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Afflicted: Daughters of Salem

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Afflicted: Daughters of Salem Morehead State University’s The Little Company Presents Study Guide 1 Authors Research Erin Sinead — Dramaturgy Format Design Zachary Fryman – Graphic Designer Curriculum Research Erin Sinead – Curriculum and Lesson Plan The Little Company Staff Octavia Biggs —The Little Company Director Corinne Campagna —The Little Company Tour Coordinator The Little Company Morehead State University 106 Baird Music Hall Morehead, KY 40351 606-783-2545 www.moreheadstate.edu/thelittlecompany www.facebook.com/The-Little-Company 2 Table Of Contents Title of Page Page Number Synopsis/ About the Author Page 4 Director Notes Page 5 Designer Notes Page 6 Puritan Religion Page 13 Witchcraft Page 14 Salem Witch Trials Page 15 Possible Causes Page 16 The Afflicted Women Page 17 Lesson Plans/ Core Standards Page 24 KCAS Standards Page 52 Vocabulary Page 59 3 Afflicted: Daughters of Salem Explores the possible reasons as to why five young girls, in Colonial Massachusetts, led a “crucible” of events known as the infamous Salem Witch Trials of 1692. Interestingly, historical accounts have been unable to fully explain what may have driven these adolescents to make such allegations that forever establish the legacy of Salem. This play examines the dangers of what can happen when young people are denied the sense of play and imagination, no matter what century. Through this denial, alliances are created and betrayed, promises are made and broken as the girls unite in a secret society. Laurie Brooks’ “Afflicted: Daughters of Salem” delves into a world of secrets, gossip, fear, lies and accusations and the dangers of spreading rumors. About the Author Laurie Brooks is an award-winning playwright and YA fiction author. Awards and grants include TCG’s National Theatre Artist Residency Program (with the Coterie Theatre), AT&T Firststage award, three Distinguished Play Awards and Charlotte Chorpening Cup from American Alliance for Theatre and Education, NY Foundation for the Arts Council Grant (Graffiti Theatre Company). Brooks’ Lies and Deceptions Quartet of plays for young adults includes The Wrestling Season, commissioned by the Coterie Theatre, featured at The Kennedy Center’s New Visions/New Voices 2000: One Theater World, printed in the 2000 Playscript Series and American Theatre magazine and winner of “Best of” awards in Seattle, Kansas City and Dallas. Additional award-winning plays include Deadly Weapons, The Tangled Web, Everyday Heros, Selkie: Between Land and Sea, Devon’s Hurt, The Match Girl’s Gift, Franklin’s Apprentice, The Lost Ones, Triangle, Atypical Boy, All of Us, and Brave No World, commissioned and premiered at The Kennedy Center. Brooks has worked extensively in Ireland and has been assistant professor, playwright-in-residence and literary manager for the Provincetown Playhouse at New York University. She has served as playwright-in-residence for the HYPE program at the Alley Theatre in Houston, guest lecturer at University of Missouri-Kansas City and University of Texas at Austin, and artist-in-residence at Arizona State University. Her article, “Put A Little Boal in Your Theatre: A New Model for Talkbacks” appeared in American Theatre magazine, and she was featured artist at the 2007 TCG National Conference at the Guthrie Theatre in Minneapolis sharing her after-play forum method. Brooks has served as site reporter and panelist for the NEA and Pew Charitable Trusts. Her newest plays are Jason Invisible, commissioned by The Kennedy Center, and Afflicted: Daughters of Salem, commissioned by the Coterie Theatre. Brooks’ book for young adults, Selkie Girl, was published by Knopf in 2008. 4 A perfect storm is described as a combination of events or circumstances creating an unusually bad situation. From January through to September 1692, Salem Village, Massachusetts experienced a “crucible” of events that led to the “perfect storm” establishing the legacy of Salem. Many factors played key roles: local religious and political tensions, greed, fear, desperation, an imbalance of power, rebelliousness, spite, jealousy, Native American attacks, and psychological hysteria. According to an article in 1976 from Science Magazine, it was discovered there could also be a scientific reason for the extreme actions of this small village; a fungus called ergot which is found on the flower of wheat and rye with side effects including hallucinations, delusions, vomiting, and muscle spasms and is also a key element in the hallucinogen LSD. So many reasons, and yet historical accounts simply have been unable to fully explain what may have driven these young teens to make such allegations. Laurie Brooks explores the possible reasoning behind the most notorious teens in American history. As I began the process of putting this production together, I was struck by one main idea: this is the danger of what can happen when young people are denied a sense of play and imagination, no matter what century. Suddenly, exploring the idea of how to incorporate a contemporary feel into this historical story became my focus. The assistant director, William Murphy, had the brilliant idea of using the universal language of music to help connect the dots between history and current affairs. Therefore, through the use of music and movement we began the process of sharing the story of how our actions have consequences, no matter what year and how history does indeed repeat itself. The dangers of spreading rumors, gossip, secrets, and judgmental accusations can quickly burn out of control. When I first read the quote below, I was filled with outrage, especially for the last few words: “…and must be bent to the ways of the God.” I wanted to try and understand how an entire religious sect could feel so strongly that “our children are born evil and as sinners. I reminded myself, children need guidance, they should not be left to their own devices, and we do have to correct them to teach them. I thought about the Salem Village girls and the young people of today. We should be leading by example. Do I love unconditionally? In many ways I have felt the girls of Salem Village were victims. But, what about young people from this century? Can we say the same thing? I challenge myself and you, to lead by example, to advise, encourage and inspire young people. To find love in each person, no matter what their differences. Mahatma Gandhi perhaps says it best: “Be the change that you wish to see in the world.” The Puritan Mind: Reading 3 -John Robinson “There is in all children a stubbornness of mind arising from natural pride. Children are both wayward and full of passion. They hath a great heart that is altogether inclined to evil and must be bent to the ways of the God.” 5 The “Sphere of Life” is my guiding mental image for my concept. Think of a snow globe that you shake up with that transparent “sphere” surrounding everything. For me, this is an expanded metaphor of the “Circle of Life”. The basic idea of the life cycle, life and death, but to include everything that happens within that life cycle. One’s hopes, fears, beliefs, passions, what your perception is of others and what their perception is of you. Your own little bubble or sphere, if you will. So with that idea and mental image, I wanted the scenery to envelope the actors and audience. The trees towering overhead and surrounding you like a huge sphere, and their roots underneath grounding you. The color palette of white and black represents good and bad or for this particular show, heaven and hell. The grey colors represent the hereafter; ashes to ashes, dust to dust, thus completing the life cycle. As I was reading Afflicted: Daughters of Salem, the character Tituba really struck a chord with me. I started to research her and learned that she was originally from Barbados, a country that practices voodoo. As a possible practitioner, it would make sense she would utilize voodoo spirits to help her teach the girls magic. I wished that the play did more to emphasize this, so being assistant set designer gave me a chance to do just that. When Mark Hayes put me in charge of designing the floor I knew immediately I wanted to find a way to incorporate voodoo symbology. The first thing I decided, was to design veves, or voodoo sigils, into the floor. Many voodoo ceremonies utilize the drawing of these veves into the ground with either chalk or colored dust. The veves that appear were chosen to connect with the themes of the play. They represent protectors of the physical realm, the connection to the spirit realm, the masters of black magic, and the patrons of women. Mark’s concept for his design focuses on the aspect of the circle of life. With this in mind, I originally wanted the veves to be a deep blood red to symbolize lifeblood; but during a production meeting our director mentioned loving the idea of reveals during shows. This struck me with the idea to instead use fluorescent paint with black lights. When the UV lights aren’t on, the veves will appear to be faded much like a primitive cave painting. As soon as the girls start to dance the veves will be hit with a UV light causing them to have an other-worldly glow. 6 AYIZAN: Voodoo goddess of the MAMAN BRIGITTE: Voodoo pa- Earth. tron of women. KALFU: Voodoo god of dark PAPA LEGBA: Voodoo spiritual magic. gatekeeper 7 As the stage manager, I am responsible for completing various tasks in a timely and efficient manner. During the rehearsals, I am in charge of noting the director’s blocking, movement for the actors, in my script, that includes tracking props and costume pieces, any and all questions by the actors and director are addressed, and everyone in the rehearsal space are focused and ready for rehearsal.
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