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Role of Abigail Williams in Robert Ward's The Crucible Krueger, Melanie Erin 2001

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ROLE OF ABIGAIL WILLIAMS IN ROBERT WARD'S THE  CRUCIBLE  by MELANIE ERIN KRUEGER B.Mus., W i l f r i d L a u r i e r U n i v e r s i t y ,  1998  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 A p r i l 2001 ©  Melanie. E r i n Krueger 2 001  In  presenting  degree freely  at  this  the  available  copying  of  department publication  of  in  partial  fulfilment  of  the  University  of  British  Columbia,  I  agree  for  this or  thesis  reference  thesis by  this  for  his thesis  and  scholarly  or for  her  Department The University of British C o l u m b i a Vancouver, Canada  I further  purposes  gain  shall  that  agree  may  representatives.  financial  permission.  DE-6 (2/88)  study.  requirements  be  It not  that  the  Library  by  understood be  an  advanced  shall  permission for  granted  is  for  allowed  the that  without  make  it  extensive  head  of  copying my  my or  written  UBCMUSIC  The Crucible An o p e r a in four acts based on the play by Arthur Miller  Music by Robert Ward Libretto by Bernard Stambler Willi  The UIK: Opera r.ii.scnible & The 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  ITicrc will be one  twenty-minute intermission  Chan Shun Concert Hall  M a r c h 1, 2, 3,4,  2001  THIS PRESENTATION IS MADE POSSIBLE BY GENEROUS ASSISTANCE THROUGH THE CHAN ENDOWMENT FUND OF THE UNIVERSITY OF BRITISH COLUMBIA  The Crucible An opera in four acts based on the play by Arthur Miller  Music by Robert Ward Libretto by Bernard Stambler with T h e U B C Opera Ensemble & T h e U B C S y m p h o n y 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  C h a n S h u n C o n c e r t Hall  M a r c h 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 of opera!  I hope you will savor  this evening, the ideal kind of theatre experience, an opera based on a great piece of 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 in Canada! We are proud of this production, excited that U B C , the School of Music and the Department of Theatre, film and Creative Writing can collaborate again to bring you into its midst.  As the Director of the School and  conductor ol tonight's performance, I share your excitement, enthusiasm and sense of appreciation for the talent and dedication necessary to give birth to such a moving and dramatic production.  Thank you tor joining us.  Warm wishes,  Jesse Read - Conductor, Director U B C School of Music  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 Arthur Miller's response to a social injustice, and it gave us a picture of how we behave in the throes of political hysteria. Robert Ward's operatic work makes this picture even more poignant and more accessible to an even broader audience. The Department ol Theatre, f i l m and Creative Writing is proud to join with the Opera Program to present this classic, relevant and important story.  Ron Fedoruk - Head of Theatre, Hi!m and Creative Writing, U B C  About theComposer Robert W a r d was born in 1917 in Cleveland, O h i o . H e studied with 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 Music 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 of M u s i c where he was also Assistant to the President from 1952 to 1956. H e was the Director 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 Music Corporation 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 in 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 large and distinguished musical creation has, in 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 on the play by A r t h u r Miller, won 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 arc 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, listen to the 6:00 o'clock news, enter some schools, universities, colleges or even some courts and churches to sec 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 in Salem or in 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 Ward provide us with the opportunity to find, as does John Proctor, "that shred 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 Hermiston Director UBC Opera Ensemble  UBC OPERA ENSEMBLE T h e Opera Ensemble and 1 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 blouse i n Usti nad Labcm, Czech Republic, was a most successful and rewarding venture. A highlight o f our European schedule was our performances o f Giirtnerin aus Liebe i n the Stovosky Theatre, Prague, where M o z a r t premiered his Don  Giovanni.  A further consequence o f 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 ol  The  Crucible with this production featuring a C z c 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 D a v i d Aglcr 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 w i l l complete its tour at the International Festival for Young Opera Singers i n the University town of Erlangen, Germany with a performance of Gdrtnerin aus Liebe on July 1, Canada Day. A l o n g with their colleagues from Usti the Ensemble will share this Festival with singers from Italy and Germany. O u r season has also included the annual D a v i d Spencer M e m o r i a l concert, our Christmas production o f Hansel and Gretel, many c o m m u n i t y concerts and a tour ro Cranbrook, B . C . with 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 i n a production o f Monteverdi's / / Ritorno d'Ulisse di Patria. After The Crucible we will join the C h o r a l 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, Olcllo, Romeo and Juliette, Hamlet and Sir John ln Love, with guest directors, Irving G u t t m a n and M a r i H a h n . - N a n c y Hermiston  THE  OPERA ENSEMBLE EXECUTIVE  RHONWEN ADAMS  ALEXIS BARTHELEMY  MELISSA BENCIC  KATY BOWEN-ROBERTS  NEEMA BICKERSTETH  JEANINE FYNN  RHOSLYN JONES  RILEY  JANET VANDERTOL  JUSTIN  MCMITCHELL WELSH  The Crucible by Robert Ward  Cast  March 1 & 3  March 2 & 4  Betty Parris  Katy Bowen-Roberts  Dory Haylcy  Reverend Parris  Russell Robson  Phillip Grant  Tituba  Beverly McArthur  Katherine Landry  Abigail Williams  Melanie Krucger  Mari Flalin  Ann Putnam  Shauna Martin  Cindy Koistincn  Thomas Putnam  Elio Catana  Krzysztof Biernacki  Rebecca Nurse  Jeanine Fynn  Suzanne Abbott  Francis Nurse  Joel Klein  Pierre Hungr  Giles Corey  Craig Johnson  Neil Wright  John Proctor  *Gil Anderson  *Andrew Greenwood  Reverend Hale  David'Jefferies  Shae Apland  Elizabeth Proctor  Alexis Barthelemy  Sandra Stringer  Mary Warren  Maaike deBruyn[March lst| Neema Bickersteth Sheila Christie [March 3rd]  Ezekiel Cheever  Ian Paul  Alex Good  Judge Danforth  Neil Wright  Philippe Castagner  Sarah Good  Elaine Lee  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  _ Elizabeth Cushnie  *by permission o f Canadian Actor's Equity Association Chorus Stephen Bell  Jerome Dubois  Jeannette Gibault  Andrew Jameson  Amy LaFroy Steven Rathjen  Michael Mori Mark Sampson  Janet Vandertol  ORCHESTRA i  VIOLIN 1 +Alycia A u Ruth Huang  Evet Bo-Kyoung 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 Kirczenow (piccolo)  Amelia M o r i Jenny Atkinson  OBOE & ENGLISH HORN  Ruth Houtman  Marisa Chang  VIOLIN 2 'Gillian Mott Brooke Day James H i l l  CLARINETS 'Eileen Walsh Jennifer M c E n h i l l Amanda Beatty (bass clarinet  Denisc N g Jessica Wan Trevor Pearce  BASSOONS Meghan Dahl  Vincent W o n g Phyllis H o 1 leather Liau Jack Tsai VlOI.A  'Beth Schaufcle Aaron Butler  HORNS 'Megan Smith David Quackenbush TRUMPETS 'Meghan Turner Chris Mitchell  Szabolcs Kabok Suzanne Schwciklc-Davey Gillian Hunter CELLO ' C o l i n 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 E P P REPETITEURS DANIEL C H O W D O N N A FALCONER BRETT KINGSBURY TECHNICAL DIRECTOR CAMERON M C G I L L TECHNICAL COORDINATOR JASON BOSHER WIGS ELKE ENGLICHT HEAD OP PROPERTIES VALERIE MOFFAT PROP BUILDER MAKE-UP N E I . VOLRICH LIGHTING ASSISTANT M I K E INWOOD LIGHTING BOARD OPERATOR JEREMY BAXTER PAINTERS GENNIE W I LLOUGH BY-PRICE COSTUMES OPERA HOUSE , USTI NAD LABEM, C Z E C H REPUBLIC COSTUME COORDINATOR LYDIA HIEBERT  PRODUCTION  STAGE MANAGER PEGGY JAMESON* ASSISTANT STAGE MANAGERS APRIL LAWRENCE MAYA SANDERS STAGE CREW LAURA PARSON STACY LANDERS FOR T H E THEATRE DEPARTMENT TECHNICAL DIRECTOR IAN PRATT PRODUCTION MANAGER ROBERT EBERLE PROPS SUPERVISORS JANET BICKFORD L Y N N BURTON COSTUME SUPERVISORS JEAN DRISCOI.I.-BEI.I. STAGE CARPENTERS JIM FERGUSSON D O N GRIFFITHS JAY HENRICKSON BUSINESS MANAGER MARIETTA KOZAK COMMUNICATIONS JOAN WELLWOOD POSTER DESIGN JAMES A . G L E N Box OFFICE GERRY BRATZ OFFICE SUPPORT G . VANDERWOUDE  Media Sponsors  PROGRAM LAYOUT  C B C <;§»> radio5S*?  MARYKE FLAMELING  Cimcs. AND Bnoml ACKNOWLEDGEMENTS The Chan Family, Michael Noon  The Vancouver Opera, The Vancouver Playhouse, The Arts Club Theatre, Valerie Moffat, School of Music Office Staff, Phyllis Lavalle and The Friends of U B C Opera, David Spencer Endowment Encouragement Fund, Enchanted Florist, Ian Pratt, Thomas Thompson, U B C Opera Ensemble, The Moving Guys, and Jim Wright General Director of The Vancouver Opera A Special Thank You to the Vancouver Opera Guild for their donation to this production.  II)  The Crucible - Synopsis Act I The curtain rises on the Reverend Samuel Parris kneeling distraught at the bed of his daughter Betty. She lies immobile and scarcely breathing, as she has lain since Parris came upon her and her cousin Abigail dancing in the woods the night before. I ituha comes to ask about Betty but is angrily sent away. Abigail enters to say that the town is whispering of witchcraft and that Parris should go out to make denial. He bitterly turns on her to question her about the dancing and about her mysterious dismissal from the service of the Proctors. As she vehemently denies any wrongdoing, attributing her dismissal to Goodwife Proctors arrogant desire for a slave, the Putnams enter to tell that their Ruth was stricken at the same time as Betty Parris and that they have sent to Beverly for the Reverend Hale, known for his skill in discovering witches. While Parris, fearful of any suspicion of witchcraft in his own household, is anxiously doubting the need for Hale, Rebecca and Francis Nurse enter with Giles Corey. Rebecca is comforting, old Giles is flippant about the illness of the girls. W h e n Putnam insists that witches are at work in Salem, Giles accuses him of using a witch scare to defraud his neighbors of their land. John Proctor's entrance only brings this quarrel to a higher peak. (Abigail, though silent in the upper room, visibly reacts with excitement to John's entrance.) Rebecca reprimands the men for this untimely squabble in a house of illness, and calls them back ro their senses. Giles departs with John. They sing a psalm to beseech God's help. As the psalm proceeds, Betty begins to writhe on the bed and then with an unearthly shriek tries to fly out o f the window. They rush to her side. In the midst of the commotion the Reverend Hale enters. H e calms them with his air o f authority and then methodically sets an inquiry under way. He'soon learns that Tituba has played an important role in what has been happening, having also been present at the dancing. A n n Putnam asserts that Tituba knows conjuring. Tituba is sent for; at her entrance, Abigail, who has been under severe inquisition by Hale, lashes out to accuse Tituba of compacting with the Devil. Tituba, overwhelmed by the sternness of Hale and the malevolent intensity of Parris and the Putnams, finally confesses that she has been visited by the Devil, but denies that he has persuaded her into any wrongdoing-for a few moments she frightens Parris and the Putnams with a heartfelt fantasy of the hellish power to bring them harm that the Devil had offered her. W i t h Tituba's confession the spell over Betty is broken. A l l return to the psalm in great thanksgiving, while Abby envies the attention now being given to Tituba, hysterically repents her own compact with the Devil, and visibly receives an answer to her prayer for forgiveness and for a call to mark out others of the Devil's crew.  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 ofboth. 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 teat the last feeling for Abby out of his heart, or she will never give up hope of some day having him for her own. 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 atrested 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 Danforths invocation in court reveals the strength and fervor of his conviction that Gods will is working through him to cleanse the land of a plague of witches. As court opens, Giles Corey accuses Thomas Putnam, in his greed for his neighbors' land, of having bragged of his role in the charges of witchcraft. Judge Danforth sends Corey to jail and torture for refusing to name his witnesses for this accusation. There is a great hubbub as Giles leaps at Putnam as the man responsible for the arrest of his wife and himself, and of Rebecca Nurse as well. John Proctor presents Mary Warren's deposition that the entire crying-out against witches started only as an exciting game for the girls-and is a complete pretense and fraud. Rut Abby, he says, has continued the game in an effort to dispose of Elizabeth. Her encouragement to this arose from the adultery that took place between Abby and himself, which he is now confessing. When Elizabeth, ordinarily incapable of a lie, is brought in and fails to confirm John's confession; Abigail counterattacks, charging that Mary herself has turned witch. Mary, helpless and then hysterical, turns on John Proctor-accusing him of being the Devil's man who has forced her into trying to confuse and overthrow the court. A l l but the Reverend Hale close in on John Proctor with sadistic vindictiveness. Act IV Tituba and Sarah Good, crazed by the rigors of imprisonment, sing of the Devil and his broken promises to them. Abby comes into the prison courtyard; she has bribed the jailer to permit Proctor to escape. John, although broken by the months of prison and torture, scornfully rejects the freedom and love she offers him. Abby runs off weeping. Hale, and then Parris, try to persuade Judge Danforth to postpone the executions of Proctor and Rebecca Nurse scheduled for that morning: Salem may break into open rebellion at the execution of such respected citizens. Danforth indignantly refuses, but agrees to ask Elizabeth to persuade her husband to confess. John is brought in and left alone with Elizabeth. She tells him that Giles Corey has 4ied, pressed to death rather than say aye or nay to the charge of witchcraft, but that many have confessed in order to save their lives. John reluctantly brings out his own wish to confess-if it will not make her think ill of him for lying. Passionately she" answers that it was her lie that doomed him-and that she wants him alive. Exultant, he shouts that he will confess to the charge of witchcraft. Danforth, Hale, and Parris rejoice-for their various reasons-over John's confession, and Parris tries to persuade Rebecca, who has been brought in on the way to the gallows, also to confess. She refuses to damn herself with the lie. John is asked to sign his confession, that it may be exhibited before the town. But this is too much: he has deeply shamed himself by confessing, but he will not set his hand to the destruction of his own name-and the eternal shame of his sons. He tears up the document. In fury Danforth orders John and Rebecca to he led out to execution. Hale pleads with Elizabeth that she change John's decision while there is yet time. She refuses: "He has found his name and his goodness now-God forbid I take it from him."  Images-and Texts about the Salem Witch Trials  A Modeft Enquiry I«to the Nature of  Witchcraft, AND How Pcrlbns Guilty of that Crime miy be CtmvilUJ And the meant uled for their Diic»vcry Dilcafled, both Nr^atively and Affirmdtruely^ ^according to SC H If IVRE and ' B'Xt ER/E\ Nc E.  * By Joljn $ale, Piftor of (hs Church of Chiiil in Jtvtrttj,  Aon* Dcmiai  i I 9 7,  IX'hn' thty ft* ttatejca, jttk. thtm fiat hsrf F*rt"'/t*r Spiri'i tmttrnntttVi^4rth lbdl peif£i% Te ti* t*w **J te lb* Ttffime*Ji '{ thty fftak mat *cat*iim£ *<• /hit wwd^ it it btcafft there it m'light imi'itm Haiah Vftl. 19, t o . i Thst which i./rt net ttaeh thtm me Jub 3 4 f  t  %  O  STO N im N. £. B. Gnm, and J. AUm, for under the Town H n a f c i"?o2  iet  WARRANT  Above: "The Trial of George Jacobs, August 5, 1692" byT.H. Matleson, 1885 Left; the inside cover of a book written by Rev. Hale on the examination of witches.  FOR T H E ARREST O F 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 of theire Majestiesfor themselfes and also for severall of their Neighbours Against Sarah Clqyce the wife of peter Cloyce of Salem Village; and Elizabeth Proctor the wife ofJohn Proctor of Salem farmes for high Suspition ofSundry acts ofWitchcraft donne or Committed by them upon the bodys ofAbigail  Williams, and John Indian both of Mr Sam parris his  family of Salem Village and mary Walcott daughterofthe 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 ofpeter Cloyce of Salem Village and Elizabeth proctor the wife of John Procter of Salem farmes; on Munday Morneing Next being the Eleventh day oj this Instant Aprill aboute Eleven of the Clock, at the publike Meetinghouse in the 1'owne, in order to theire Examination Rclateing to thepremesis aboves'd and here of you are. not to Jaile Dated Salem Aprill 8'th 1692 To George Herick Marshall of the County ofessex John Huthornc Jonathan Corwin  Assists  T h e I V p o s i l i o n of Sam P.ii lis, Nathaniel Ingcrsoll, and Thomas l'liinain [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 o f the bewitched persons were severall times & grcivously tortured at the Examination of Elizabeth Proctor wife to John Proctor ot 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 Williams & A n n Putman then testifyed that they saw this I'li/:  (or &  PICK  IKT  husband |ohn  lor severall times afflicting of Baihslnia  PICK  Pope the wife o f Joseph Pope o f Salem Yeoman, at which times the said Bathshua Pope was seized with violent fits: & farther that the said Abigail Williams & A n n Putnam, both of them mack oiler to strike ai said Eliz, Proctor, but when said Abigails hand came near to said Eliz: Proctor il opencl (whereas it was made up into a fist before-) eV came clown exceeding lightly as ii drew near to said Proctor, & at length with open & extended fingers touche said Proctors hood very lightly, & immediately said Abigail cryed out. O h ! my fingers, my fingers, my fingers burne, & A n n Putman look on most greviously o f her head, & sunk down, as far as she could being held up by such as tended her.  - Nath: Ingatson and thorn. Putman d i d on their oaths owne this their testimonies to he the truth be fore the Juriors o f lnques this 30 o f June 1692.  A / W i r ^  "*"*•  tf | / W v »o~t ttttlL . J«. «*»*». St- Sbu**mJLi**mj.Cfff * ^ y « - c 9* fl+rtW / o W f o-t»^ OJBJAS  / « w f i^fjML •f  « 4  of  J<Jk*~  -  Kmt- f~it*. T ^ U . - ,  V  /W-  tl**&U  ">"/'  _ t  ' " f'£~ fiu^' if-  Hvtwu*,'ffl+yifiw'tllt*/ // t»fh*^' H'ft. a  V&4  ,Uv*ny I/.,  >f iv r:«>i<<-  —  -*  ' '—  ff-Zft^ftU v'Jtwi  J^~\^  n  •  4i_ inal^rf  if  <M~to f  —  U lUtu  of  lu**- iU.-.fh^'tai^  w-rtV.'*Cu/'~  tvni'Wx lo rptu,* a atolU 1/-.H  {Ull  4, z'-'r/W;W</, v ,au ll, * u . * //(..<><c" U . c U o r v K . J l T H . " ( ' • / , • • ' i i - j IU, (Ci <(,,• / W " • h * « • /"C-/V-</i •4(.jK*. ,-jiUtp„^ yy,. u, - ' ' / -if- ty* f  '  l  r  (,» f J• j"-* (f\,U,f{^..K 'V . i ,„  |r>, -lU til f..f.t*,n/ .  ... ,1  IK'I'I..IW \L„-n,  ,„•.•».•>•  " "'  ,«AJt  -  i.  "fl tl  /  W  3  jji^f-A A  |  ,  v  ;  .  U  " ^  l  •• '•*  *  "  •'- -' <i  III.,..  l' '.' 1  , , , „ . • . , ,lff.  •'•'••»• I •' '"i", <<"••">'  '  "'  '•• f - ' '  -  • • * - ^  4-** < - c*»4 „:., >  '  < • ! « • • . . - , IM  V .1"-  « ,  m  ^  > ^ T'tn/Aw '"in L+**.qrt  ,9-  To learn more about the Salem Witch Trials, visit the website http://etext.virginia.edu/salem/witchcraft  SIEGFRIED JERUSALEM (tenor)  IN CONCERT  R e n o w n e d in B a y r e u t h circles f o r his masterful i n t e r p r e t a t i o n of G e r m a n o p e r a a n d art s o n g , t h e great W a g n e r i a n t e n o r m a k e s a rare recital a p p e a r a n c e at t h e C h a n .  SATURDAY MARCH 17, 8:00pm Tickets a v a i l a b l e at Ticketmaster [280-3311] or call t h e C h a n Centre B o x Office at 822-2697  UBCMUSIC  Upcoming Events  Masterclasses witli Siegfried Jerusalem M a r c h 12-14 O l d Auditorium M a r c h 15 Recital H a l l Student Concert Admission: $5.00 lor each class and student concert Masterclass Pass: Admission to all Masterclasses and the Student Concert: $20.00 U B C music students: Free admission A Concert o i Operatic Excerpts March 23 & 24 8:00pm C h a n Centre for the Performing Arts U B C Ensemble, U B C C h o r a l U n i o n , U B C Symphonic W i n d Ensemble Admission by donation U B C Symphony Orchestra A p r i l 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/$1 5 at the door Opera B o n Bons A p r i l 20 & 21, 8:00pm A p r i l 22, 3:00pm  O l d Auditorium  Excerpts from Othello, Hamlet, Romeo and Juliette, Sir John in Love, and Faust Guest direcrors: Irving G u t t m a n and M a r i H a h n Admission by donation  For more concert information visit The School of Music website at:  www.music.ubc.ca  orphone 822-5574  


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