and... Action!

The show is finally/already in performance and it's the most rewarding and frustrating part of the process for me as dramaturge. I attend each performance to stand in the lobby with my display for the audience as they enter and exit the mainspace. Again, I'm waiting for questions, hoping I spark interest.
The most frustrating part is the waiting, the standing around in uncomfortable shoes with a smile on my face, hoping someone will mosey by slow enough to at least take a look at my work. Lots of people hurry past but plenty of others stop to read what I've written. Now, do I hover and force more information on them, or do I quietly wait on the side while they read? It was hard to find the balance. The first time I was a dramturge I didn't know what to do and felt uncomfortable and awkward. I think it made other people uncomfortable and confused too. That hasn't completely gone away because so many people don't know what a dramaturge is. They see me standing there and I imagine they wonder who I am and why I'm just standing around in the lobby, I'm apparently not ushering...  Through trial and error I learned that the best approach is to introduce myself, let them know I'm available if they have questions and then get out of the way so they don't feel uncomfortable or rushed. Who wants someone looking over their shoulder or babbling while they're trying to read? I do stay close and listen. Some people don't read everything and get confused because they miss something important. For example, some people miss the fact that they are reading about historical figures and not the characters. I hear a few "Ew! She was 11?"s or something of that nature and then slip in to explain, "Yes, Abigail was 11, and no, she didn't really have an affair with John." and start a conversation if I can. I think the differences can confuse some people but I also feel they're important to point out. Miller made these changes for a reason and by knowing the differences we get important clues about what he wanted to say.

Display

The other day I had a meeting with Jason about my display and I'm pumped! We talked about what message I wanted the audience to get from my display and about museum exhibits. I like thinking about the display as a thesis paper: what's my thesis, how do I support it? I really want the audience to understand this event in the way I've come to understand it: it was horrible and tragic but that doesn't mean the people involved were monsters. So, highlight the tragedy while making the circumstances under which it occurred a little more understandable. We talked about other events throughout history where people acted similarly, where they believed in something apparently crazy and impossible (witchcraft or alien invasion), or persecuted others for different beliefs (political or religious). Jason mentioned an exhibit he'd seen of volcanic eruptions over time, some big, some small... and it seemed like a perfect concept.
So here is my plan, I'm going to create a timeline leading backwards from today to the time of the Salem Witch trails of relevant events to put the show in context. I'm going to incorporate audio and video media to create dissonance and chaos a bit too in order to add the the emotional aspect in the way that the sound design of the show increases the intensity of emotion. I think it's a nice metaphor for the conflicting and overwhelming information the people of Salem received that contributed to the chaos and tragedy. The timeline will go backwards so it will be like the audience is walking back through time to enter the show and through the information they recieve will be brought closer to a time which is so distant from our own on many levels. For information about the time period of the show I want to provide some context of the political and religious atmosphere and emphasize the real human people who experienced these events. I wanted to provide pictures of them but so few were availale that I decided against it, instead opting for photos of the cast in make-up so that the audience had a visual link to understand who they were reaading about. In contrast to the color and noise of the videos, the pictures will be printed in muted colors, tying into the minimalistic quality of the set. I like the idea that the somber faces will attract the eye without distracting from the information they accompany.

Politics in Massachusetts Colony: A Timeline

• 1629
• In England, King Charles I disolves Parilament and arrests Puritans
• Massachusetts colony established by Puritans escaping religious pursecution in England,
• Charter of 1629: legal foundation of the new colony
• 1642
• In England, Parilament organizes under Oliver Cromwell against King Charles I; English Civil War begins. Puritans side with Parliament
• 1649
• In England, King Charles I beheaded, his family flees to France in exile; Oliver Cromwell assumes control of Government
• 1660
• Restoration of English crown; Charles II, son of Charles I, returns from exile and takes the throne
• Throughout his reign, Charles II places restrictions of Massachusetts' powers and freedoms
• 1675
• King Philip's War (Native American cheiftain Metacomet) begins; Native tribes, armed with European guns, band together against English settlers, killing over 1000; War lasts approximately 3 years
• 1684
• Charles II revokes Massachusetts' charter as punishment for ignoring the Navigation Acts
• 1685
• James II succeeds his brother, Charles II, as King; he is openly Catholic and hostile towards Puritans. He combines all New England colonies into a super colony, The Dominion of New England, under the control of a royally appointed governor, Sir Edmund Andros
• 1688
• The Glorious Revolution: James II is unpopular in England; Parliament encourages his Protestant daughter, Mary, and her husband, William, to seize control. James II flees to France and the crown is transfered without bloodshed
• New Englanders rejoice; Dominion of New England disbanded and Andros arrested; Simon Bradstreet and Thomas Danforth, who had been Governor and Deputy Governor respectively before the Dominion of New England, resume control of government
• 1691
• William and Mary write new charter: Massachusetts and Plymouth colonies are combined, voting rights extended to all land owners (previously restricted to Puritan church members), retain right to elected assembly but governor is appointed by crown. Simons and Danforth are replaced by William Phips and William Stoughton.

Working with the Company

One of the challenges I've come across as a dramaturge is in finding my place as a part of the company. For the most part, I see my self as a resource for everyone involved in the production, cast, designers, director, and audience. One the one hand, I feel like my role is one of the most integral, in that I'm involved with everyone else at every stage of the process. On the other hand though, the nature of my role sometimes leaves me feeling disconnected from the rest of the company. I attend both rehearsals and production meetings but often my participation is necessarily minimal in both of these areas because most of my work is independent. I enjoy going to rehearsals because I like seeing the performance grow and the way Jason shapes each scene with the actors but the biggest reason for my presence is to let the actors see that I'm there and available, it's also when I have a chance to approach actors with new information I've found that my help them. I certainly don't see this as a poor use of time, I'm able to do research on my computor while watching the scenes, and this is when the majority of questions arise from the actors. I love being there when a question springs to mind and being able to provide a quick answer that can help the actor while the scene is fresh and often still being worked. It's a connection that makes me feel useful but not as connected to the process as I've felt in other roles.
Another part of my work is to attend production meeting with the designers and crew. In theory, I'm also aailable as a resource for them but in practice the opposite is more often true, which isn't nessecarily a bad thing. Most of the designers are experienced faculty and staff who are used to doing their own in depth research for their jobs, who have probably already reseached this subject for other productions either of The Crucible or shows in a similiar time period, and who knew their positions long before I did. In this particular production the only student designer is working on props and I've been able to help him with some aspects of his research. Apart from that, I sometimes feel like I don't recieve the same value from the production meetings as others do, not that there's no value, just different ones.
Similar to attending rehearsals, I get to see and learn from another aspect of production. It's interesting to see how all the design aspects need to take consideration of each other. Are the costumes partical for manuvering the set? How will the colors in the lighting design affect the colors in the set and costumes? and so on. My own connection is less pratical and apparent, I have to think back about it to find where I fit in. My lobby display will be the first experience the audience has of this production. Hopefully, it will play a part in shaping the way they interpret what they watch. I can use the other design elements to inform my display, how it looks, what the message is, to contribute to or interpret the rest of the piece. So, no I don't need to worry about my mic placement on the set, or if my speaker is in the way of a lighting fixture. I know the value of my part, I struggle sometimes to remember it and feel like I'm contributing when I bring my updates to a meeting where everyone else seems to have vital concerns they need to discuss before they can move on.

The Real Giles Corey

At 80 years old at the time of the Salem Witch Trials, Giles Corey was a prominent member of the community. He was a wealthy farmer and, like the Nurses, a full member of the church. Corey was accuesd along with his wife, Martha.A close relationship to a suspected or convicted witch was often a grounds for suspicion. He refused to respond to the charge and stand trial. As punishment, he was pressed to death with large stones on September 19, 1692. Two days later, Martha Corey was hanged.

The Real Francis and Rebecca Nurse

The Nurses were one of the most respected families in Salem. They had a huge family including eight children, several grandchildren and even a great-grandchild by the date of Rebecca's death. Francis and Rebecca were full members of the church, a position of honor. Puritans had to prove to members of the church that they had undergone a conversion experience and were true Christians before they could be considered full members and were thought of as "living saints."
It was a shock when Rebecca was accused. It inspired others to begin to speak more openly against the trials. Forty prominent villagers took great personal risk to sign a petition on behalf of Rebecca and their confidence of her innocence. This, however, was not enough to save her. Rebecca was hanged on July 19, 1962. Even in her last moments, she is said to have maintained the dignity and piety that had characterized her in life.
"I have got nobody to turn to but God" Rebecca Nurse, July 19, 1692, Gallows Hill, Salem, MA

The Real Sarah Good

No one was surprised when Sarah Good was charged with witchcraft. She was homeless and had fallen steadily into debt after she lost her inheiritance when her mother remarried. In Salem she was known to grumble and curse those who turned her away when she begged. When Tituba, Reverend Parris' slave confessed to witchcraft, Good was one of the first three witches named.
Her own husband and 4 year old daughter, Dorcas Good, testified against her. To me, this is the saddest part of her story.

The Real Reverend Samuel Parris

Samuel Parris was originally from Barbados where his father was a wealthy plantation owner. Samuel Parris was attending Harvard College when his father died. He returned to Barbados and was a fairly successful businessman before moving to Boston with two South American slaves: Tituba and John. In Boston, Parris married and had three children. He continued life as a businessman for a while but gradually began preaching and eventually negotiated a post as minister in Salem Village 1689. He was the fourth minister to hold this position since the parish was formed only eighteen years before in 1672. In the winter of 1962, his daughter, Betty (9), and niece, Abigail Williams(11), became afflicted with symptoms the local doctor could not explain.

The Real Putnam Family

The Putnam’s were one of the most affluent families in Salem. They were also connected in several ways to the Salem Trials. Ann Putnam Jr. (Ruth in The Crucible) and Mercy Lewis, the Putnam’s servant, were the first afflicted girls after the Parris household. Ann Jr. and Abigail Williams were the two most vocal accusers throughout the trials. Eventually, Ann Putnam Sr. became afflicted as well and joined the younger girls as an accuser. Years after the trials, Ann Jr. issued a formal apology in the church for her participation in the trials; she was the only one to do so.

The Real John and Elizabeth Proctor

John Proctor spoke out against the witch hysteria from the beginning. It was rumored that he attempted to beat his servant, Mary Warren, to stop her "afflictions." Many people in John's family were also accused including his wife, Elizabeth, sister-in-law, and children.
Before his trial, John wrote to ministers in Boston, describing the horrible torture going on in Salem. Though he was convicted and executed before there was any result, his letter helped convince the ministers to reconsider the nature of spectral evidence, the primary evidence used against witches in the Salem Trials. They decided that it was possible that the devil could take on the shape of an innocent person; previously, a victim's claim that they saw a "specter" of the accused attacking them could lead to conviction. John's letter, and this resulting claim, were contributing factors to the end of the trials.