Giles’ interrogation is especially representational of McCarthyism in the 1950’s; he is ordered to disclose the names of others in order to attain his own freedom, much the same as those accused of Communism were forced to provide the names of other Communists once they’d ‘admitted’ to it, as otherwise, how could they be Communists if they didn’t know others involved? The penalty of not confessing and giving names in the 1950’s was less severe, in that, you were sent to jail, yet, the sentences were long, and you effectually black-listed, so future prospects were incredibly slim, so it may as well have been a death sentence, as it was in 1692. Miller has very subtley, yet effectively increased the tension at this point, as the audience are ambivalent with their emotions; they want Giles to be free, but they do not wish more innocents to die for the sake of this. Giles angers the audience further by throttling Putnam; he is behaving maniacally, and the audience appreciate the fact that Danforth will not believe Giles’ word when he is actually so rambunctiously. Giles being accused of witchcraft continues with the theme of revenge, as he was accused by Putnam’s daughter – obviously ordered by Putnam himself, as Putnam wanted Giles’ land.
Miller integrates a clever dramatic technique next, involving a prop; Danforth is reading a deposition with Parris that no-one, let alone the audience, knows what it says, so the tension is once more raised with an aloof silence, the audience hardly daring to breathe in anticipation of the information on the paper being revealed. Mary sobs suddenly, breaking the tension, yet, replenishing it almost at once, as we are reminded of her constant fragile state, even when she is not being questioned. As Danforth rises, the tension rises with him; this is what the audience have been waiting to hear so desperately. A glimmer of hope appears again as Danforth shows pure contempt for Parris; perhaps he will doubt Parris’ integrity and question his possible motives for playing along with Abigail’s story? The hope might be somewhat short-lied as Danforth resumes his interrogation of Mary Warren, who has reverted back to her abrupt, declarative answers. Her body-language is also ‘weaker,’ maybe demonstrating to the audience that she has almost given up? Her speech loses all conviction as, ‘she does not answer,’ and when she does manage a reply, she replies, ‘almost inaudibly.’ A further pause before answering Danforth with a short declaration, could be interpreted by him as her guilty conscience perhaps? Miller drops the tension as Mary, ‘breaks into sobs,’ making the audience feel some sympathy towards her, yet also possibly anger or resentment; if she could put up a strong front, so many victims could be saved.
Image: https://www.theatrecalgary.com/2015-16/the-crucible
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