“This is the weather … and we’re just in it,” says Maia, the facilitator of a Buddhist trauma group at the center of Emma Sheanshang’s new play, “The Fears.” She’s talking about the mood in the room — a small, underwhelming one with mismatched office chairs set around a low wooden table — where she and six others regularly meet to talk through storms of rage, sorrow and panic. Or at least try to: interpersonal conflicts, clashing neuroses and a falling domino effect of triggers cause more breakdowns than breakthroughs, until even the group’s philosophical foundation starts to fall apart.