In the play, the reverend only threatens to whip Tituba. The Reverend whips Tituba because the girls claim that she released the devil and corrupted them, which she eventually confesses (Hwang, 2022). Tituba is whipped because of the dance and the actions that transpired therein. Furthermore, in the movie, it is also seen that Reverend Parris whips Tituba, his slave. In the play, the character does not jump out of bed and head for the window (Morris, 2021). All of Salem witnesses what happens but chooses assume that she has been bewitched, especially with her past suicidal tendencies.

In the movie, Betty is also seen springing out of her bed and quickly heading for the window as she shouts. The play’s scene also shows Mercy Lewis undressing during the dance, instead of Abigail. In the play, their dancing is only portrayed as a flashback. The scene was filled with intensity, as the movie shows Abigail gradually losing her sanity, undressing, and rubbing chicken blood on herself (Morris, 2021). The group also place random objects in a pot, including a frog, as they dance and chant. They dance around a fire and shout chants with Reverend Parris’ slave, Tituba. Primarily, the scene where the girls dance in the woods is an active piece of the movie.

The movie and play versions of The Crucible illustrate how the story is portrayed differently through different scenes and characters.

It explores how their scenes, settings, characters, and character interactions differ, and how these differences individualize each piece. The essay seeks to distinguish both versions of the story and determine how and why they can be individual art pieces representing the Salem Witch Trials story.

Arthur Miller’s The Crucible as a play was published in 1952, while it was released as a movie in 1996 (Arenas Garcia, 2016).

Differences in Characters, Character Relationships, and InteractionsĪdaptations of stories tend to differ and develop individual aspects, depending on their eras of creation, modes of publication, and intended audience.

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