * discerning use of a wide range of apt vocabulary * discerning use of conventional spelling, punctuation and stage directions. * control of a range of grammatically   accurate language structures to achieve effects including clauses and sentences *effective use of cohesive devices to develop and maintain ideas and connect parts of the written text including paragraphing * effective use of a range of apt vocabulary * effective use of conventional spelling, punctuation and stage directions. * use of a range of mostly grammatically accurate language structures to achieve purposes including clauses and sentences *use of   cohesive devices to link ideas and connect parts of the text including paragraphing * use of suitable vocabulary * suitable use of spelling, punctuation and stage directions. * inconsistency in the use of grammar and language structures to meet a purpose *use of   some appropriate cohesive devices to connect parts of the text including paragraphing * use of vocabulary that varies in suitability for a dramatic text. * use of   spelling, punctuation and stage directions that vary in suitability *grammar and language structures that impede meaning *some connections between parts of the text * use of   vocabulary that distracts from purpose * Spelling,   punctuation and stage directions   that distract from meaning Creating meaning The student work has the following characteristics: * discerning manipulation of the ways ideas, attitudes and values underpin the dramatic text and influence readers * subtle and complex creation of perspectives and representations of concepts, identities, times and places * discerning use of aesthetic features * * effective manipulation of the ways, ideas, attitudes and values underpin the dramatic text and influence readers * effective creation of perspectives and representations   of concepts, identities, times and places * effective use of aesthetic features* * appropriate use of the ways ideas, attitudes and values underpin the dramatic text and influence readers * creation of perspectives and representations of concepts, identities, times and places * use of aesthetic features* to achieve a purpose * use of ideas, attitudes and values that underpin the dramatic text * creation of some perspectives and representations of concepts, identities, times and places * use of aesthetic features* to achieve some purpose * use of ideas in texts * creation of some concepts, identities, times and places * use of some aesthetic features* Aesthetic Features: Imagery, metaphors, representation, symbolism and dialogue COMMENT:      Grade The play Crucible is a play that was written by Arthur Miller and first performed on January 22 in 1953 at the Martin Beck Theatre as time went by he found some the style of production as cold and very stylized he was almost dropping it as he thought he was becoming hostile. The play has been formally accounted for as the central work of the American drama canon. One of the deleted scenes in this play is at the meeting house, where by one character is defending themselves against charges of witchcraft and makes the accusations of witchcraft against another character. In this deleted panorama, Abigail meets up with Proctor where their discussion is on the town’s happenings. She claims to have mentally suffered for the town’s sakes. She has physical exhibits depicting her suffering she has some holes on her feet. She has a wound in the abdomen which she claims Proctor’s spirit revives each and every night. To the audience who are well aware of the fact that there is no connection between Abigail and witchcraft neither does she have the ability of seeing spirits, Abigail materializes as insane. She is sufficiently insane to a point of self- mutilating her body so that Salem’s court can believe her. She selflessly deceives her own thinking and inner self that she will get married to John someday. It becomes evident to all on how Abigail is deceived. Therefore John decides to stop the influence she has been enjoying over the court. He decides to blackmail her by threatening to expose their secret love in the court room this prompts Abigail to accuse the people of Salem who she commonly refers to as hypocrites for stealing the innocence, goodness and honesty of John. Abigail claims that John hates Elizabeth; his wife, and that he will get married to Abigail on the event that Elizabeth droops for witchcraft. The scene is important as the reader is now able to see the extensive consequences of witch court trials on the character of Abigail. Regarding the character development in the play, this happens to be the best of all the scenes present. The sudden respectful power and fear of Abigail is shown having seized completely her wits and discarded them off through the door. The scene shows that Abigail is power thirst no more but rather her new motives are of playing a spirits victim while in the court room. It is only in this scene where Abigail’s motive is accusing witchcraft on the people of the town instead of executing revenge on John’s wife. She has overtime learnt of the hypocrisy of the people who pretend to be good but are however so evil. The reasons for deletion of this important scene are depicted below. Abigail’s new attribute as insane and deluded is present only in this deleted scene and therefore we can theorize that Arthur perhaps wanted to develop a vengeful character that is no insane. Of course Abigail was not expected to become insane but rather the author needed to reveal to the writers what would be the outcome of unscrupulous gullibility of power. Based on this scene, the man’s downfall is not blamed on individual sanity or insanity levels, but rather on the individual’s deceitful and manipulative behaviour. In conclusion, as it is evident that Abigail together with other girls have allowed power to be in control of them. Without having this scene as deleted, this is far much evident. Obsession of Abigail with power appears as enough for the readers to comprehend without really questioning her sanity levels.

Teaching Methods Of Teaching And Learning Essay - 1584 Words

‘Pedagogy’ is the term which is used to describe different practices of teaching and learning. Teaching Australia (2008) defined pedagogy as ‘the art and science of educating children, the strategies for using teacher professional knowledge, skills and abilities in order to foster good learning outcomes’ (p.3). Teaching and learning is a two-way process. Teachers choose the effective instruction modes to disseminate knowledge. Students adapt to different learning styles and use different learning strategies to help them process the information. When teachers receive evaluations and feedbacks from students, they revise, reconstruct and re-enact their teaching mode in order to meet students’ needs. Teaching refers to different teaching approaches such as lecturing, practice drills, directed questioning, discussion, constructivism and problem solving. Marsh, Clarke and Pittaway (2015) mentioned that effective teachers are capable to use a wide range of i nstructional modes in teaching that reflects their flexibility in their teaching. Learning refers to the strategies that children used to assist their study and digest the new knowledge. Strategies to help learning are chunking, story-grammar training, self-questioning, summarization, mnemonic images and concept mapping. These methods are useful for the process of retention, which means the ways by which knowledge is retained in our memory for later retrieval (Mclnerney, 2015a). The first section of the essay will describe myShow MoreRelatedTeaching Methods For Teaching And Learning1809 Words   |  8 Pages Teaching Methods Introduction Although teaching and learning are closely related, they are different. Good teaching is measured by the quality of learning a student is getting as measured by the information the students will then have gained knowledge of. 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Using qualitative research methodologies for teaching and learning research can supply informative views into student ideas of the learning environment. Stewart, Shamdasani Rook (2007) felt that by understanding the

LOVE by Angels Airwaves free essay sample

Blink-182 frontman Tom DeLonge is back with the third effort from his U2 influenced â€Å"space punk† group, Angels Airwaves. The new album, LOVE, was given away for free on their website on February 14th, 2010 in order to coincide with Valentine’s Day. On the whole, the album is a work of art like nothing the band has put forth to date. The songs are powerful; the sound is fine-tuned, and the album has a cohesive message. LOVE measures up as a huge improvement over the band’s previous sophomore slump, I-Empire. The opening track, Et Ducit Mundum Per Luce, shows a return to the band’s penchant for drawn-out instrumental lead ins. The piece is captivating enough to hold listeners’ attention for the roughly two and a half minutes it lasts, gradually building as more instruments begin playing and expanding their parts. The track sets the tone for the record, which as DeLonge explained in interviews is based on the concept of a lone astronaut looking down on the Earth from space and watching the world end. When Et Ducit fades out and The Flight of Apollo begins with a few subtle notes, listeners are invited to wait for what AVA has in store. When DeLonge’s distorted voice comes floating in, he begins recounting Et Ducit and setting the tone for the record. Once again, the listener can feel it building. Then the guitar riff kicks in, and it’s more powerful than any riff on a previous AVA album. The Blink-182 punk roots are back, and DeLonge’s following verse recalls various Box Car Racer and Blink-182 rhythms. The chorus, in signature Angels Airwaves style, is uplifting and suggests that the beautiful parts of life should overpower the darker parts. Flight of Apollo is one of the strongest songs on the record, and the combination of powerful guitar riffs and catchy hooks keep the momentum going into the next track. Flight rolls right into the curiously named Young London, the third track on LOVE. The guitar-filled intro is reminiscent of AC/DC, and when the verse kicks in, it has become clear this isn’t the same Angels Airwaves that released I-Empire. The self-reflecting lyrics of Young London express a desire to make amends for past wrongs and live life to the fullest. â€Å"Suit up boys, let’s ride, it’s the weekend,† croons DeLonge in the most upbeat and catchy chorus on the album. The steady drumming keeps the track propelled, and when it begins to lose steam the chorus is dropped in favor of a verse sampling the background vocals that let the track end gracefully, leading into a one minute intro to the next track. Shove has the benefit of a short intro, excluding the full minute attached to the end of Young London. The track slightly slower track becomes the album’s first ballad, and DeLonge’s lyrics accurately depict a young couple stumbling upon true love. Once again covering subject matter such as righting wrongs and reconnecting with lost loved ones, the songs marks a streak unlike any previous Angels Airwaves album—keep the infectious excitement and momentum going all the way to the fifth track. Unfortunately, Epic Holiday shows a bit lackluster side of the album. After the minute long lead in at the end of Shove which features various inspirational lines said by a distorted female voice, Epic Holiday opens with a guitar riff eerily similar to the band’s previous hit single, Everything’s Magic. DeLonge’s verses on Epic Holiday really shine, describing humanity and its flaws and miracles alike. The chorus, â€Å"Let’s start a riot/nobody’s right/nobody’s wrong†¦Ã¢â‚¬  falls flat in comparison. The song continues to supply evidence of a more mature AVA that has finally figured out what it is they’ve been trying to inspire all these years, but after the three previous tracks, Epic Holiday just feels out of place. The next track, Hallucinations, was also the band’s lead single for LOVE, and with good reason. Hallucinations is as close to the Blink-182 sound that Tom DeLonge gets on this album, though he does come close in other places and it is certainly evident when compared to previous AVA efforts that the Blink-182 reunion has had its effect on the sound. When the song kicks in around a minute in, the listener is instantly hooked; DeLonge really does have that spark back. When the verses begin and his voice is far less distant, followed by the addition of an incredibly upbeat and catchy chorus that sounds like it could have been from a Box Car Racer track, it’s easy to see that Tom is finally comfortable embracing the sound that made him famous. The song certainly has its AVA moments, and it would still be a little out of place on a Blink-182 album instead of an Angels Airwaves album, but it is a beautiful merger of two different sides to one artist. The Moon Atomic (†¦Fragments and Fictions) opens up with a low key guitar intro, and the drums come in to pick things up. DeLonge’s slower, at time whispery singing perfects the start. The Moon Atomic brings us back to the idea of watching the apocalypse from orbit, and it becomes deathly clear that DeLonge is trying to apologize to someone and use his words of repent to offer inspiration to those who seek it. The Moon Atomic’s observational and at times politically conscious lyrics call to mind another previous single, Secret Crowds, but without being musically close enough to cause an issue. The Moon Atomic benefits from keeping its steady pace marching throughout the song rather than trying to become something it isn’t. At 6:17 total, the song actually ends at four minutes in, paving the way for a two minute extended intro to the next track. Clever Love marks another quintessential love ballad, with DeLonge declaring that the aforementioned clever love â€Å"won’t tire†¦caught fire† in the simple chorus. The slow verses feel heartfelt, but they don’t mesh perfectly with the chorus. The addition of the second chorus â€Å"You are all that I want†¦You are all that I need†¦Ã¢â‚¬  would have worked better sprinkled throughout the song to take the build-up from the drums and guitar at the end of each verse and put it to work. Soul Survivor (†¦2012) reminds the listener that despite the seemingly endless amount of uplifting thoughts and positive energy the band attempts to send, their protagonist has still witnessed the end of the world, and he is reeling to cope with the loss. The track opens with a few seconds of silence, uncharacteristic for an AVA track, before a decidedly techno instrumental piece begins, with DeLonge’s vocals come in with effects reminiscent of debut-era Angels Airwaves. Strong guitar riffs and a constant change in style keeps the track pummeling along. The chorus is notably reminiscent of Blink-182 in style and delivery, with signature Angels Airwaves lyrics. Letters to God, Part II is the record’s penultimate track, a call back to one of the breakout songs from DeLonge’s Box Car Racer album. While thematically the two songs share some ideas and concepts, they don’t share much else. Continuing from where Soul Survivor left off, Letters to God, Part II shows the protagonist reevaluating his stance on life and religion, suggesting that everything we on Earth thought we understood was merely a facade, and what is truly going on is grand and extraordinary. Musically, Letters to God, Part II calls to mind Young London, and has a similar energy. It may not have been the direct sequel fans were hoping for, but it is a solid song nonetheless and one of the strongest on the record. Some Origins of Fire closes the album on a less than satisfactory note, declaring â€Å"We all are love and love is hard†¦we’re hard to love†. The repetitive chorus hurts an otherwise average song, and it lacks the grandeur sense of epicness previous AVA album closers had. The opening guitar riff is powerful, and while DeLonge’s verses are catchier than the chorus, he isn’t covering anything that hadn’t been touched on in the earlier songs. The song feels like it would have fit less awkwardly earlier in the album, with one of the stronger tracks closing. LOVE is not a perfect album, by any means. It has its flaws; a lack of diversity in content, a few songs that felt considerably weaker than the others, the extended intros at the ends of most of the tracks could be cut without losing any overall value. Again, it is not a perfect album. But for Angels Airwaves, a considerably niche band that is about outer space imagery, globe-spanning metaphors, distorted guitars and uplifting lyrics, it is the closest thing to a masterpiece we will see. SCORE: 7.9/10 BEST TRACKS: Flight of Apollo, Young London, Hallucinations, Letters to God Part II PARTING WORDS: LOVE is the best work Angels Airwaves has put out to date, without a doubt. Their sound has evolved and matured, without making drastic leaps in style. DeLonge is comfortable in his own skin, and the result is an inspiring, fun record.

The Waltz free essay sample

My Papas Waltz I believe I am living a good life. My parents love me and provide me with all the things my heart desires, so creating a connection with the child in the poem, My Papas Waltz, seemed as an Impossible task. Yet, I have made a startling discovery with the child In the poem, and that Is the way he and I both downplay the horrors In our lives. The boy in this poem is receiving scars from his father whose senses are muddled up to the point that he isnt even in this world, though the child only regards the hole situation as a simple waltz.To think of the pain this child receives, and realize furthermore that all this has become the same level of normalcy as a waltz is no less than heartbreaking. The horrors in my life are much less terrifying, but they are none the less terrors in my world. We will write a custom essay sample on The Waltz or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page My life is similar to a roller coaster. It seems as if one day, all is perfect, the sun Is shining high and bright, a cool breeze blowing around me, and lifes boning at a slow, controlled pace.But then, the next day Is as if Im plummeting Into a ground which Is Just malevolently walling to eat me alive. My parents are usually happy together, but sometimes It seems as If storms and winds from the outside will succeed In breaking my happy little family Into pieces. This fear has brought me close to tears numerous times, but the thing is, tears are something I detest with all my heart. They are a sign of weakness. To evade the tears, I take up the path of not caring. So what if my parents arena together? I dont need to care. This is their problem, not mine. I already have so much to worry about. Broken families are Just as happy as the normal ones. There is nothing I can do to prevent this anyways. To this day, I take the emptiness of not caring in place of the pain and humiliation of tears, just like the little boy who takes the feathery flight of the waltz in place of the scars of abuse.