Séquence 5 - Freeafrique.espoirbenin.free.fr/Res_peda/1/Anglais/Sequence-05.pdf · and witch-hunts Séquence 5 – AN11 1 Sommaire Objectifs de la séquence 1. Increasing your knowledge

Séquence 5Of witches and witch-hunts

1Séquence 5 – AN11

Sommaire

Objectifs de la séquence1. Increasing your knowledge

of witchcraft2. Understanding people

participating in a witch-hunt3. Learning to write a scene

from a play4. Developing

your listening skills5. On the road to autonomy

“Witch, n. 1. Any ugly and repulsive old woman,

in a wicked league with the devil.

2. A beautiful and attractive young woman, in wickedness a league beyond the devil1.”

Ambrose Bierce, American writer, journalist & editor 1842-1914

“Thou shalt not suffer a witch to live.“

The Bible

1. = encore plus maléfique que le diable.

© Cned – Académie en ligne

Objectifs de la séquence


Dans cette séquence de cours, vous allez apprendre à rédiger le script d’une pièce de théâtre (ou d’un film) et à comprendre un extrait de pièce radiophonique.

factuels, littéraires ou cinématographiques liés à la sorcellerie et à la chasse aux sorcières, pour vous informer et développer vos compéten-ces en audition, en lecture et en expression orale et écrite.

1. Get ready: increasing your knowledge of witchcraftVous allez faire le point sur ce que vous savez déjà de la sorcellerie, et approfondir vos connaissances aussi bien sur le plan culturel que linguis-tique, en étudiant la plus célèbre scène de sorcières au théâtre – celle de Macbeth de Shakespeare.

2. Understanding people participating in a witch-huntVous allez développer des stratégies d’écoute : l’anticipation à partir de la situation de communication, le repérage de l’identité des personnages, la tonalité de leur voix, leurs intentions. Une fois que vous aurez identifé le message essentiel de chaque réplique, vous réfléchirez au degré de rationalité des idées exprimées. Pour finir, vous prendrez du recul pour réfléchir à l’intention de l’auteur.

3. Learning to write a scene from a playVous allez d’abord étudier le script d’une pièce de théâtre pour analyser les éléments indispensables, comprendre son fonctionnement, avant de vous exercer à la précision grammaticale, pour ensuite rédiger votre pro-pre script pour une autre scène de la même pièce de théâtre.

4. Developing your listening skillsVous allez mettre en application les stratégies d’écoute travaillées en amont, toujours en approfondissant vos connaissances culturelles.

5. On the road to autonomyVous allez vous entraîner à rédiger la scène d’une pièce radiophonique. Vous allez d’abord prendre connaissance de la situation (le lieu, les per-sonnages présents, ce que l’on devra apprendre au cours de la scène) avant de mettre en application tout ce que vous avez appris dans cette séquence.

O


4 Séquence 5 – AN11

© akg-images.


1 Increasing your knowledge of witchcraft


1Activity 1Here is a series of short quizzes to establish how well you already know the world of witchcraft:

� Label the picture with the following words:

broomstick cat cauldron toad

and the following actions (verbs):

to fly to stir

Check your answers.

� Do the following quiz on witchcraft to assess your skills as a witch hunter. Beware! Sometimes more than one answer is possible.

� 1. What time of day do witches prefer?❒ a. midday ❒ c. lunch time

❒ b. midnight ❒ d. home time

� 2. What special powers do witches possess?❒ a. premonition ❒ c. mind reading

❒ b. spell making ❒ d. spelling

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.................................................. ...................................................

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.................................................. ...................................................



� 3. What do witches do in cauldrons?❒ a. potions ❒ c. soup

❒ b. spells ❒ d. tea

� 4. What is a familiar?❒ a. someone with whom ❒ c. a cat

you are acquainted

❒ b. a Christian English ❒ d. I’m not suresuperstition with an animal-shaped spirit. It doesn’t have anything to do with witchcraft, really.

� 5. What do the following objects belonging to witches have in common: their cat, their hat, their cauldron, their broomstick, their cape?

❒ a. they’re black ❒ c. they’re pointed

❒ b. they’re magic ❒ d. they’re fantastic

� 6. Which of the following expressions comes from a spell?❒ a. supercalifragilistic ❒ c. abracadabra

expialidocious

❒ b. double double, toil and ❒ d. disestablishmentarianismtrouble, fire burn and cauldron bubble

� 7. Which of the following can witches not do?❒ a. float in water ❒ c. wiggle their noses

❒ b. escape prosecution ❒ d. pass their powers on from generation to generation

� 8. Which animals are possible indications of witch activity?❒ a. dogs ❒ c. owls❒ b. crows ❒ d. bats

� 9. Which supernatural beings do witches associate with?❒ a. goblins ❒ c. fairies

❒ b. elves ❒ d. ghouls

� 10. What ‘significant marks’ do witches frequently have on their bodies?❒ a. scars ❒ c. strawberry marks

❒ b. warts ❒ d. moles

Check your answers to find out how good a witch hunter you’d make.



Activity 2You are going to study the most well-known theatrical representation of witches of all times.

First, let’s make sure you are familiar with the historical context:

� Study the photograph on the left showing the first appearance of the three witches in Macbeth. The script of the play indicates the following stage directions.

A dark Cave. In the middle, a Caldron boiling. Thunder.

Enter the three Witches.

Witches and witchcraft in history

FACT FILE

Witches and witchcraft in history

You are probably most familiar with witches through the books you’ve read or films you’ve seen.Nearly everybody knows the Harry Potter series, and when you were younger you probably readrWinnie the Witch or saw Bewitched on TV. Through fairy tales such asd Sleeping Beauty or y Snow White and the Seven Dwarfs, children throughout the Western hemisphere associate witcheswith women dressed in black and wearing tall, pointed hats. In Shakespeare1’s day, it waswidely believed that women who were witches could cast spells on anyone and everyone. Theywere held responsible for people falling ill, for storms, shipwrecks and crop failures. They werethought to be able to fly, to make themselves invisible and to conjure visions. According to popu-lar belief, these witches had sold their souls to the devil in exchange for doing evil deeds. Fromthe mid-sixteenth to the mid-seventeenth century in Europe, hundreds of thousands of womenwere accused of witchcraft and tortured or even killed.

Shakespeare was strongly influenced by King James I of England who was also James VI of Scot-land2. James believed he was God’s representative on earth and that his role was to combat theDevil’s representatives which he recognised as being witches. He wrote a book, Demonology,and passed a law banning the «use, practice, or exercise [of] any sort of witchcraft, sorcery,charm or enchantment». The ban carried the death penalty.

In Shakespeare’s play Macbeth3, witches play a prominent role in influencing the actions of the futureking – Macbeth, and many details seem to be implicit references to events during James’ reign.

1. William Shakespeare: 1564-1616

2. James VI of Scotland 1578-1625

James I of England 1603-1625

3. Macbeth: written at the beginning of the 17th century (1603-1606), and printed in 1629.

FACT FILE

© Mary Evans / Rue des Archives.



You are going to describe the scene orally. Follow these steps to help you prepare.

Try to imagine the atmosphere Shakespeare wanted to create. Make notes in the second table below page, using the Wordbox and your dic-tionary if necessary to help you prepare:

SIGHT

SOUND

TASTE

SMELL

TOUCH

Wordbox

SIGHT

to look like / resembleX can be seen

Hair: long, dirty, bedraggled, untidyClothes: dirty/unkempt; raggedFaces: wart/mole; moustache/beard

SOUND

to sound liketo resonate with the sound of…X can be heard

Meteorological elements: thunder (booming); wind (how-ling); rain (pounding/beating)Sounds of battles: soldiers’ battle cry; gunfire; musketshots; trumpet (sounding attack / retreat); drumsWitches: chant/incantation; double dutch/gibberish

TASTE

to taste (like)

blood, poison, bloody, poisonous, venomous

SMELL

to smell like / to smell of …

sweat, filth, excrementintestines, body parts; reptiles, snakes, bats, toads; poi-sonous plantscool, damp heath/moor/lunar landscape

TOUCH

to feel…

slimy, slithery, slipperydamp, wetbloodysoft, spongy, mossy

Wordbox

Prompts Your notes

SIGHT

SOUND

TASTE

Prompts Your notes

SIGHT

The witches’ appearance: Hair?Hair?Clothes?Clothes?Faces? (beards? warts …?)Faces? (beards? warts …?)

SOUND

The stage directions mention ‘thunder’.The stage directions mention ‘thunder’.Other meteorological elements?Other meteorological elements?Sounds of battles nearby / in the distance?Sounds of battles nearby / in the distance?The witches: incantations?The witches: incantations?

TASTE

Do the witches lick their fingers?Do the witches lick their fingers?Why?Why?



� Use your notes to describe the scene.

Record yourself speaking. (Try to speak for at least two minutes, without writing your answer first!)

Then listen to assess your performance.

SMELL

TOUCH

SMELL

Physical smells:Physical smells:Witches’ clothes?Witches’ clothes?Ingredients of the cauldron?Ingredients of the cauldron?The landscape? (wet, dry, cold, warm?)The landscape? (wet, dry, cold, warm?)

Metaphorical smells:Metaphorical smells:Fear?Fear?Excitement?Excitement?

TOUCH

Who/What do the witches touch?Who/What do the witches touch?What is in the cauldron?What is in the cauldron?

Comment évaluer votre prestation à l’oral ?

❒ ❒ ❒

❒ ❒ ❒

❒ ❒ ❒

❒ ❒ ❒

❒ ❒ ❒

Comment évaluer votre prestation à l’oral ?

Cochez la case qui correspond le mieux à votre prestation.Cochez la case qui correspond le mieux à votre prestation.

Votre discours Votre discourss’enchaînes’enchaîne

❒ plutôt difficilementplutôt difficilement ❒ plutôt facilementplutôt facilement ❒ de manière fluidede manière fluide

Vous faitesVous faites ❒ beaucoup d’erreursbeaucoup d’erreursgrammaticalesgrammaticales

❒ peu d’erreurs gram-peu d’erreurs gram-maticalesmaticales

❒ rarement des erreursrarement des erreursgrammaticalesgrammaticales

Vous utilisezVous utilisez ❒ un vocabulaire un vocabulaireassez limitéassez limité

❒ un vocabulaireun vocabulaireplutôt variéplutôt varié

❒ un vocabulaire un vocabulaireriche et variériche et varié

Vous parlez avecVous parlez avec ❒ un accent étranger un accent étranger assez prononcéassez prononcé

❒ un accent étranger un accent étranger peu perceptiblepeu perceptible

❒ une bonne pronon-une bonne pronon-ciationciation

Dans votre exposéDans votre exposé ❒ vous décrivez les vous décrivez leslieux et les per-lieux et les per-sonnes en termessonnes en termessimples ; voussimples ; vousenchaînez quelques enchaînez quelquesphrasesphrases

❒ vous développez les vous développez lespoints importants points importantsavec précision et avec précision etvous communiquez vous communiquezvos sentiments etvos sentiments et vos réactionsvos réactions

❒ vous racontez lavous racontez lascène en détail ;scène en détail ;vous insistez sur lesvous insistez sur lespoints importants points importantset les élémentset les élémentssignificatifssignificatifs

= Niveau A2= Niveau A2niveau attendu pour le Brevetniveau attendu pour le Brevet

= Niveau B1 = Niveau B1niveau attendu fin 3niveau attendu fin 3ee/2/2dede

= Niveau B2 = Niveau B2niveau visé pour le bacca-niveau visé pour le bacca-

lauréatlauréat



Activity 3

Macbeth: the witches scene

Listen to the recording and follow the text below at the same time. Don’t try to understand everything, just be attentive to the mood and the musicality of it all.

A dark Cave. In the middle, a Caldron boiling. Thunder.

Enter the three Witches.

Thrice the brinded cat hath mew’d.

Thrice and once, the hedge-pig whin’d.

Harpier cries:—’tis time! ‘tis time!

Round about the caldron go;In the poison’d entrails throw.—Toad, that under cold stone,Days and nights has thirty-one;Swelter’d venom sleeping got,Boil thou first i’ the charmed pot!

Double, double toil and trouble;Fire burn, and caldron bubble.

Fillet of a fenny snake,

1. La qualité de la langue

2. La richesse du contenu

En fonction de votre diagnostic, vous savez ce que vous devez faire. Vous devez tra-vailler sur deux plans :vailler sur deux plans :

1. La qualité de la langue

Le vocabulaire et la grammaire s’apprennent, surtout en analysant vos erreurs pour y Le vocabulaire et la grammaire s’apprennent, surtout en analysant vos erreurs pour yremédier. L’accent étranger se perd en écoutant et en répétant beaucoup. Pour déve-remédier. L’accent étranger se perd en écoutant et en répétant beaucoup. Pour déve-lopper la fluidité (l’enchaînement fluide de votre discours), il faut parler et parler lopper la fluidité (l’enchaînement fluide de votre discours), il faut parler et parler encore !encore !

2. La richesse du contenu

Plus vos idées sont riches et développées, mieux c’est. Au final, on voudrait que vousPlus vos idées sont riches et développées, mieux c’est. Au final, on voudrait que vouspuissiez faire preuve des mêmes aptitudes rédactionnelles en anglais qu’en français.puissiez faire preuve des mêmes aptitudes rédactionnelles en anglais qu’en français.A ce stade de votre cursus, il ne suffit plus de s’exprimer dans une langue correcte : ilA ce stade de votre cursus, il ne suffit plus de s’exprimer dans une langue correcte : ilfaut montrer que vous êtes capable de mener une réflexion approfondie, de prendrefaut montrer que vous êtes capable de mener une réflexion approfondie, de prendreposition et d’argumenter pour défendre vos idées (tout en montrant une prise enposition et d’argumenter pour défendre vos idées (tout en montrant une prise encompte des idées d’autrui).compte des idées d’autrui).Encore une fois, c’est l’entraînement qui vous permettra de progresser !Encore une fois, c’est l’entraînement qui vous permettra de progresser !

Enr.10

CD 2CD 2

Enr.10

1 WITCH1 WITCH

2 WITCH2 WITCH

3 WITCH3 WITCH

1 WITCH1 WITCH

ALLALL

2 WITCH2 WITCH



In the caldron boil and bake;Eye of newt, and toe of frog,Wool of bat, and tongue of dog, Adder’s fork, and blind-worm’s sting,Lizard’s leg, and owlet’s wing,— For a charm of powerful trouble, Like a hell-broth boil and bubble.


Scale of dragon; tooth of wolf; Witches’ mummy; maw and gulf Of the ravin’d salt-sea shark; Root of hemlock digg’d in the dark; Liver of blaspheming Jew;Gall of goat, and slips of yewSliver’d in the moon’s eclipse; Nose of Turk, and Tartar’s lips;Finger of birth-strangled babeDitch-deliver’d by a drab,— Make the gruel thick and slab: Add thereto a tiger’s chaudron, For the ingredients of our caldron.


Cool it with a baboon’s blood,Then the charm is firm and good.

� Read through the script again and annotate it as follows.

• Highlight names of animals;Highlight

• Ring any reference to human beings;

• Underline names of body parts.

� Label the diagram with these words from the script (there are two sets of synonyms).

broth cauldron gruel pot

ALLALL

3 WITCH3 WITCH

ALLALL

2 WITCH2 WITCH

........................................ /..................................

........................................ /..................................



� Put the following stage directions in the appropriate place on the right of the script.

� In the final line the second witch hopes “the charm is firm and good.”

In your opinion, is this spell ❒ good or ❒ evil?

Justify your answer with three arguments:

1. ..................................................................................................................................................

2. ..................................................................................................................................................

3. ..................................................................................................................................................

� Listen to the recording again and practise playing the part of one of the witches for your pleasure!

Check your answers.

Cat mewing (3 times)Cat mewing (3 times)

First witch throws ingredients into cauldronFirst witch throws ingredients into cauldron

First witch stirs the cauldronFirst witch stirs the cauldron

Flames and sound of bubbling (x3)Flames and sound of bubbling (x3)

Hedgehog whining (4 times)Hedgehog whining (4 times)

Second witch adds more ingredientsSecond witch adds more ingredients

Second witch pours in liquidSecond witch pours in liquid

Third witch adds more ingredientsThird witch adds more ingredients

Three witches stir together (x 3)Three witches stir together (x 3)

Enr.10

CD 2CD 2

Enr.10


2 Understanding people participating in a witch-hunt


Activity 4 In the twenty first century, witches

are often treated heroically in lite-rature and films. This is a relati-vely recent evolution.

You are going to listen to an extract from a radio play set in the time of King Arthur in medieval Britain. The pictures below will help you visualise the context:

© PYTHON PICTURES / EMI / Album © PYTHON PICTURES / EMI / Album/ AKG./ AKG.

“If she sinks, she’s innocent.If she survives, she’s guilty.”

© akg-images.



� Listen to your CD (without stopping it at this stage).

a. Try to determine the following information:

b. Imagine where the scene takes place.

.................................................................................................................................................

� a. Listen again to the first part and note down the following. (You may use the “pause” button.)

b. Now tick (˛) the appropriate column for each question / argument to show if it is rational or not.

c. You heard one of the villagers say of the witch: “she turned me into a newt.”

Can you guess what a newt is: t ❒ human ❒ animal form

❒ pleasant ❒ disagreeable

What argument does the man use to suggest this accusation is irra-tional?

.................................................................................................................................................

Enr.11

CD 2CD 2

Enr.11

1 2 3

❒

❒

❒

❒

❒

❒

❒

❒

❒

❒

❒

❒

❒

❒

❒

Different individuals / Different individuals /groups of peoplegroups of people

1 2 3

Information about Information about their identitytheir identity

What they want…What they want…

Their participation in Their participation inthe dialoguethe dialogue

❒ very activevery active

❒ not very activenot very active





Their moodTheir mood ❒ calmcalm

❒ hystericalhysterical

❒ rationalrational

❒ calmcalm



❒ calmcalm



Enr.12

CD 2CD 2

Enr.12

Rational IrrationalRational Irrational

The man’s questions toestablish the truthestablish the truth

The witch’s arguments The witch’s argumentsto prove she is not a to prove she is not awitchwitch

The crowd’s arguments The crowd’s argumentsto prove she is a witchto prove she is a witch



d. Use the information from Exercises � and � to sum up the situation, using the following outline.

The scene takes place…

A man is trying to…

So he asks…

The crowd are convinced…

In fact, only one accusation…

Check your answers.

� a. Listen to the second half and note down the following. (You may use the “pause” button.)

b. Sum up the villagers’ ‘logical’ conclusion.

If the witch …

c. Complete the organigram to show how they arrive at this conclusion.

+

�

+

�

Enr.13

CD 2CD 2

Enr.13

The man’s questions The villagers’ answers Rational IrrationalThe man’s questions The villagers’ answers Rational Irrational

Witches burn ........................ ........................ burns ..........................Witches = ..........................

................................................ floats ........................

........................

........................

........................

........................

........................

........................

........................ float(s)

........................

........................

.................. ...................Witches = .................. = ...................

lead /led/: a base metal, repre-sented by the chemical symbol Pb.

Vocabulary help



d. Sum up what you understand of the dialogue using this outline.

The man would like the villagers…

So, he asks…

However, the villagers’ lack of intelligence makes…

For example, they draw a parallel between ........................................ and ........................................ and conclude that ........................................ .

Check your answers.

� a. How do you expect the scene to continue? (Choose the ending you prefer, and complete it.)

❒ The man is convinced by the villagers’ logic and so…

❒ The man is not convinced by the villagers’ logic and so…

b. What clue in the script seems to suggest that he is convinced?

Check your answers.

� What do you think the author’s ultimate message is in this scene (several answers possible)?

❒ He wants to parody witch-hunts.

❒ He wants to show how witch hunts are rationally established.

❒ He wants to show that there is strength in numbers.

❒ He wants listeners to realise that people in groups react emotionally rather than rationally.

❒ The best way to identify a witch is to set fire to her and then push her in the pond1.

❒ Witch-hunts are ludicrous.

❒ Many innocent people have been accused of witchcraft.

❒ If you have warts on your hands or face, you should have them removed before you are accused of witchcraft.

❒ As long as everyone has a good laugh, it doesn’t matter if people lose their lives for silly reasons.

Check your answers.

1. pond = étang


3 Learning to write a scene from a play


Dans cette étape, nous allons voir à partir de l’étude de l’extrait d’une pièce de théâtre comment réaliser la rédaction de notre propre scène théâtrale.

Activity 5Using background information to put the extract into context.

The Witches of Salem

FACT FILE

The Witches of Salem

You may well have heard stories about the witches of Salem, which was aPuritan community in Massachusetts, at the end of the seventeenth cen-tury. Persecuted in Europe for their religious beliefs, many ‘heretics’ settledin the New World. Here they believed they could lead a life of strict religiousdevotion far from the decadence they had left behind.

The strain of living up to very strict moral standards while at the same timefending off the threat of attack from the Native American population even-tually proved intolerable for the people of Salem. In 1692 they thought theyhad found witches in their midst. And so the trials began which wouldmake the name of Salem synonymous with persecution and injustice.

The records of the trials have survived to this day and have inspired manywriters such as the playwright Arthur Miller who wrote the well-known playThe Crucible in 1952. The most famous witnesses in Miller’s play are in factchildren. One of them, Elizabeth (Betty), is the daughter of Salem’s minis-ter1 Samuel Parris, the other is his niece, Abigail Williams. Parris believesthe girls may be possessed by the devil. He calls in the witchfinder, theReverend John Hale, who proceeds to interrogate the girls and the peoplethey frequently interact with. One of these is Tituba, a Caribbean Indian(from Barbados), who is Reverend Parris’ slave. In fact, Tituba entertainedthe children of the community with stories from Barbados associated withvoodoo and black magic. The population of Salem becomes so incensedwith the witch hunt in the community that the trial makes people hysterical.Totally disoriented by the mass hysteria, the children begin to denounceordinary citizens as witches, and the trials continue…

1. minister: un homme d’église.

FACT FILE



� Read the text and pick out phrases to use as captions (légendes) for the following pictures.

Caption : ........................................................

...........................................................................

........................................................................... Caption : ........................................................

...........................................................................

...........................................................................

Caption : ........................................................

...........................................................................

...........................................................................

Check your answers.

Activity 6

Study this scene from an unpublished play about The Witches of Salem and do the following activities to help you understand the essential ele-ments.

� Pay attention to all the names and decide which characters are actually present and which ones are only mentioned. Complete the table with as much information as possible (either from the extract or from the Fact File).

© akg-images / North Wind Picture Archives.





� Look carefully at the stage directions. Underline all the stage directions that indicate an emotional attitude rather than a rational act.

� Highlight all the repetitions and echoes1 (exact or approximate) in the text.

� Draw your conclusions by ticking the appropriate boxes.

❒ Most of the characters alternate between a rational and an emotio-nal attitude.

❒ In general, the characters show a rational attitude.

❒ In general, the characters show an emotional attitude.

NAME Present MentionedInformation

In the extract In the fact fileNAME Present Mentioned

Information

In the extract In the fact file

relieved:

to pant:

to burst out:

to gasp:

Word bank

relieved: no longer tense / under pressure

to pant: to take short, quick breaths like a dog after physical effort

to burst out: to exclaim

to gasp: to take short, quick breaths like a fish out of water

Word bank

1. echo: un élément qui fait écho à un autre (ici)



❒ The multiple repetitions help the reader / listener understand more easily.

❒ The multiple repetitions help create an impression of boredom.

❒ The multiple repetitions help create an impression of hysteria.

Check your answers.

Tituba, you can tell me everything. Have no fear – I will protect you if you tell the Court who made you do these evil things.

rocking and weeping It be a man wi’ long, black coat an’ black hat. Gasps in the crowd. He telling me he let me fly to home to Barbados if I help Goody Good and Goody Osburn!

cries out She’s a witch! Goody Osburn is a witch – each time she tcame to midwife me I lost my baby! I lost my baby three times because Goody Osburn is a witch! sobs

solemnly Mrs Putnam, I must ask you not to interrupt.y softly Tituba, ygo on. Tell the court what you know about Sarah Good’s and Goody Osburn’s pact with the devil.

stammers Dey, dey, they rid upon a stick and dey, dey, they want me hurt de childs.

pressing Which children, Tituba?

They be Abigail and Betty indicating each girl in turn

bursts out God have mercy on us! Betty, my sweet child! t imploringTell me, who wanted to hurt you!

in a trance Goody Osburn is a witch. I saw Goody Osburn with the Devil! the crowd gasps with shock

Abigail, tell everyone. Is this true? Is Goody Osburn a witch?

as if enraptured Goody Osburn is a witch.d they gasp Sarah Good is a witch. I saw them with the Devil!

chanting in chorus Goody Osburn is a witch. Sarah Good is a witch. I saw them with the Devil!

shaking her head and crying in a frenzy No, no! It’s not true! You ymustn’t believe them – they’re only children!

shouts louder and louder A witch! A witch! Sarah Good’s a witch!r

shouting over the crowd Silence! Silence, I say. d to Sarah Good Sarah Good, are you a witch ?

Noooo!

accusingly How do you know you are not a witch?y

HaleHale

TitubaTituba

Ann PutnamAnn Putnam

HaleHale

TitubaTituba

ParrisParris

TitubaTituba

ParrisParris

BettyBetty

HaleHale

AbigailAbigail

Abigail & BettyAbigail & Betty

Sarah GoodSarah Good

The crowdThe crowd

HaleHale


HaleHale

10

15

20

25

30



hysterically I’m no different from anyone else, here!y

calmly but firmly You are mistaken. We KNOW you are a witch. Weyhave witnesses. What we need to know is how long have you beena witch?

panting with stress This is nonsense! I’m not listening to any of this.

There’s no point in denying it. We know you are a witch. We haveproof. How long have you been a witch?

chanting in chorus Sarah Good is a witch. We saw her with theDevil!

Stop it! Stop it! I can’t bear it any more!

with the voice of reason Why won’t you confess, Sarah? How long have you been in the snare of the Devil?

laughing nervously This is ridiculous! Can’t we be serious for yonce?

marks a silence, then very gently Sarah, the very fact that you arelaughing is proof of your folly and of your indifference to thesepeople’s suffering. Why won’t you confess? You made a pact withthe devil, didn’t you? You can’t hope to sleep in peace if you don’tconfess! Confess, before it’s too late.

holding hands and chanting louder and louder Confess, Sarah,confess! Confess, Sarah, confess! Confess, Sarah, confess! thecrowd joins in Confess, Sarah, confess! Confess - they are interrup-ted by Sarah

screaming louder than the others Stop it! I can’t stand this any more!silence I confess. sobbing It’s true. I made a pact with the Devil. I’mevil. I’m a witch. Now, please, leave me alone!

relieved So now, I can be sure my Betty is not mad – she’s bewit-dched!

Activity 7

The following steps will help you deepen your understanding of the scene.

� Who’s who?

For each of the pronouns in the following lines from the scene, indi-cate who they refer to:

you can tell me you = me =


HaleHale


HaleHale



HaleHale


HaleHale



ParrisParris

l. 1l. 1

35

40

45

50

55



I will protect you I = you =

She’s a witch she =

I must ask you not to interrupt I = you = t

I saw them with the Devil! I = them =

You mustn’t believe them you = them =

We KNOW you are a witch we = you =

she’s bewitched! she =

� How the scene evolves?

Put the following steps in the correct chronological order.

� Evidence of the devil’s work

Find elements in the scene to corroborate the idea that the devil is at work in the village. Look in particular at the following characters:

Tituba:

Mrs Putnam:

Betty:

Abigail:

Sarah Good and Goody Osburn:

l. 1l. 1

l. 6l. 6

l. 9l. 9

l. 22l. 22

l. 26l. 26

l. 33l. 33

l. 58l. 58

1.

a.a. Abigail and Betty accuse Sarah Good and Goody Osburn of being witches.Abigail and Betty accuse Sarah Good and Goody Osburn of being witches.

b.b. Everyone encourages Sarah Good to confess.Everyone encourages Sarah Good to confess.

c.c. Hale encourages Tituba to detail what she knows about the accused.Hale encourages Tituba to detail what she knows about the accused.

d.d. Hale invites Sarah Good to prove she isn’t a witch.Hale invites Sarah Good to prove she isn’t a witch.

1. e.e. Hale promises Tituba protection.Hale promises Tituba protection.

f.f. One of the villagers accuses Goody Osburn of being a witch.One of the villagers accuses Goody Osburn of being a witch.

g.g. Parris demands to know who intended to harm his daughter.Parris demands to know who intended to harm his daughter.

h.h. Parris expresses his relief that his daughter has not lost her mind.Parris expresses his relief that his daughter has not lost her mind.

i.i. Sarah Good breaks down and admits she made a pact with the Devil.Sarah Good breaks down and admits she made a pact with the Devil.

j.j. Sarah Good denies the accusation.Sarah Good denies the accusation.

k.k. Sarah Good finds the pressure intolerable.Sarah Good finds the pressure intolerable.

l.l. Tituba denounces Sarah Good and Goody Osburn.Tituba denounces Sarah Good and Goody Osburn.

m.m. Tituba gives examples to underline their strange behaviour and evil intentions.Tituba gives examples to underline their strange behaviour and evil intentions.

n.n. Tituba identifies the children the accused intended to harm.Tituba identifies the children the accused intended to harm.



� Who is to blame?

In the end, who do you think is responsible for the evil events in the vil-lage. Is it a single element or a mixture? Choose among the following.

❒ The devil himself?

❒ Tituba?

❒ The girls like Betty and Abigail?

❒ The women like Goody Good and Goody Osburn?

❒ The women like Mrs Putnam ?

❒ The representatives of the Church like Parris and Hale?

❒ The community as a whole?

Try to justify your answer.

Check your answers.

Comment s’organiser pour réussir une compréhension écrite ?

1.

2.

3.

4.

5.

6.

7.

8.

Comment s’organiser pour réussir une compréhension écrite ?

Il faut procéder par étapes comme vous venez de faire avec cet extrait de pièce de théâ-Il faut procéder par étapes comme vous venez de faire avec cet extrait de pièce de théâ-tre.tre.

1. Anticiper sur le contenu (= mobiliser vos idées, et réfléchir aux mots-clés en anglais Anticiper sur le contenu (= mobiliser vos idées, et réfléchir aux mots-clés en anglaispar rapport au contexte annoncé – par l’introduction, les éventuelles images, le sujet par rapport au contexte annoncé – par l’introduction, les éventuelles images, le sujet etc.)etc.)

Lors de lectures successives :Lors de lectures successives :

2. Repérer les mots-clés (personnes, lieux, répétitions, même champ sémantique…)Repérer les mots-clés (personnes, lieux, répétitions, même champ sémantique…)

3. Opérer un classement de ces mots-clés et repérer les informations essentielles pour Opérer un classement de ces mots-clés et repérer les informations essentielles pour chacun d’eux.chacun d’eux.

4. S’il y a des pronoms, repérer à quoi ils renvoient.S’il y a des pronoms, repérer à quoi ils renvoient.

5. Rassembler toutes les informations recueillies et essayer de reconstruire le sens du Rassembler toutes les informations recueillies et essayer de reconstruire le sens dudocument en prenant en compte la dimension culturelle (et vos connaissances géné-document en prenant en compte la dimension culturelle (et vos connaissances géné-rales).rales).

6. Focaliser sur l’attitude des interlocuteurs et essayer d’identifier leurs intentions.Focaliser sur l’attitude des interlocuteurs et essayer d’identifier leurs intentions.

7. Dans le cas de mot important inconnu, réfléchir au sens possible par rapport au sujet, Dans le cas de mot important inconnu, réfléchir au sens possible par rapport au sujet,du contexte dans lequel le mot est utilisé, à la construction du mot (composition ou du contexte dans lequel le mot est utilisé, à la construction du mot (composition oudérivation) et du contexte au sens large (dimension culturelle).dérivation) et du contexte au sens large (dimension culturelle).

8. Résumer ce que vous avez compris (et relire si vous avez l’impression qu’il vous man-Résumer ce que vous avez compris (et relire si vous avez l’impression qu’il vous man-que des éléments essentiels).que des éléments essentiels).



Activity 8Before you try writing your own script for a scene in a play, let’s make sure you’re aware of all the elements you should include.

Look back at the extract from the play and pick out an example for each of these elements:

Check your answers.

ELEMENTS PRESENT IN A SCRIPT Example taken from the extract

STAGE DIRECTIONS IN ITALICS

•

•

•

•

•

•

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

o

o

o

o

o

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

ELEMENTS PRESENT IN A SCRIPT Example taken from the extract

Name of person speaking:

Punctuation to show it is a question: Punctuation to show it is a question:

Punctuation to show it is an exclamation:Punctuation to show it is an exclamation:

STAGE DIRECTIONS IN ITALICS

• to indicate an action:to indicate an action:

• to indicate a mood or emotion: to indicate a mood or emotion:

• to indicate the impression the actor must give:to indicate the impression the actor must give:

• to indicate the rapidity of the response:to indicate the rapidity of the response:

• to indicate the volume of the voice:to indicate the volume of the voice:

• to indicate other characters’ reaction:to indicate other characters’ reaction:

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

o using an adjectiveusing an adjective

o using an adverbusing an adverb

o using the simple presentusing the simple present

o using the present participle (V+ing)using the present participle (V+ing)

o using a nominal form (noun)using a nominal form (noun)

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

...............................................................................................

Tituba est une esclave originaire des Caraï-bes où on parle le créole ; de ce fait son anglais n’est pas toujours très bon. Dans ses répliques dans l’extrait que nous venons d’étudier, nous avons souligné les erreurs :

Tituba: rocking and weeping It be a man wi’ longg, black coat an’ black hat. He k tell me he let me fly to home to Barbados if I helppGoody Good and Goody Osburn!

Tituba: stammers Dey, dey, they rid upon a stick and dey, dey, they want me hurt de childs.

(Parris: pressing Which children, Tituba?)

Tituba: They be Abigail and Betty.

Essayez d’analyser la nature de chaqueerreur à l’aide de la liste ci-dessous, puiscorrigez-les.

• Choix d’aspect (forme simple / be + Ving)

• Choix de temps (present / passé / futur)

• Conjugaison

• Construction des expressions de volonté(… + TO + V)

• Construction de la voix passive (be + par-ticipe passé)

• Négation mal construite

• Omission (article / pronom relatif / verbe)

• Grammaire du groupe nominal

Grammar check



Activity 9

Writing the script of a scene for a play

You are going to write the opening scene (= the first scene) for a modern version of The Crucible.Read the summary below, then do the different steps indicated before you write your version.

� a. Read the Fact File and decide where the events take place.

At the Parris home

In the forest

a. Reverend Samuel Parris prays for his daughter Betty.

b. Tituba engages the village girls (inclu-ding Betty and Abigail) in a voodoo ritual.

c. Betty faints.

d. Betty (still unconscious) is transported to her bed.

e. Ann and Thomas Putnam arrive.

f. Ann and Thomas Putnam claim the chil-dren are bewitched (ensorcelés).s

b. Put the events in the correct chronological order (=not in the order they are necessarily presented in the summary): write the numbers in the column on the left.

Act One of The Crucible

FACT FILE

Act One of The Crucible

Act One begins with the Reverend Samuel Parris praying for his daughter Betty who lies faint in her bed, suffering from a strange malady. Betty and Abi-gail, Parris’s niece, and some of the other village girls had been surprised by Parris in the forest as they were engaged in a voodoo ritual led by Tituba. Betty fainted1 and still had not recovered. Ann and Thomas Putnam, prosperous villagers, arrive and claim the children are suffering from “the Devil’s touch” at the hand of witches.

1. to faint: to lose consciousness (because of shock for example)

FACT FILE



� a. Complete the table below using the information in the summary.

b. Think carefully. Betty is unconscious. The events in the forest took place before this scene.

1.

2. How will the audience learn about the events in the forest? Who will talk about them? To whom?

Check your answers.

Activity 10Write your version of the opening scene. (Make sure you use stage directions each time to indicate the characters’ movements, actions and moods!)

Grammar check

Quels verbes dans le résumé (de par leur forme verbale) indiquent queles actions qu’ils désignent ont précédé les actions visibles sur scène ?

Autrement dit, quelle forme verbale indique une antériorité dans lepassé ?

Grammar check

NAME Present MentionedActivities during the scene

Actions (what they do) Speech (what they say)NAME Present Mentioned

Activities during the scene

Actions (what they do) Speech (what they say)



Compare your version with the model answer.

Characters speech and stage directionsCharacters speech and stage directions


4 Developing your listening skills


You are going to hear an extract from a radio play about a more recent witch-hunt.

Read the Fact File, then do the activities below.

Activity 11In this extract from Norman Mailer’s The Deer Park, Eitel, a successful Hollywood film director, is being examined by a Congressional investigating committee, represented by Congressman Crane (the first to speak) and Chairman Norton.

From Salem to modern day USA

http://www.nationalgeographic.com/salem/ http://school.discoveryeducation.com/schooladventures/salem-

witchtrials/storyhttp://www.pbs.org/wnet/secrets/previous_seasons/case_sealem/index.htm

FACT FILE

From Salem to modern day USA

The girls’ accusations led to the deaths of more than 20 people in Salem accused of practising witchcraft. Some were hung, some died in prison, and one even refused to say if he was guilty or not so they killed him. In the centuries since, scholars and historians have tried to explain the mad-ness that overtook Salem. There are many different theories: sexual repres-sion, dietary deficiency, mass hysteria or even a simple fungus1 have been considered responsible. You can find out more about the Salem witch-hunt on these websites:

http://www.nationalgeographic.com/salem/ http://school.discoveryeducation.com/schooladventures/salem-

witchtrials/storyhttp://www.pbs.org/wnet/secrets/previous_seasons/case_sealem/index.htm

When Arthur Miller wrote The Crucible in 1952, the United States was in the midst of its own national witch-hunt, known as McCarthyism. From 1946 to 1955, Senator Joseph McCarthy led a movement to find and prosecute sus-pected communists. People lost their jobs when they admitted to having been Communist Party members. To save their own skins, they had to expose other members of the Party during McCarthy’s investigations. This resulted in a witch-hunt and anti-communist hysteria of which leftwing intellectuals and Hollywood artists and movie-makers were privileged targets.

1. fungus: champignon

FACT FILE

© Norman Mailer Licensing LLC© Norman Mailer Licensing LLC


� Listen to the recording without stopping it and pay attention to the tones of voice. How would you characterise the speakers (we won’t differentiate between the two interrogators)?

� Listen to the recording (as many times as necessary), and note down gthe interrogators’ questions and Eitel’s ultimate answer (in note form as in the example). Indicate too whether he answers directly or not.

� Listen again to do Parts a. and b.

a. Clarify these details:

the Party = the ............................................... Party

the agent = ...............................................

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CD 2CD 2

Enr.14

evas

ive

impa

tien

t

cate

gori

cal

vagu

e

crit

ical

rela

xed

dead

se

riou

s

com

ic

men

acin

g

evas

ive

impa

tien

t

cate

gori

cal

vagu

e

crit

ical

rela

xed

dead

se

riou

s

com

ic

men

acin

g

EitelEitel

Interrogator(s)Interrogator(s)

interrogators’ questions Eitel’s answer

Dir

ect

answ

er?

interrogators’ questions Eitel’s answer

Dir

ect

answ

er?

Member of the party?Member of the party? nevernever xx




b. Pick out the phrases that show:

� 1. Eitel dislikes being interrogated.

.................................................................................................................................................

� 2. The interrogator tries to present Eitel as being simple-minded.

.................................................................................................................................................

� 3. Eitel can’t help expressing his sense of humour. (x2)

.................................................................................................................................................

.................................................................................................................................................

� 4. The interrogator accuses Eitel of being disrespectful of theCommission. (x2)

.................................................................................................................................................

.................................................................................................................................................

� 5. The interrogator tries to demonstrate his own sense of humour.

.................................................................................................................................................

� 6. Eitel is aware that if he admits knowing Party members, he admits he is guilty.

.................................................................................................................................................

� As a member of the Committee, what conclusion would you draw about:

Eitel and patriotism: ..........................................................................................................

.......................................................................................................................................................

Eitel and the “Party”: ........................................................................................................

.......................................................................................................................................................

Check your answers.



Activity 12

Let’s take advantage of your work on this extract to check that you are able to formulate questions.

For each of the questions in note form on the left, write the question in full on the right.

Check your answers.

Questions in note form Questions in full

...........................................................................................................

...........................................................................................................

...........................................................................................................

...........................................................................................................

...........................................................................................................

...........................................................................................................

...........................................................................................................

...........................................................................................................

...........................................................................................................

...........................................................................................................

...........................................................................................................

Questions in note form Questions in full

Member of the Party?Member of the Party? Are you a member of the party?Are you a member of the party?

Know Mr Dean?Know Mr Dean? ...........................................................................................................

Know Mr Dean = agent?Know Mr Dean = agent? ...........................................................................................................

Love USA?Love USA? ...........................................................................................................

You met Mr Dean?You met Mr Dean? ...........................................................................................................

How make pictures if bad memory?How make pictures if bad memory? ...........................................................................................................

(want to hear) dates of presence in Spain?(want to hear) dates of presence in Spain? ...........................................................................................................

Not belong to party?Not belong to party? ...........................................................................................................

Who incited you (to go to Spain)?Who incited you (to go to Spain)? ...........................................................................................................

Would you fight for the USA, if war?Would you fight for the USA, if war? ...........................................................................................................

Would fight without enthusiasm?Would fight without enthusiasm? ...........................................................................................................

If fighting for a certain enemy, it would be If fighting for a certain enemy, it would bedifferent?different? ...........................................................................................................

Practise makes perfect

Ce n’est pas l’objectif principal de cette séquence, mais vous vous invitons à profiter de cette occasion pour travailler votre anglais parlé. Regardez le script de cet extrait dans le corrigé, réfléchissez à la nature des phrases et à l’intonation qui s’impose. Puis entraînez-vous à jouer les rôles. Enregistrez-vous et comparez votre pres-tation avec l’original.

Practise makes perfect

Ce n’est pas l’objectif principal de cette séquence, mais vous vous invitons à profiter de cette occasion pour travailler votre anglais parlé. Regardez le script de cet extrait dans le corrigé, réfléchissez à la nature des phrases et à l’intonation qui s’impose. Puis entraînez-vous à jouer les rôles. Enregistrez-vous et comparez votre pres-tation avec l’original.

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CD 2CD 2

Enr.14


5 On the road to autonomy


Activity 13

Prenez connaissance de la tâche à accomplir avant de réaliser les activi-tés proposées. (N’oubliez pas que le but de cette partie de la séquence est de vous permettre de consolider vos acquis.)

Hester Prynne and the scarlet letter “A” on her chest after the birth of fatherless Pearl.

© CINERGI PICTURES / Album / AKG.


Write the script for a scene from The Scarlet Letter.

The court room in a Puritan community in the early 19th century.

Explicitation de la tâche: vous devez rédiger le script de la scène du tribunal, scène pendant laquelle Roger Chillingworth va démontrer que Pearl est une sorcière et pousser Arthur Dimmesdale à se dévoiler.

Summary of the Scarlet letter

FACT FILE

Summary of the Scarlet letter

The Scarlet Letter is a novel written by Nathaniel Hawthorne in 1850. Hes-rter Prynne, a Puritan woman whose husband has been absent for 2 years becomes pregnant. She is imprisoned and Mrs Hibbons acts as midwife at Pearl’s birth in prison. Hester is convicted as an adulteress, but refuses to name the baby’s father. As penance, she wears a scarlet “A” upon her clo-thes, as a public condemnation. If she named the man involved she could remove her outward sign of chastisement. Instead, she chooses to wear the brightly colored damning mark.

Reverend Arthur Dimmesdale comforts Hester and helps her try to find peni-tence. Hester is also helped by Mituba, her black servant. Two years later, Hester’s husband returns but hides his identity, adopting a false name:Roger Chillingworth. Hester keeps his secret. Roger is jealous of Hester’s obvious love for Pearl’s father and determines to find out who he is.

FACT FILE

Your taskYour task

The situationThe situation

PlacePlace

NAME Present Mentioned ? ?NAME Present Mentioned ? ?

Hester PrynneHester Prynne xx

Mrs HibbonsMrs Hibbons xx

Pearl PrynnePearl Prynne(aged 2½)(aged 2½)

xx

Roger Roger ChillingworthChillingworth

xx

MitubaMituba xx

Reverend Arthur Reverend Arthur DimmesdaleDimmesdale

xx




Preparation work

� Look back at Activities 8-10 to prepare your script. (You can make notes in the table above, if you wish.)

� Write your script, respecting the formal presentation including stage directions.

� Read it through carefully to edit any mistakes.

Compare your final version with the model script. ■


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Séquence 5 - Freeafrique.espoirbenin.free.fr/Res_peda/1/Anglais/Sequence-05.pdf · and witch-hunts Séquence 5 – AN11 1 Sommaire Objectifs de la séquence 1. Increasing your knowledge

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