CREATIVE ASSESSMENT: The Secret River

Creative Topics
Your response must refer closely to the text and draw on appropriate features of the text.  You may develop any of the writing tasks we have started in class or you may choose from the following options:

1.    Sal speaking to a grandchild about her understanding and experiences of aboriginal culture.   Be sure to use Sal’s voice, for example her vocabulary, her way of speaking, reflecting her personality. Also create the premise for the conversation and capture Sal’s thoughts and feelings as she looks back and remembers.

2.    Write a journal from the point of view of one of Thornhill’s descendants. The descendant is wealthy pastoralist/farmer who comes across the stone with the fish carving when he rips up the floorboards of the family home at ‘Thornhill’s Place’. This prompts the farmer to research the origins of his family’s acquisition of the land and the conflict associated with it.

3.    Create the narrative and dialogue between Dick and Blackwood discussing why Dick left home.

4.    Write a letter from the perspective of one of the main or secondary characters set in the time of the events of the novel which explores the massacre on Blackwood’s property. This letter was never sent and has only just been discovered buried amongst the floorboards of his or her home.

6.    Create a play for ‘voices’ (between four to six voices with each voice belonging to the characters from the novel – the settlers and Aborigines). Create the monologues for each voice and think about how they will be presented on stage and where one character’s monologue will be interjected by another character’s monologue and so on. Do not simply have the characters take turns in delivering and finishing their monologues independently of each other; do not have the characters interacting with each other; only the monologues must interact with each other.

7.    Create a letter (to whom?) or a journal written from Blackwood’s point of view, reflecting on the way the British settlers responded to conflict with the Aborigines and how his own views changed over time.

8.    Retell a section of the novel from another character’s point of view (e.g. Smasher, Blackwood, Dick, Sal, Long Jack, Sagitty, Mrs Herring).

9.    Imagine you are going to direct either a film version or a play version of The Secret River. Select three to four key scenes where characters encounter different types of conflict. Create a director’s brief or report describing how the conflict should be dramatized. You are to include suggestions about the setting, action, body language, dialogue and the use of sound, music and lighting.

10.  Write a series of diary entries by a member of Captain McCullum’s expedition, describing his experiences of encountering conflict with the Aborigines.

ASSESSMENT TIMELINE:

Monday 22 May: Draft completed in double period (electronic)

Monday 29 May: Submit final (electronic)

 

Ghosts by Henrik Ibsen

ghosts-quote

(source: Wikipedia)

PLAY SUMMARY

Helene Alving is about to dedicate an orphanage she has built in the memory of her dead husband, Captain Alving. She reveals to Pastor Manders that she has kept hidden the negative aspects of her marriage, primarily due to the immoral and unfaithful behavior of her late husband. She has built the orphanage to deplete her husband’s wealth so that their son, Oswald, might not inherit anything from him. Pastor Manders had previously advised her to return to her husband despite his philandering, and she followed his advice in the belief that her love for her husband would eventually reform him. But her husband continued his affairs until his death, and Mrs. Alving stayed with him to protect her son from the taint of scandal, and for fear of being shunned by the community.

During the action of the play, she discovers that her son Oswald (whom she had sent away to avoid his being corrupted by his father) is suffering from syphilis that he inherited from his father.[a] She also discovers that Oswald has fallen in love with Regina Engstrand, Mrs. Alving’s maid, which is a serious problem because Regina is revealed to be an illegitimate daughter of Captain Alving, and therefore Oswald is falling in love with his half-sister.

When the sibling relationship is exposed, Regina leaves, and Oswald is in a state of despair and anguish. He asks his mother to help him die by an overdose of morphine in order to end his suffering from his disease, which could put him into a helpless vegetative state. She agrees, but only if it becomes necessary. The play concludes with Mrs. Alving having to confront this decision: whether or not to euthanize her son in accordance with his wishes.[10]

ghosts1

Ibsen’s contemporaries found the play shocking and indecent, and disliked its more than frank treatment of the forbidden topic of venereal disease. At the time, the mere mention of venereal disease was scandalous, and to show that a person who followed society’s ideals of morality was at risk from her own husband was considered beyond the pale. According to Richard Eyre, “There was an outcry of indignation against the attack on religion, the defence of free love, the mention of incest and syphilis. Large piles of unsold copies were returned to the publisher, the booksellers embarrassed by their presence on the shelves.”[9]

Upon being produced in England in 1891, the play was reviled in the press. In a typical review at the time, The Daily Telegraph referred to it as “Ibsen’s positively abominable play entitled Ghosts…. An open drain: a loathsome sore unbandaged; a dirty act done publicly…. Gross, almost putrid indecorum…. Literary carrion…. Crapulous stuff”.[24]

When Ghosts was produced in Norway it scandalised Norwegian society and Ibsen was strongly criticised. In 1898 when Ibsen was presented to King Oscar II of Sweden and Norway, at a dinner in Ibsen’s honour, the King told Ibsen that Ghosts was not a good play. After a pause, Ibsen exploded, “Your Majesty, I had to write Ghosts!”[9]