b'T3 Journal - Student Writing in Drama, University of Exeter 2020-21 Zoe Manwe can see Thomas Putnam jump and point in excitement,consitut[ing] to onehomogenous group but are often atthis moment signifies female bodily autonomy from aperspectives and voices (Fortier 2016:91). signifying the character was happy to find a scapegoat. Inodds with each other (2016:90).feminist analytical standpoint. Reis argues in Damned Neslihan Yilmaz Demirkayas article about scapegoatingWomen that the threat of female sexuality stemmed fromFarbler expresses her sensual interpretation of the play non-conforming identities in The Crucible, it is mentionedAlthough Tituba does eventually confess to witchcraft, shethe idea that the soul was feminine, and it needed to bein her interview, and it is demonstrated when Abigail that scapegoating practicesare caused by those who wantdoes so out of selfpreservation. Prior to her confession,claimed by a masculine entity: God or Satan.(Sarmientoconfesses to witchcraft, where Colley arches her back to keep their privileged status and access to morepowershe was chased out of her seat by Reverend Parris and2015:2) Hales identity as a male reverend reinforces thison the bed as if she was fighting a demonic possession. (Demirkaya 2015:127). On one hand, we can see Thomascornered by Thomas Putnam, eventually forced downidea asSchiller opens Niles up to a religious stance,That moment underpins theidea that a woman loses the Putnams desire to keep Tituba, a black woman, under theonto her knees in front of Reverend Hale before deliveringsignifying that a woman needs to bephysically helped by alittle autonomy she had in Puritan New England aftercontrol of the ruling class, which he is a part of. On thea confession. This choreographed routine indicatesman, especially one ordained, to receive the light of God.compacting with the Devil, as surrendering the body other hand, we can also see Abigail, a white girl who is theTituba being forced into confessing to witchcraft againstimplied an indirectly sexualrelationship to the devil niece of a reverend, keeping her higher social status andChristianity, with the alternative option being condemnedHowever, Tituba gains power by being complicitousand his creatures (Sarmiento 2015:2). From a feminist starting to gain power by accusing Tituba of unnaturalto death. Tituba was clearly targeted as a scapegoatin sustaining patriarchy,manipulating its ideology toanalysis, Colleys body contortion signifies the recovery practices. Additionally, Hale discarding Abigail aside tofor both her race and gender. Melissa Luc Sarmientoachieve the power they have and offering a limited, of bodily autonomy for women. However, in doing so, approach and question Tituba can signify scapegoating:mentions Elizabeth Reiss argument in her article abouttreacherously ambiguous escape from its most oppressiveTitubas character was robbed of any power she had by An attempt to pin the blame on the black slave instead ofdeconstructing gender identities about how women wereconstraints (Alter1989:na). In confessing, Tituba gainsthe legal system and a young white girl (Miller 2007:440), the white girl. This scapegoating is furthered when Colleydeemed to be the weaker gender and it was assumed thatconfirmation by Hale as a dutiful Christian andadoptshighlighting a power disparity due to race. runsup to Tituba (Sarah Niles) to accuse her of witchcraft,their souls were more vulnerable to Satans temptationsthe Christians political demonology as a safe stalking-demonstrating Abigailseagerness to push responsibilitybecause their bodies were not asstrong as those ofhorse for an attack onher mean owner, and for a covertAccording to Tanfer Emin Tunc, patriarchal institutions, of Bettys immobile condition on Tituba as she is aneasymen (Sarmiento 2015:2) in Puritan New England. Thedemand for freedom (Brown 1974:120). We cansee Titubasuch as the church, were threatened by nonconformist scapegoat due to her race, and consequently social class. weakness which the male characters see in the femalegaining power in that moment of the production as Nileswomen who possessed knowledge beyond theboundaries characters are clearly conveyed in this choreography. Itstands up,saying Oh, how many times he bid me killcircumscribed by society, such as healing, spirituality and Moreover, Niles gets pushed onto the ground by Goodyexerts the male characters and their genders physicalyou, Mr Parris!, exacting revenge on hermaster withwitchcraft(Tunc 2013:267). If feminism works towards Putnam (Rebecca Saire) as Abigail starts accusing Tituba.strength and reinforces the weakness of the female gender.Satanical threats. Furthermore, it is the only time Nilesthe unravelling and overthrow[ing] of the patriarchy In this particular moment, a feminist analysis will workFrom a postcolonial standpoint, the idea of Tituba beingdelivers any of her lines standing up and physically being(Fortier 2016:85), this production certainly does so by alongside a postcolonial analysis to highlight Titubasproperty and cattle is once again signified as every otheron an equal level to other actors. It is also the only timegiving theterrifying power of determining life or death to helplessness as a black, female slave. Farbler suggests in hercharacter feels obliged to physically manhandle and abuseshe speaks without being interrupted by others, givingthe nonconforming women of the play:Tituba, the black interview, people touch Tituba because they can, becauseher.Titubas character importance and power. Here, feministslave skilled in spirituality; and Abigail, an unmarried girl shes like cattle, shes a possession, shes property in thatand postcolonial standpoints work together to signifydelvinginto voodoo to seduce a married man she once moment.Consequently, Tituba is forced into a confession to allyinghow Tituba, a black, female character, gains power in ahad an extramarital affair with. However, the production with Satan and performing witchcraft. According to Lloydmisogynist and sexist Puritanical society by sustaining thealso highlights the misogyny and sexism of Puritan New The fact that Goody Putnam is the person who pushesW. Browns study about Tituba of Barbados, despite patriarchy and using it to her own advantage.England and reminds the audience of similar horrors her onto the ground signifies a social hierarchy due toTitubas Barbadian, pagan background and her lack[ing]in contemporary times as the female characters of the race as both characters are of an inferior social class ofthe Christians politicizednotions of absolute good andYet, Titubas power is soon taken away by Abigail. Onceplay can only gain power by sustaining the patriarchy. the female gender. Due to Goody Putnams identity asevil, she is frightened by the coming process (ofbeingTituba confesses, Niles crawls away, and Colley hopsIn addition to doing so, as the girls gain momentous a woman, she has no realautonomy in accordance towhipped and hanged as an unconfessed witch) that sheonto the bed and confesses to witchcraft. The attentionpower over the course of the play, they appropriate and Abbotsons commentary on the play: Although wiveswerefalls back on theslaves last resort for self-preservation,falls on Abigail and Tituba is forgotten, a power disparityerase the voice of the character with no true power the given some authority in running the home, the husbandwhich is to give the master what he wants(Brownsignified here with the difference in physical level of Colleyblack, female slave: Tituba. Therefore, through feminist was considered theundisputed head of the household1974:120). From a postcolonial standpoint, we can see thestanding on a piece of furniture and Niles on her kneesand postcolonial analytical standpoints, the production (Abbotson 2010:xxxviii). In the midst of the chaos duringimperialist powers forcing and imprinting their Christianand tucked away in a corner. The stage also goes quietprompts audiences to think about the hierarchies of power the interrogation, Goody Putnam takes this opportunitybeliefs on a foreign person by means of threatening withand all actors turn to look at Colley. D. Quentin Millerin the play, and relationally, in real life.to express her prejudice and exert her power. As Titubaa death penalty. In the face of death, Tituba delivers anotes in The Signifying Poppet: Unseen Voodooand was the person she physically abuses, it demonstrates theconfession in which the characters in power desire. WeArthur Millers Tituba, that Abigail and the white girls social injustice and power disparity between differentcan then see Tituba gaining power right away as Schillersense the way Tituba gainspower through confession and races. It should also be noted that Tituba is Reverendcrouches down to Niless level and takes her hands, theaccusation, and immediately follow suit, controlling itand Parriss slave, following that logic, Tituba would be Parrissonly non-violent act of touch Titubas character hasusing it to their own advantage (Miller 442-443). Abigail property. However, Goody Putnam still feels entitled toreceived so far. This imprinting of religiousbeliefs isappropriates Titubas story and uses it to gain power of touch and physically abuse Tituba because of race. Whilefurthered when Schiller takes Niles hands and guides hertheir own. This recalls a problem of postcolonialism, which Goody Putnam, a woman,demonstrates power in thatto open her arms up to the sky to receive Gods grace,Fortier mentions, where women of colour have had theirparticular moment, it takes away the power from another connoting the dominant powers forcing non-believers toperspectives and voices erased from the dominant culture woman, further enhancing Fortiers point of women notsubmit to their religion in order to survive. Meanwhile,and therefore have adifferent struggle in asserting their 24 25'