Preface To Arah

I was torn about what to write for a long long while. I knew that my creativity had passed for my last written piece and I didn’t want to strain myself to re-write or alter it, especially because I quite like it. But it was on February 1st I found that spark I needed to write again. 

Evan Rachel Wood, One of Marlyin Manson’s ex girlfriends, named  him as her horrific and monstrous abuser. I was angry as I researched further and found myself transfixed in knowing every nook and cranny of the situation. I was angry that WE had let this man do this, there is so much evidence from HIS MOUTH that told us what he really was and we ignored it. 

I’m still angry and will be until he is brought to justice along with everyone who let him do this to now over 40 women who have come out with their experiences with him, no matter big or small, they are all significant.

I was going to vent, I was going to scream, rant, lecture. but Then I realised that Manson is just one factor in the whole situation. It was our reaction as a society that interested me and infuriated me the most. That men still have the audacity to say that ‘she deserved his abuse and she knew what she was getting into’.

At the time I was also writing about ‘Medea’ for Classics and while reading i realised despite what my mother tells me, that we have come so far in equality, i read ‘Medea’ drawing constant comparisons about how women's experiences are undermined and how women are surrounded by objectification.  But that is the beauty about Greek Tragedy, we still see relevant themes in the words NOW over 1000 years later. 

I thought it would be perfectly suitable and more creative to communicate my thoughts about modern day through such a pivotal and important format of theatre. This is where the concept of ‘Arah’ first materialised.

‘Arah’ tells the story of a Courtsean (Greek Sex Worker) who has accused the king (Valdis) of devestating abuse towards her (Arah). All the play's contents occur within the space of a day. The day before his trial. With my writing I kept it as close to historical accuracy as possible. For example Arah is a Courtesan and would be allowed to bring a case against someone in court, but because she is a woman she must have a speaker fight for her. Elements of both Philosophy and Religion is present in the text as It would be in Greece at the time and of course like a lot of Classical Literature, all violence has or does occur off stage. M 

All the violence taking place away from the audience's eyes, I believe is extremely realistic of how abuse cases go. WE as a society rarely see it, and WE must then make a judgement on it 

The action of the story is what unravels before the trial. How society often judges and makes their decision before the evidence is presented. 

This Greek tragedy features hysteria, cult of personality, rampant and continuous symbolism often found in Classical literature and of course a message, a message just as relevant today than it has been throughout history. 

Because Greek Tragedy often features upsetting  themes this is a list of what may be considered both offensive and triggering:

Characters

Arah • The Accuser

Elma • Arahs protector and closest friend

Valdis • The King and accused

Alik • Arahs speaker 

Chorus Of Jurors • Jury of the trial

Old Croan • An old homeless woman

Group Of Henchmen • Group of Valdis’ supporters

Messenger • A child that keeps watch for Elma

[Any dialogue highlighted is taken directly from real words surrounding the Manson allegations or my personal experiences interacting with peoples opinions on the manson allegations]

Arah

[The Scene is set before the house of Elma in Athens]

OLD CROAN: OHHHH! Such words that have rung in my ears. I wish not to hear it any more! It’s simply too much! Our dearest King Valdis has a spiteful lover, wishing to bring him down with her cursed words! Cursed bitch! Who now remains in her chamber, the gods punishing her with the chains made of pure sunlight. May they burn her wrists right through! 

ELMA: What use are you here?! Shooo and leave my land! 

OLD CROAN: I am the least of your worries! The gods have more in store for YOU! 

ELMA: When we talk of gods what gods do you speak of? The ones that sleep and frolic on clouds or the ones that sit on golden thrones right in this very city?

OLD CROAN: The ones in the skies that play us like trumpets, are you suggesting there are no gods?

ELMA: The rest of this land renown your dearest king Valdis as a god. He speaks and you're there listening to his words like music. Your arms are out to give him anything he may ask for, he does not need to beg. The offerings he receives between every sun rise and sun down are enough to home you and your children!

OLD CROAN: who are you to speak of children! You need a man to have a child!

ELMA: You need a man to do anything and apparently only men can speak on such matters that Arah has raised.

OLD CROAN: OOHHH! Stop with her name! 

ELMA: Why on earth would you be here if not for her name?

OLD CROAN: I Plead to you to make her stop, she must stop with her accusations. I can not bare to hear her words any longer, for I have pictured those lies and now.... They won’t leave my skull! [she writhes on the floor in distress]

ELMA: Have you ever felt such a burden?! has words ever inflicted you with such burden as hers? And you still say she is lying, I feel nothing for you, as a woman I feel nothing for you. 

OLD CROAN: There's… No proof!

ELMA: As the hynacliths sprout colours of purple and reds, turning brown as the cold begins to take them, they shrivel and disappear, Just like bruises. They dissapear. 

OLD CROAN: She said he cut her! With a dagger! And whipped her!... that would leave some sort of scar!

ELMA: Just as many scars as she cut herself to make him stop, but what can we do? Strip her down? Hasn’t the poor lady been through enough? 

OLD CROAN: she says more will come forward! And where are they?

ELMA: You aren’t here for any reason but yourself, to hear yourself talk, well I won’t allow you to stand on a soapbox as bile spurts from your mouth, Leave and speak in a place where they will nod and clap in approval. 

OLD CROAN: I have no place to go, no home

ELMA: As I said, I feel nothing for you  

[Old Croan Exits as Elma goes inside soon after, Chorus enters]

CHORUS: Here it is 

Where she is 

I believe she resides in here 

We come for something 

Anything 

From her chirping little mouth 

We want a smile 

A kiss blown softly

But nothing has come from her

And Valdis has graced his balcony 

Smiled and thanked us for our cause 

We’ve heard him out 

We’ve cheered his words 

But nothing from that girl 

She expects us to believe her plea 

When we haven’t even seen her

in weeks 

She expects us to come tomorrow 

And think she is actually filled with sorrow 

She’s got some bargaining to do with

Us,

 us of course we are the jury 

Handpicked by Valdis himself

How thankful of him to share his wealth

And  we will decide at the end of the day

If she is lying or if her accusations are truthful...

And pray this trial be fruitful 

This isn’t about your wealth or creed,

This is a trial for a woman in need. 

And why not?, it’s made our pockets no looser? 

I am happy to take your cut, you sound a sore loser. 

He never said we were here for him,

It says in the contract he has to win. 

We must defend, for these women are notorious,

Though the task, it is laborious. 

But if the girl is telling the..

Truth? 

We will decide that from her words

But we’ve heard it all already 

About how he…

Yes, we all know how it goes,

He beat me

He raped me 

He tied me to his bed 

Please…

no more...

We’ve heard it…

 all before 

ELMA: and you will hear it again so you better get comfortable, Arah would want you to hear every last detail.

CHORUS: what do you believe? 

Of course she believes her 

Why else would she keep her in this place 

We know what type she is 

ELMA: I’d like to know what type, I can’t tell when people say such things anymore. Is it my breasts that offend you? Is it that I can admire other women’s features as you would yourself? Or is it my Stoic beliefs that fills you with contempt? 

CHORUS: interesting 

Very interesting 

We want to hear her speak 

Yes, speak! 

ELMA: there will be no speaking today

CHORUS: wait! Please don’t leave, I come with genuine concern for Arah 

OHHHHH! 

I am not scared to speak her name. 

We are not scared, we are fatigued 

Sick of all these rumours 

ELMA: how sick do you think she is? Of your voices? Of having to explain herself to vermin. Now I will tell you once. Leave and tell any man walking up those steps to leave with you. Arah has waited years to voice her fight, and I think you men can wait until sunrise to hear the rest. 

CHORUS: you may have just doomed her Elma 

ELMA: let me speak in a language you might understand 

This is my home so leave my land 

I may have to get a helping hand 

From the city guards or someone more regal

As you know to visit before a trial is illegal

 [most of The Chorus leave except one] 

I believe you 

[They Exit]

ELMA: [addressed to Arah inside] I’ve tried to keep them away but no man wants to guard my door anymore. To think, you can lose everything again after simply the suggestion a man has beaten your broken, bitten body. We are alone now. Just us and the gods. I want to take those chains off of you, you have suffered enough and more keeps flooding your way. Everyone has an opinion on something they can’t possibly judge. But I have seen those scars my love. Don’t let them trick you, I’ve seen them and they are real, just as real as your words. And they will all hear them, hear them all tomorrow.

[Alik Enters]

ALIK: and I will do everything I can to make sure that happens

ELMA: what have you heard? 

ALIK: that there is an angry witch screaming at any man who comes near her love

ELMA: They keep coming Alik, I can’t keep telling them what they want to hear, that isn’t my duty, that's yours. 

ALIK: it’s also my duty to tell you that Murmurs are going around that Valdis is demonstrating, acting out so to say. 

ELMA: and? 

ALIK: oh they love it, he is sitting on his throne with a cloth woven of gold! Tied around his eyes 

ELMA:  he doesn’t need a cloth to entertain the idea to me that he can’t see the obvious 

ALIK: they are eating it up like hens, I’ve seen some with cloths of their own. Ahhh to blindly follow, it got Arah into this mess, what will happen if a whole city does the same?

ELMA: Arah didn’t get her into this, he did by deciding to abuse his power and trap her in his sick world. 

ALIK: I’m here to ask Arah if there is anything she wishes me to add when I speak tomorrow. 

ELMA:  she told me to say that she is not alone 

ALIK: She wants me to mention you? 

ELMA: No, she wants you to tell the jury that she is not the only one with scars branded on her once pure skin by Valdis, her scars are on every one of his victims' bodies. 

ALIK: is that really wise?  No other woman or child has…

ELMA: Because they are scared of Alik! they are so filled with fear. And maybe if she wins this more will come to the surface, knowing they are safe. If I was really going off of what is wise we wouldn’t be doing this. She knows she could be ostracised, she knows she could be killed! But she’s doing it anyway. 

ALIK: I’ll say it… at the end… you don’t want her to go 

ELMA: no, I don’t think I do… Do you think you will win this? 

ALIK: I can only try Elma 

ELMA: and you promise me you will try your hardest, because if she dies… 

ALIK: I promise 

[Old Croan Enters]

OLD CROAN: OOOOHH! It won’t stop! The red of bruises will not leave my vision!

[Old Croan Collapses]

ALIK: She is bleeding! Her face is bleeding Elma!

[Elma & Alik rush to Old Croans Side]

ELMA: Have you been attacked? The blood that runs from your eyes, oh there’s so much, what rotten creature would inflict this on you? Tell us!

OLD CROAN: OHHH! The pain! I still see the pain!

ALIK: let me see your wounds dear woman, remove your hands from your face.

[Old Croan moves her hands]

ELMA: Alik! She has no eyes, it’s taken her eyes!

OLD CROAN: It was to stop, he said that these etchings of pain would leave my sight! Everyones if they gave themself over to sigtless solitude!

ALIK: You did this to yourself? 

[Elma steps back]

OLD CROAN: I can still see them dancing in the dark! His hands, the lashings! OHHHH all I want is death if I am to live with this for the rest of my life.

ELMA: You blinded yourself! To stop the thoughts of her accusations from whistling through your mind!

ALIK: Elma

ELMA: I feel nothing for her! Or anyone who is selfish enough to take their own sight to ignore what is happening right in front of them! Arah has not the privilege to stop seeing what he has done to her. In sleep, in every touch, in every pair of eyes that glow blue like his. He is there waiting to punish her once again! 

ALIK: How many others have done this?

OLD CROAN: I know, I am not the only one, I am also not the last 

ELMA: of course, it all makes sense when it happens to yourself! Have some empathy for a woman broken!

ALIK: Elma, please, this woman is dying.

ELMA: I will not feel for her now 

[Messenger Enters out of breath]

MESSENGER: They’re here!

ELMA: Alik, we must come inside

ALIK: You told me you had no man working for you,

ELMA: He is a child, I’m paying him in porridge 

[Elma, Old Croan & Messenger go inside as Henchmen Enter]

HENCHMEN: Open Up!

We’re here on the request of Valdis

He wants you to come with us 

To make the peace before tomorrow.

ALIK: [From inside] You have no business here!

HENCHMEN: A man? 

A man in this house?

ALIK: You have no business here.

HENCHMEN: The king has told us to come 

To bring one of the girls back to him.

ELMA: We won’t come with you. We won’t come with any man who defends him and thinks it honourable.

HENCHMEN: You are lucky that he would even show mercy to such a washed up, spiteful prostitute!

Come out! 

Come out NOW!

ALIK: she will do what she wants, your words mean nothing.

HENCHMEN: our words may mean nothing, but it’s that of the cities that mean everything.

You should hear what they say,

You would if you got down from your pedestal. 

Elma!

You are protecting a liar,

She is a prostitute!

She does our bidding.

She knew what Valdis does, 

She knew what he was like!

And you gullible sheep want to put 

The blame on him for his desires?

Desires that she has said to many she is in love with!

ALIK: Are you saying she wanted him to beat her and slice her up like a piece of meat? Are you saying anyone would be happy to be locked in a basement for days on end and starved until she was unrecognisable? 

HENCHMEN: we never judge,

We never shame,

Most of the city is starving,

Is it really any different?

She is not the first to cater to Valdis

And his more specific needs.

ELMA: We will make it the last! He will be exiled for his crimes and he will lose everything! Stop pretending that kings from other lands haven’t dropped their alliance with him! Arah is not alone, you won’t make her feel alone.

HENCHMEN: For siding with her you deserve to be violated as she has

to be laid down, raped and beaten.

We gave you your time,

We're coming in.

[The Henchmen storm the house, Alik tries to stop them but he is pushed to the ground, they enter the house and screams are heard from inside, It is all silent and then they all walk out, without Elma. Alik gets up from the ground as Elma stumbles out, a mess and disheveled, Alik takes Emlas hand, kisses it and leaves]

ELMA: I am sorry Arah, I try so hard for you, try to protect you but I never do enough. Over these last few days all I have heard is that you lie. I am sorry for ever doubting you, letting the words of self righteous martyrs, penetrate my brain. Bringing illness and suffering to only you. I am sorry for saying that we can’t control nature and that men are men and women are women. We made this happen to you, every blind croan, every macho guard and every nihilistic stoic. We let his words slip past our ears and then denied the possibility of those words meaning anything. I’m sorry that I said your child had the privilege to die, instead of grow up with the hands, feet and teeth of his father. He was your child, and I saw you stream tears as you cradled him. I'm sorry I am not better.

[Arah Enters]

ARAH: I forgive you. I have been beaten down, shouted down, burned, whipped, cursed, believed, not believed and then believed again, Judged by the shape of my body. And you have been here. Feeding me, keeping me warm, brushing my hair. All while my hands have been chained, held together in shackles by the gods. 

ELMA: your hands Arah. where are your hands?

ARAH: It is extraordinary the amount of freedom you must give up to be believed by the public eye. Yet I sliced my hands to release me from the burden. 

[Elma takes Arahs mutilated hands]

ELMA: You are not bleeding Arah, How are you not bleeding?

ARAH: I will not bleed for those who cannot or will not see it.

ELMA: They will call you insane, to break and scar your hands like so

ARAH: They already call me insane!... An actor!... A Prostitute!... A Liar!... 

ELMA: I am fearful for you

ARAH: I am fearful for you! 

ELMA: I can’t bare the thought of you dying for your truth.

ARAH: Elma, I am already dying. I have been since his hands scolded my golden skin. Many believe that abuse is but a moment of great tragedy, in reality abuse is but a slow death. First your body shuts down as bones are snapped and shattered, and they heal, whether that be weeks or months, they heal. But the mind never heals, my mind never healed. They would have proof if they could slice my head open and simply touch my brain. They would sing the dirge for what I have lost. 

ELMA: I see your pain, your loss and plea

ARAH: And your belief in me is more meaningful than a simple henchman.

[Arah and Elma look to the sun]

ELMA: What if this is your last sunrise?

ARAH: I will always have a last sunrise, You will too. As a Stoic I'd expect you to understand that.

ELMA: I understand, but how can we leave behind something so beautiful?

ARAH: I will remember this moment Elma, Spending it with you is the light I will remember in the darkness. A darkness I’ll be happy to see for he has kept me awake and away from it for so many years. Shanking me to keep me from sleep, I will appreciate the darkness as I do the light now. 

ELMA: Let me come with you tomorrow, please 

ARAH: I don’t want you to hear what they will say about me, or you for that matter. 

ELMA: I’ve heard it all

ARAH:We always believe we’ve heard it all, all the words that will hurt us most but we, people never cease to shock and innovate with the cruelty of language. 

ELMA: Come back, for me come back 

ARAH: I can’t promise you anything Elma, Only my appreciation for all you have done for me.

[Alik enters]

ALIK: It’s time, we must go now

ARAH: I will lay myself bare, and you will speak my pain. However you may have to enunciate my suffering. And Elma, My child would have lived a life of suffering through reputation. I cried because it would have been true. I have nothing to forgive you for. 

[Arah approaches and kisses Elma and Exits with Alik with her hands raised in the air, Messenger comes outside and Elma takes him into her arms and goes inside]

End Of Arah