How Playwrights Depict Sexual Exploitation Within Institutional Frameworks
Sexual exploitation is a pervasive issue that has been explored extensively in literature and theater. In plays, it often takes place within the context of power dynamics between individuals in positions of authority and those who are subordinate to them. These institutional frameworks can include but are not limited to workplaces, educational institutions, religious organizations, or even families. Through their writing, playwrights have highlighted the ways in which abuse of power and manipulation can lead to sexual exploitation, and how these situations can be difficult to identify and overcome.
One example of this is seen in Arthur Miller's "The Crucible," where John Proctor is falsely accused of witchcraft and subsequently sentenced to death for refusing to confess. His wife, Elizabeth, becomes aware of his affair with Abigail Williams and confronts him about it, leading to an explosive argument that ultimately ends with her revealing the truth to the court. The play presents sexual exploitation as something that occurs when one person takes advantage of another's vulnerability, whether through coercion or manipulation.
Another example is David Mamet's "Oleanna," where Professor John enters into a relationship with student Carol, despite being married. When she accuses him of sexually harassing her, he denies any wrongdoing and claims that their encounters were consensual.
The play suggests that there was an imbalance of power between them, with John using his position as a professor to manipulate Carol into complying with his wishes. This theme of abuse of power is echoed in other works such as Tennessee Williams' "A Streetcar Named Desire" and August Wilson's "Ma Rainey's Black Bottom."
In addition to exploring the dynamics of power within relationships, playwrights also examine how institutions themselves can contribute to sexual exploitation. In Paula Vogel's "How I Learned to Drive," for instance, Li'l Bit recounts a series of events in which she was sexually assaulted by her uncle from a young age. The play highlights the ways in which adults in positions of authority can take advantage of children who may not have the ability to defend themselves against such behavior. Similarly, Edward Albee's "Who's Afraid of Virginia Woolf?" examines the idea that people in powerful positions, such as professors, can use their influence to coerce students into having sexual relationships with them.
While these plays offer insight into the prevalence and complexity of sexual exploitation, they do not provide easy solutions or clear-cut answers. Rather, they suggest that it is a multi-faceted issue that requires careful consideration and thoughtful responses from both individuals and institutions. It is up to us as readers and audience members to reflect on our own experiences and attitudes towards this topic, and to work towards creating a more equitable and just society where everyone feels safe and respected.
How do playwrights depict sexual exploitation within institutional frameworks?
Playwrights often portray individuals struggling with sexual exploitation as they navigate complex power dynamics within institutions such as workplaces or educational settings. The plays may explore how gender norms and cultural expectations can contribute to sexual harassment and abuse, highlighting the social structures that perpetuate these problems.