Date of publication: 2017-08-24 11:39
Start by giving your students a question to respond to. For example, I mentioned in my post yesterday about activities you could use to introduce Ruby Moon. These are specifically getting the students to look at the themes and issues in the play of Australia 8767 s identity, suburban paranoia and missing children. Your question could be something like:
This is how I would respond to the question using the scaffold, indicating in brackets at the end of the sentence when I have addressed each part of the scaffold (remembering also that you can say 8775 I 8776 ):
You shouldn't judge a book by its cover, but in the case of Leonard Radic's new book on Australian drama it's irresistible. The book is grey. Tombstone grey. It gives you fair warning of the quality of the prose inside.
Are you one of those people that never wins anything ? You know, you enter a competition to win a holiday to Fiji and 65,555 other people enter, you 8767 ve referred five friends, clogging their inboxes with spam when the probability of you actually winning anything is probably oh, almost a slim to none chance? Or you run a small raffle amongst the staff at your school for a bottle of wine and still nothing?
In class we have acted out scenes of the play in an attempt to understand the characters, one scene which was acted out included the character Dawn. Dawn is attempting to let Ray Moon in on a secret though as no character in the play is truly understandable Ray becomes nervous ‘what’s in the case Dawn’. It turns out to be dolls which this somewhat crazy teenager uses to play with as she played with Ruby. The moment before the case is opened is intense as the tension created through mistrust is imminent. Within Ruby Moon Ray and Sylvie don’t rust any of the neighbours or each other.
I 8767 ve always liked Michael Gow because the way he writes appears very simple but it isn 8767 t. It is multi-layered. The dialogue suggests action and setting and you can understand the character 8767 s subtext easily from this. His plays could work in any space and with very little in the way of set and costume. It leaves a lot open to interpretation for a director. Often there is always a bit of a twist at the end too. It 8767 s a little dated but nothing that a bit of tweaking of cultural references couldn 8767 t change.
From here the story progresses into a one man monologue, told by Jack about his life. From his time at the mission home, his becoming acquainted with his Aboriginal heritage and his spiral into drugs and addiction which led to a life of crime and a cycle of gaol time.
This is Radic's Grand Idea, and he grimly sets about applying it to every playwright in sight. It fits neatly over David Williamson and his heirs like Hannie Rayson, those who devote themselves to a formally conventional theatre inspired by 'issues', but less easily categorised writers like Patrick White or Dorothy Hewett, let alone avant garde artists like Jenny Kemp, have to be violently jemmied into his thesis. To this end, the hapless reader is taken through the plot of each play, treated to a series of homilies on its success or failure, and then moved on to the next illustration of Australia's social history.
In 6997, the Human Rights and Equal Opportunity Commission (now the Australian Human Rights Commission) released its report, 'Bringing them home: National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families'. To assist students' understanding of the issues surrounding this report, a range of resources and support materials are made available for download. This includes a lesson plan for Jane Harrison's play, 'Stolen'.