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Role of Mary Warren in Robert Ward's The Crucible DeBruyn, Maaike Maria 2001

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ROLE OF MARY WARREN IN ROBERT WARD'S THE  CRUCIBLE  by MAAIKE MARIA DEBRUYN B.Mus., U n i v e r s i t y of B r i t i s h Columbia, 1 9 9 8 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC  in THE FACULTY OF GRADUATE STUDIES (School of Music)  We accept t h i s t h e s i s as conforming to the r e q u i r e d  standard  THE UNIVERSITY OF BRITISH COLUMBIA April 2 0 0 1 ©  Maaike Maria deBruyn 2 0 0 1  In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department  or by his or  her representatives.  It  is understood  that copying or  publication of this thesis for financial gain shall not be allowed without my written permission.  Department of  SdnaoV  pfc  The University of British Columbia Vancouver, Canada  DE-6 (2/88)  fflosic  -MUSIC  fad"  at UBC  The Crucible by Robert Ward  -  -3  l  March 1,2,3,4  2001  Chan Shun Concert Hall Chan Centre for the Perfornmg Arts  UBCMUSIC  The Crucible A n o p e r a in four acts based o n t h e play b y A r t h u r M i l l e r  Music by Robert Ward Libretto by Bernard Stambler with T h e U B C Opera Ensemble & T h e U B C Symphony Orchestra  Conductor - Jesse Read Stage Director - Nancy Hermiston Musical Director - Richard Epp Set & Costume Design by Alessia Carpoca Light Design by Jeremy Baxter  There will be one twenty-minute intermission  Chan Shun Concert Hall March 1, 2, 3, 4, 2001 THIS PRESENTATION IS MADE POSSIBLE BY GENEROUS ASSISTANCE THROUGH THE CHAN ENDOWMENT FUND OF THE UNIVERSITY OF BRITISH COLUMBIA  A Message from the Conductor and Director of the U B C School of Music Welcome to a memorable night o f opera!  I hope you will savor  this evening, the ideal k i n d o f theatre experience, an opera based on a great piece o f dramatic art-Arthur Miller's striking play, a score from a legendary composer who has graced us with his presence, a sharply-defined visual and theatrical setting which compliments and supports the story, all performed by the singers and musicians from what is emerging as the most exciting opera training program i n Canada! W e are proud o f this production, excited that U B C , the School o f M u s i c and the Department o f Theatre, F i l m and Creative W r i t i n g can collaborate again to bring y o u into its midst.  As the Director o f the School and  conductor o f tonight's performance, I share your excitement, enthusiasm and sense o f appreciation for the talent and dedication necessary to give birth to such a moving and dramatic production. T h a n k you for joining us. W a r m wishes,  Jesse Read - Conductor, Director U B C School o f M u s i c  A Message from the Head of Theatre, Film and Creative Writing The Performing Arts are too often assumed to be just entertainment. Theatre in all its forms, has been a crucial part o f our societal development, with an importance far beyond the merely diversionary.  The Crucible is a case in point. In  1950, the play was A r t h u r Miller's response to a social injustice, and it gave us a picture o f how we behave in the throes o f political hysteria.  Robert Ward's operatic work makes this picture even  more poignant and more accessible to an even broader audience. The Department o f Theatre, F i l m and Creative W r i t i n g is proud to join with the Opera Program to present this classic, relevant and important story.  Ron Fedoruk - Head of Theatre, Film and Creative Writing, U B C  5  About the Composer Robert W a r d was born in 1917 in Cleveland, O h i o . H e studied w i t h H o w a r d H a n s o n and Bernard Rogers at the Eastman School o f Music; with Frederick Jacobi, Bernard Wagenaar, Albert Stoessel and Edgar Schenkman at the Juilliard Graduate School, and with Aaron C o p l a n d at the Berkshire M u s i c Center. H e has served on the faculties o f Queens College, C o l u m b i a University, and the Juilliard School o f M u s i c where he was also Assistant to the President from 1952 to 1956. H e was the Ditector o f the T h i r d Street M u s i c School Settlement from 1952 to 1955. H e was Executive Vice-President and Managing Editor o f Galaxy M u s i c Corporarion and Highgate Press until 1967 when he became President o f the N o r t h Carolina School o f the Arts. U n t i l his retirement i n 1987, he was the M a r y D u k e Biddle Professor o f M u s i c at D u k e University. M r . Ward's latge and distinguished musical creation has, i n large measure, been commissioned by the N e w York C i t y Opera, Broadcast Music. Inc., the N e w York Philharmonic, the Friends o f D u m b a r t o n Oaks, the Juilliard Musical Foundation, and many others. H i s opera, The Crucible, based o n the play by A r t h u r Miller, w o n both the 1962 Pulitzer Prize for M u s i c and the N e w York M u s i c Critics Circle Citation for the same year.  A Message from the Director Robert Ward's opera The Crucible gives us pause to think o f our own human strengths and weaknesses. W e have chosen to give the piece no fixed period as the issues addressed by this very moving work are ones which have remained with us long before and long after those Puritan days o f Salem. O n e needs only to look into our history books, lisren to the 6:00 o'clock news, enter some schools, universities, colleges or even some courts and churches to see that mass hysteria, mob mentality, persecution, jealousy, hatred, sexual repression, and the darker sides o f power and love are as present now as they were i n Salem or i n Miller's 1950 U . S society. T h r o u g h this most disturbing and inspiring work both M i l l e t and W a r d provide us w i t h the oppottuniry to find, as does John Proctor, "that shied o f goodness" in ourselves. W h e n asked what the opera has to say to modern audiences, Robert Ward replied: "We think events like the Salem witch trials or the M c C a r t h y hearings can't happen again, but as we look around us in the world, we see the same conditions recur again and again." It is a great honour and privilege to have the composer with us for this production.  Nancy Hetmiston Director U B C Opera Ensemble  UBC OPERA  ENSEMBLE  (The Opera Ensemble and I w o u l d like to thank you for your continued support and interest. T h e 2000/2001 season has been a most exciting and active one. O u r collaboration with the Opera House in Usti nad Labem, Czech Republic, was a most successful and rewarding venture. A highlight o f our European schedule was our performances o f Gdrtnerin aus Liebe in the Stovosky Theatre, Prague, where Mozart premiered his Don  Giovanni.  A further consequence of this venture was the collaboration between the Usti Opera House and the Opera Ensemble in this production o f The Crucible. O n Sept. 21, 2001 the Opera House in Usti will present the Czech premiere of The Crucible with this production featuring a C z e c h / U B C Opera Ensemble cast. We return to Usti in M a y and June to perform three operas, Gounod's, Faust in French, Janacek's The Cunning Little Vixen in Czech, and Mozart's Gdrtnerin aus Liebe in German. Internationally renowned conductor David Agler will conduct the Faust performances while Usti's General M u s i c Director; Norbert Baxa will lead the Vixen and Gdrtnerin. T h e Ensemble will complete its tour at the international Festival for Young Opera Singers in the University rown of Erlangen, Germany with a performance o f Gdrtnerin aus Liebe on July 1, Canada Day. A l o n g with their colleagues from Usti the Ensemble will share this Festival w i t h singers from Italy and Germany. O u r season has also included the annual David Spencer Memorial concert, our Christmas production o f Hansel and Gretel, many community concerts and a tour to Cranbrook, B . C . w i t h our shortened school version o f Hansel and Gretel, where approximately 1500 children attended our performances. In addition, we participated with Italy's Ruggiero Ensemble in a production o f Monteverdi's / / Ritorno d'Ulisse di Patria. After The Crucible we will join the Choral U n i o n and W i n d Symphony for Operatic excerpts Mar. 23 & 24 and present three evenings o f Operatic B o n Bons on Apr. 20, 21, & 22 in the O l d A u d i t o r i u m , featuring excerpts from Faust, Otello, Romeo and Jidiette, Hamlet and Sir John In Love, with guest directors, Irving Guttman and M a r i H a h n . - Nancy Hermiston  T H E OPERA ENSEMBLE EXECUTIVE RHONWEN ADAMS  ALEXIS B A R T H E L E M Y  MELISSA BENCIC  KATY BOWEN-ROBERTS  N E E M A BICKERSTETH  JEANINE F Y N N  RHOSLYN JONES  RILEY M C M I T C H E L L  JANET VANDERTOL  JUSTIN W E L S H  The Crucible by Robert Ward  Cast  March 1 & 3  March 2 & 4  Betty Parris  Katy Bowen-Roberts  Dory Hayley  Reverend Parris  Russell Robson  Phillip Grant  Tituba  Beverly McArthur  Kacherine Landry  Abigail Williams  Melanie Krueger  Mari Hahn  Ann Putnam  Shauna Martin  Cindy Koistinen  Thomas Putnam  Elio Cacana  Krzysztof Biernacki  Rebecca Nurse  Jeanine Fynn  Suzanne Abbott  Francis Nurse  Joel Klein  Pierre Hungr  Giles Corey  Craig Johnson  Neil Wright  John Proctor  *Git Anderson  ^Andrew Greenwood  Reverend Hale  David Jefferies  Shae Apland  Elizabeth Proctor  Alexis Barthelemy  Sandra Stringer  Mary Warren  Maaike deBruyn [March 1st] Neema Bickersteth Sheila Christie [March 3rJ]  Ezekiel Cheever  Ian Paul  Alex Good  Judge Danforth  Neil Wright  Philippe Castagner  Sarah Good  Elaine Lee  Elizabeth Cushnie  Ruth Putnam  Jinny Park  Rhoslyn Jones  Susanna Walcott  Mia Harris  Paula MacNeil  Mercy Lewis  Soula Parassidis  Alexandria Beck  Martha Shelton  Charis Vanelst  Rosa Nam  Bridget Booth  Rhonwen Adams  Katie Cross  *by permission o f Canadian Actor's Equity Association  Chorus Stephen Bell  Jerome Dubois  Jeannetce Gibault  Andrew Jameson  Amy LaFroy Steven Rathjen  Michael Mori Mark Sampson  Janet Vandertol  ORCHESTRA VIOLIN 1 +Alycia A u Ruth H u a n g Ever B o - K y o u n g K i m Adrian Dyck  BASS *Leanna W o n g Peggy Tong Jennifer C h u Jessy Giammarino  Amanda Hsueh James Wei Angela Hodgson A m y Pei  FLUTES *Tara Whittaker Greg KJrczenow (piccolo)  Amelia M o r i Jenny Atkinson  OBOE & ENGLISH HORN  Ruth Houtman  Marisa Chang  VIOLIN 2 *Gillian M o t t Brooke Day James H i l l  CLARINETS *Eileen Walsh Jennifer M c E n h i l l Amanda Beatty (bass clarinet)  Denise N g Jessica Wan Trevor Pearce  BASSOONS Meghan Dahl  Vincent W o n g Phyllis H o Heather Liau Jack Tsai VIOLA *Beth Schaufele Aaron Butler  HORNS *Megan Smith David Quackenbush TRUMPETS *Meghan Turner Chris Mitchell  Szabolcs Kabok Suzanne Schweikle-Davey Gillian Hunter CELLO *Colin Giles  BASS TROMBONES Peter Waldkirch . TIMPANI & PERCUSSION Bruce Henczel  Diederik van Dijk Anne Davison Seung Young Song  LIBRARIAN Peggy W o n g  Lucas W o n g Sarah Tippett  MANAGER  Alexandra Sia  C o l i n Giles  Hsin-Pei L i u + CONCERT MASTER * SECTION LEADER  9  PRODUCTION FOR THE OPERA DEPARTMENT M U S I C DIRECTOR RICHARD EPP REPETITEURS DANIEL C H O W D O N N A FALCONER B R E T T KINGSBURY TECHNICAL DIRECTOR  PRODUCTION STAGE M A N A G E R PEGGY JAMESON* ASSISTANT STAGE M A N A G E R S APRIL LAWRENCE M A Y A SANDERS STAGE C R E W LAURA P A R S O N STACY LANDERS  CAMERON M C G I L L TECHNICAL COORDINATOR JASON B O S H E R WIGS ELKE ENGLICHT H E A D OF PROPERTIES VALERIE MOFFAT PROP BUILDER MAKE-UP N E L VOLRICH L I G H T I N G ASSISTANT M I K E INWOOD LIGHTING BOARD OPERATOR JEREMY BAXTER PAINTERS G ENNIE W I LLO U G H B Y- P RICE COSTUMES O P E R A H O U S E , USTI NAD LABEM, C Z E C H REPUBLIC C O S T U M E COORDINATOR LYDIA HIEBERT  FOR T H E THEATRE DEPARTMENT TECHNICAL DIRECTOR IAN PRATT PRODUCTION M A N A G E R ROBERT E B E R L E PROPS SUPERVISORS JANET BICKFORD LYNN BURTON C O S T U M E SUPERVISORS JEAN DRJSCOLL-BELL STAGE CARPENTERS J I M FERGUSSON D O N GRIFFITHS JAY H E N R I C K S O N BUSINESS M A N A G E R MARIETTA K O Z A K COMMUNICATIONS JOAN WELLWOOD POSTER D E S I G N JAMES A . G L E N Box O F F I C E GERRY BRATZ O F F I C E SUPPORT G . VANDERWOUDE  Media Sponsors  PROGRAM LAYOUT  CBC«J|}» r a d i c ^ z i 'CLASSICS. AND  MARYKE FLAMELING  BIYOND] ACKNOWLEDGEMENTS T h e C h a n Family, M i c h a e l N o o n  T h e Vancouver O p e r a , T h e Vancouver Playhouse, T h e A r t s C l u b Theatre, Valerie Moffat, School o f M u s i c Office Staff, Phyllis Lavalle and T h e Friends o f U B C O p e r a , D a v i d Spencer E n d o w m e n t Encouragement F u n d , Enchanted Florist, Ian Pratt, T h o m a s T h o m p s o n , U B C O p e r a Ensemble, T h e M o v i n g G u y s , and J i m W r i g h t General D i r e c t o r o f T h e Vancouver O p e r a A  Special T h a n k Y o u to the Vancouver O p e r a G u i l d for their donation to this production.  The Crucible - Synopsis Act I T h e c u r t a i n rises o n the R e v e r e n d S a m u e l Parris k n e e l i n g d i s t r a u g h t at the b e d o f his d a u g h t e r Betty. She lies i m m o b i l e a n d scarcely b r e a t h i n g , as she has l a i n since Parris c a m e u p o n her a n d her c o u s i n A b i g a i l d a n c i n g i n the w o o d s the n i g h t before. T i t u b a comes to ask a b o u t B e t t y but is a n g r i l y sent away. A b i g a i l enters to say that the t o w n is w h i s p e r i n g o f w i t c h c r a f t a n d that Parris s h o u l d go o u t to m a k e d e n i a l . H e b i t t e r l y t u r n s o n her to q u e s t i o n her a b o u t the d a n c i n g a n d a b o u t her m y s t e r i o u s d i s m i s s a l f r o m the service o f the P r o c t o r s . A s she v e h e m e n t l y denies any w r o n g d o i n g , a t t r i b u t i n g her d i s m i s s a l to G o o d w i f e Proctor's arrogant desire for a slave, the P u t n a m s enter to tell that their R u t h was s t r i c k e n at the same t i m e as B e t t y Parris a n d that they have sent to B e v e r l y for the R e v e r e n d H a l e , k n o w n for his skill in discovering witches. W h i l e Parris, fearful o f a n y s u s p i c i o n o f w i t c h c r a f t i n his o w n h o u s e h o l d , is anxi o u s l y d o u b t i n g the need for H a l e , R e b e c c a a n d Francis N u r s e enter w i t h G i l e s C o r e y . R e b e c c a is c o m f o r t i n g , o l d G i l e s is f l i p p a n t a b o u t the illness o f the girls. W h e n P u t n a m insists that w i t c h e s are at w o r k i n S a l e m , G i l e s accuses h i m o f u s i n g a w i t c h scare to defraud his neighbors o f their l a n d . J o h n Proctor's entrance o n l y brings this quarrel to a h i g h e r peak. ( A b i g a i l , t h o u g h silent i n the u p p e r r o o m , v i s i b l y reacts w i t h excitement to John's entrance.) R e b e c c a r e p r i m a n d s the m e n for this u n t i m e l y squabble i n a house o f illness, a n d calls t h e m b a c k to their senses. G i l e s departs w i t h J o h n . T h e y s i n g a p s a l m to beseech G o d ' s h e l p . A s the p s a l m proceeds, B e t t y begins to w t i t h e o n the b e d a n d t h e n w i t h a n u n e a r t h l y shriek tries to fly o u t o f the w i n d o w . T h e y r u s h to her side. I n the m i d s t o f the c o m m o t i o n the R e v e r e n d H a l e enters. H e calms t h e m w i t h his air o f a u t h o r i t y a n d t h e n m e t h o d i c a l l y sets a n i n q u i r y u n d e r way. H e s o o n learns that T i t u b a has p l a y e d a n i m p o r t a n t role i n w h a t has been h a p p e n i n g , h a v i n g also been present at the d a n c i n g . A n n P u t n a m asserts that T i t u b a k n o w s c o n j u r i n g . T i t u b a is sent for; at her entrance, A b i g a i l , w h o has been u n d e r severe i n q u i s i t i o n b y H a l e , lashes o u t to accuse T i t u b a o f c o m p a c t i n g w i t h the D e v i l . T i t u b a , overw h e l m e d b y the sternness o f H a l e a n d the m a l e v o l e n t i n t e n s i t y o f Parris a n d Putnams,  finally  the  confesses that she has been v i s i t e d b y the D e v i l , b u t denies that he  has p e r s u a d e d her i n t o a n y w r o n g d o i n g - f o r a few m o m e n t s she frightens Parris a n d the P u t n a m s w i t h a heartfelt fantasy o f the h e l l i s h p o w e r to b r i n g t h e m h a r m that the D e v i l h a d offered her. W i t h Tituba's confession the spell over B e t t y is b r o k e n . A l l r e t u r n to the p s a l m i n great t h a n k s g i v i n g , w h i l e A b b y envies the a t t e n t i o n n o w b e i n g g i v e n to T i t u b a , hysterically repents her o w n c o m p a c t w i t h the D e v i l , a n d v i s i b l y receives an answer to her prayer for forgiveness a n d for a call to m a r k o u t others o f the D e v i l ' s crew.  11  Act II John Proctor returns from a day's planting to find Elizabeth listless and moody. In her mind the witch trials have become an aggravation of her domestic troubles, with Abby at the center of both. She insists that John expose Abby's fraud to Judge Danforth; his reluctance to do this convinces her that he still has a warm spot in his heart for Abby. John's self-defense is double: that he has no witness to what Abby told him, and that she will avenge herself by revealing John's adultery with her. And he is fed up with Elizabeth's sitting in condemnatory judgment upon him. She gently denies this but regrets the vanished sweetness of their love. Abby, she says, will not confess the lechery lest she damn herself. And | what of those who suffer in jail because of John's silence? No, John must tear the last feeling for Abby out of his heart, or she will never give up hope of some day having him for her own. v  Mary Warren enters furtively from her day at court as one of Abby's crew of witchfinders. She tells, breaking into tears, that the number of those arrested has tripled-and that Goody Osborn has been condemned to hang! She is truly troubled by this, and by her own part in it, but demonstrates how the mob excitement of the courtroom procedure turns her into an hysterical accuser even against her own will. When John threatens to whip her if she ever returns to that court she blurts out that Goody Proctor herself has been mentioned in court and that only Mary's defense of her prevented an outright accusation. Elizabeth is sure that Abby is behind this and is once more pleading with John to got o the court when Reverend Hale and John Cheever enter with a warrant for her arrest: that very evening Abby has charged Elizabeth with employing a witch's poppet to kill her. John makes Mary acknowledge it is her poppet, but Hale, although deeply troubled by these new directions of the witch-hunts, feels that he must arrest Elizabeth for examination. John is about to burst out wildly to prevent their taking Elizabeth away, but instead turns with intense but controlled passion upon Mary: she will tell her story in court even though it may provoke a charge of adultery from Abby and ruin both Abby and John completely-anything rather than that Elizabeth should be in danger for his sake. Act III Scene 1. Abby, with a mixture of scheming but passionate love for John and a mystical belief in her mission, tries to persuade John to abandon Elizabeth and to join her in the holy work of cleansing the puritanically corrupt town. He will not listen to this, but instead pleads that she free the town from the curse of her foolish wickedness, and then threatens to expose her fraud. She defies him: now any dire fate that descends on Elizabeth will be of his doing.  12  Scene 2. Judge Danforth's i n v o c a t i o n i n c o u r t reveals the strength a n d fervor o f his c o n v i c t i o n that G o d ' s w i l l is w o r k i n g t h r o u g h h i m to cleanse the l a n d o f a plague o f witches. A s c o u r t opens, G i l e s C o r e y accuses T h o m a s P u t n a m , i n his greed for his neighbors' l a n d , o f h a v i n g bragged o f his role i n the charges o f witchcraft. Judge D a n f o r t h sends C o r e y to jail a n d tortute for refusing to name his witnesses for this accusation. T h e r e is a great h u b b u b as G i l e s leaps at P u t n a m as the m a n responsible for the arrest o f his wife a n d himself, a n d o f Rebecca N u r s e as w e l l . J o h n Proctor presents M a r y Warren's d e p o s i t i o n that the entire c r y i n g - o u t against witches started o n l y as an e x c i t i n g game for the girls-and is a complete pretense a n d fraud. B u t A b b y , he says, has c o n t i n u e d the game i n an effort to dispose o f E l i z a beth. H e r encouragement to this arose from the adultery that t o o k place between A b b y a n d himself, w h i c h he is n o w confessing. W h e n E l i z a b e t h , o r d i n a r i l y incapable o f a lie, is b r o u g h t i n a n d fails to c o n f i r m John's confession; A b i g a i l counterattacks, c h a r g i n g that M a r y herself has t u r n e d w i t c h . M a r y , helpless a n d then hysterical, turns o n J o h n P r o c t o r - a c c u s i n g h i m o f b e i n g the Devil's m a n w h o has forced her i n t o t r y i n g to confuse a n d o v e r t h r o w the court. A l l but the Reverend H a l e close i n o n J o h n Proctor w i t h sadistic vindictiveness. Act I V T i t u b a a n d Sarah G o o d , crazed by the tigors o f i m p t i s o n m e n t , sing o f the D e v i l a n d his b r o k e n promises to t h e m . A b b y comes into the p r i s o n c o u r t y a r d ; she has b r i b e d the jailer to p e r m i t P r o c t o r to escape. J o h n , a l t h o u g h b r o k e n by the m o n t h s o f p r i s o n a n d torture, scornfully rejects the freedom a n d love she offers h i m . A b b y runs o f f w e e p i n g . H a l e , a n d then Parris, try to petsuade Judge D a n f o r t h to postpone the executions o f Proctor a n d Rebecca N u r s e scheduled for that m o r n i n g : Salem m a y break i n t o o p e n rebellion at the execution o f such respected citizens. D a n f o r t h i n d i g n a n t l y refuses, but agrees to ask E l i z a b e t h to persuade her h u s b a n d to confess. J o h n is brought i n a n d left alone w i t h E l i z a b e t h . She tells h i m that G i l e s C o r e y has d i e d , pressed to death rather than say aye or nay to the charge o f witchcraft, but that m a n y have confessed i n order to save their lives. J o h n reluctantly brings out his o w n w i s h to confess-if it w i l l n o t make her t h i n k i l l o f h i m for l y i n g . Passionately she answers that it was her lie that d o o m e d h i m - a n d that she wants h i m alive. E x u l t a n t , he shouts that he w i l l confess to the charge o f witchctaft. D a n f o r t h , H a l e , a n d Parris rejoice-for their various reasons-over John's confession, a n d Parris tries to persuade Rebecca, w h o has been brought i n o n the way to the gallows, also to confess. She refuses to d a m n herself w i t h the lie. J o h n is asked to sign his confession, that it m a y be e x h i b i t e d before the t o w n . B u t this is too m u c h : he has deeply shamed h i m s e l f by confessing, but he w i l l not set his h a n d to the destruction o f his o w n name-and the etetnal shame o f his sons. H e tears u p the d o c u m e n t . In fury D a n f o r t h otders J o h n a n d Rebecca to be l e d out to execution. H a l e pleads w i t h E l i z a b e t h that she change John's decision w h i l e there is yet time. She refuses: " H e has f o u n d his name a n d his goodness n o w - G o d f o r b i d I take it f r o m h i m . "  Images and Texts about the Salem Witch Trials  A Modeft  Enquiry  Iaro rhc Nature of  Witchcraft. A N D Ho* Pcribns Guilty of that Crimt miy be Convicted-.And the mean* ulcd for their Diit-«very Diicufl&, both Negatively and Affirmatively. • according to SC R IP 1 V RE and E X ¥ ERIE We £. i  By 3to5it  $ale,  Pallor ot the Church of Chiiil in JkvnUj, Anna  ' n  .  IXfntmt  16.; j , ~  1  •• • . . /'(J;  Ftmiliar Sftriti nd  ri/Ri ttial h*at t^i^mrdi.tkM ?tcp,Sl*  7 ti 1 . tW J'..i ta th* IVffin • • . ^  :-..<  ir-r 4. - r 1. ' • />: • «• - J, 1/ j* bteamU thtri u >••> Above: "The Trial Ujrbt iii 1 Jrm, lia'tah Vlll. 19, 10.  T' J• *. 1. /,/« n*i  OSTON  t 1.'.-, Job 14 ;Z.  o f George Jacobs, August 5,  1692" b y T . H . Matteson, 1885  m N. t  a. Gr/rti, and 7for i«r under the T o w n Houfe. 1  Left: the inside cover of a book written by Rev. Hale on the examination o f witches.  WARRANT FOR T H E ARREST OF ELZABETH  PROCTOR  A N D S A R A H C L O Y C E ( A P R I L 4, 1692):  There Being Complaint this day made (Before us) by capt Jonat Walcott, and Lt Natheniell Ingersull both of Salem Village, in Behalfe ofthrift Majesties for themselfes and also for severall of their Neighbours Against Sarah Cloyce the wife ofpeter Cloyce of Salem Village; and Elizabeth Proctor the wife ofJohn Proctor of Salem farmes for high Suspition of Sundry acts ofWitchcraft donne or Committed by them upon the bodys ofAbigail Williams, and John Indian both of Mr Sam parris his family ofSalem Village and mary Walcott daughterof the abovesaid Complainants, And Ann Putnam and Marcy Lewis of the famyly of Thomas Putnam of Salem Village whereby great hurt and dammage hath beene donne to the Bodys of s d persons above named therefore Craved Justice. You are therefore in theire Majest's names hereby required to apprehend and bring before us Sarah Cloyce the wife of peter Cloyce ofSalem Village and Elizabeth proctor the wife of John Procter ofSalem farmes; on Munday Morneing Next being the Eleventh day of this Instant Aprill aboute Eleven of the Clock, at the publike Meetinghouse in the Towne, in order to theire Examination Relateing to thepremesis aboves d and here ofyou are. not to fade Dated Salem Aprill 8 th 1692 To George Herick Marshall of the County of essex John Hathorne Jonathan Corwin Assists  T h e Deposition o f Sam Parris, Nathaniel Ingersoll, and Thomas Putnam [pictured below] T h e Deposition o f Sam: Parris aged about.39.years, & Nathanael Ingersol aged about fifty & eight years, & Thomas Putnam aged about fourty years all o f Salem testifyeth & saith that John Indian, A n n Putman & Abigail W i l l i a m s & others of the bewitched persons were severall times & greivously tortured at the Examination of Elizabeth Proctor wife to John Proctor of Salem Farmes before the H o n o u r e d Magistrates the. IF th A p r i l . 1692 . & particularly that Eliz: H u b b a r d was in a Trance during the whole examination unable to speak a word tho often called upon by s'd Magistrates, & also the said Abigail W i l l i a m s & A n n Putman then testifyed that they saw this Eliz: Proctor & her husband John Proctor severall times afflicting o f Bathshua Pope the wife o f Joseph Pope o f Salem Yeoman, at which times the said Bathshua Pope was seized w i t h violent fits: & farther that the said Abigail Williams & A n n Putnam, both of them made offer to strike at said Eliz. Proctor, but when said Abigails hand came near to said Eliz: Proctor it opend (whereas it was made up into a fist before) & came down exceeding lightly as it drew near to said Proctor, & at length w i t h open & extended fingers touche said Proctors hood very lightly, & immediately said Abigail cryed out, O h ! m y fingers, my fingers, m y fingers burne, & A n n Putman took o n most greviously of her head, & sunk down, as far as she could being held up by such as tended her. - N a t h : Ingatson and thom. Putman d i d o n their oaths owne this their testimonies to be the truth be fore the Juriors o f Inques this 30 o f June 1692.  £><•fietiJ****-tf fa^n  : /wV  a.4»t a^W  . a. 3  *****  tit S*H<*<*eJL hy.vUtt^  /i^p- yw*) °& of _ — -* — — i<fKf^tc. %/ f~.U. x*~- pnUi^Jia^fyfrrn hJ^.tt- ff-yfAfuil V-J&JIW y slit*, JJ* X.. ft„^u£ rj~ jny.*, jt,.<,t/l <,Vuy $> ytwr^fi tahited ai lit trAwruiAr*, J  l  tfk*. fii-i <f*~ -t,ftrritufjtvJ-n $otp tu -jaJ)  wJiWv  p Jyr*~  It iv*t «' •*»' (ft. Prr'.f'-', /«t vtt*. fit fif^f' ' e«tn* tiuur ttjixS"/. rV-U. J •li.-CJ. . •c,,.^ I U W f M -> '•(- xmt j •' 'MlLt •>.->• J  cJ it.>  To learn more about the Salem Witch Trials, visit the website http://etext.virginia.edu/salem/witchcraft  SIEGFRIED JERUSALEM (tenor)  IN CONCERT Renowned in Bayreuth circles for his masterful interpretation of German opera and art song, the great Wagnerian tenor makes a rare recital appearance at the Chan.  SATURDAY MARCH 17, 8:00pm Tickets available at Ticketmaster [280-3311] or call the Chan Centre Box Office at 822-2697  UBCMUSIC  Upcoming Events  Masterclasses with Siegfried Jerusalem M a r c h 12-14 O l d Auditorium M a r c h 15 Recital Hall  Student Concert Admission: $5.00 for each class and student concerr Masterclass Pass: Admission to all Masterclasses and the Student Concert: S20.00 U B C music students: Free admission A Concert of Operatic Excerpts March 23 & 24 8:00pm C h a n Centre for the Performing Arts U B C Ensemble, U B C Choral U n i o n , U B C Symphonic W i n d Ensemble Admission by donation U B C Symphony Otchestra April 5, 12:30pm A p r i l 6, 8:00pm C h a n Centre for the Performing Arts Free admission Masterclasses with D a w n Upshaw April 12, 12:00pm-2:00pm C h a n Centre for the Performing Arts Admission: $ 10/$ 15 at the door Opera Bon Bons A p r i l 20 & 21, 8:00pm April 22, 3:00pm  O l d Auditorium  Excetpts from Othello, Hamlet, Romeo and Juliette, Sir John in Love, and Faust Guest directors: Irving G u t t m a n and M a r i H a l m Admission by donation  For more concert information visit The School of Music website at:  www.music.ubc.ca  orphone 822-5574  THE CHAN CENTRE DIRECTOR MICHAEL NOON DIRECTOR OF FACILITIES AND OPERATIONS CAMERON M C G I L L PROGRAMMING M A N A G E R JOYCE HINTON EVENTS COORDINATOR W E N D Y ATKINSON CUSTOMER SERVICES M A N A G E R M A R I E EDWARDS STAGE COORDINATOR O W E N SCHELLENBERGER AUDIO VISUAL COORDINATOR STEVE DARKE SYSTEMS COORDINATOR TED CLARK FRONT OF HOUSE COORDINATORS Y O L A N D A Bun & JENNY PETERSON CONCESSIONS COORDINATOR BASIL W A U G H TICKET OFFICE COORDINATOR DONNA CAEDO FINANCIAL OFFICER FLORA L E W FINANCIAL CLERK LAURA L E E SAMUELS  GREEK by Steven Berkoff  MAR 8-17, 2001  7:30pm  MAR 22 - 31,2001 7:30pm  TELUS Studio Theatre  Frederic Wood Theatre  Adults $16 Students/Seniors $10  Adults $16 Students/Seniors $10  BECKETT  BIRTHDAY BASH IV April 13 2001 TELUS Studio Theatre 7:30pm NOT I FOOTFALLS BREATH & READINGS OF PROSE 1 Show Tickets & Info 822-2678  


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