Have a great Easter

We will resume A Doll's House after the Easter long weekend.

In the meantime, consider the Gumboots performance we watched to end this week together with the Gr. 12's.

Assignment Ibsen: A Doll's House

Buses have been cancelled today due to the possibility of freezing rain.  I am posting this assignment as well as the link to the full text of the play so that you can access everything from home for this bus day and for Thursday's OSSLT day, when you will be using your school day time to complete assignments, etc. even if you are not in class.

Yesterday we began our look at the birth of Modern Theatre and Realism.  We will continue to read Ibsen's play A Doll's House in class.  Please note that this link on A Doll's House takes you to the full text on-line! (The link below will take you to the Wikipedia summary, commentary, etc.)

Please read the questions carefully, then read the article, think, and write down your answers.  This assignment is due on Wednesday, April 4th.  10 marks in Thinking/Inquiry.

ADA 3M                                                                                                                                                                     Bloomfield

The Birth of Modern Theatre

Ibsen:  A Doll’s House

1.     Read the following commentary on A Doll’s House.  This was written by Emma Goldman in 1914, almost 100 years ago.   Your opinion of this will be based on your own personal knowledge and experience, including your gender.  In your opinion, is it out of date?  Explain, supporting your opinion with specific examples.  (Thinking/Inquiry – 5 marks)

2.     In the opening sentence, Goldman refers to “the Social Lie” and “Duty”.  Are there ‘social lies’ in our current culture?  Do people do things based on a sense of ‘duty’?  What are the “supposed to’s” that exist nowadays?  Think of a song, movie or t.v. show that deals with or exposes our ‘social lies and duties’.  Are they comic or tragic?  Explain.  (Thinking/Inquiry -  5 marks)

Emma Goldman, The Social Significance of the Modern Drama
(Boston: Richard G. Badger, 1914; The Gorham Press, Boston, U.S.A.)

THE SCANDINAVIAN DRAMA: HENRIK IBSEN

A DOLL'S HOUSE

IN "A Doll's House" Ibsen returns to the subject so vital to him,--the Social Lie and Duty,--this time as manifesting themselves in the sacred institution of the home and in the position of woman in her gilded cage.

Nora is the beloved, adored wife of Torvald Helmer. He is an admirable man, rigidly honest, of high moral ideals, and passionately devoted to his wife and children. In short, a good man and an enviable husband. Almost every mother would be proud of such a match for her daughter, and the latter would consider herself fortunate to become the wife of such a man.

Nora, too, considers herself fortunate. Indeed, she worships her husband, believes in him implicitly, and is sure that if ever her safety should be menaced, Torvald, her idol, her god, would perform the miracle.

When a woman loves as Nora does, nothing else matters; least of all, social, legal or moral considerations. Therefore, when her husband's life is threatened, it is no effort, it is joy for Nora to forge her father's name to a note and borrow 800 cronen on it, in order to take her sick husband to Italy.

In her eagerness to serve her husband, and in perfect innocence of the legal aspect of her act, she does not give the matter much thought, except for her anxiety to shield him from any emergency that may call upon him to perform the miracle in her behalf. She works hard, and saves every penny of her pin-money to pay back the amount she borrowed on the forged check.

Nora is light-hearted and gay, apparently without depth. Who, indeed, would expect depth of a doll, a "squirrel," a song-bird? Her purpose in life is to be happy for her husband's sake, for the sake of the children; to sing, dance, and play with them. Besides, is she not shielded, protected, and cared for? Who, then, would suspect Nora of depth? But already in the opening scene, when Torvald inquires what his precious "squirrel" wants for a Christmas present, Nora quickly asks him for money. Is it to buy macaroons or finery? In her talk with Mrs. Linden, Nora reveals her inner self, and forecasts the inevitable debacle of her doll's house.

After telling her friend how she had saved her husband, Nora says: "When Torvald gave me money for clothes and so on, I never used more than half of it; I always bought the simplest things. . . . Torvald never noticed anything. But it was often very hard, Christina dear. For it's nice to be beautifully dressed. Now, isn't it? . . . Well, and besides that, I made money in other ways. Last winter I was so lucky--I got a heap of copying to do. I shut myself up every evening and wrote far into the night. Oh, sometimes I was so tired, so tired. And yet it was splendid to work in that way and earn money. I almost felt as if I was a man."

Down deep in the consciousness of Nora there evidently slumbers personality and character, which could come into full bloom only through a great miracle--not the kind Nora hopes for, but a miracle just the same.

Nora had borrowed the money from Nils Krogstad, a man with a shady past in the eyes of the community and of the righteous moralist, Torvald Helmer. So long as Krogstad is allowed the little breathing space a Christian people grants to him who has once broken its laws, he is reasonably human. He does not molest Nora. But when Helmer becomes director of the bank in which Krogstad is employed, and threatens the man with dismissal, Krogstad naturally fights back. For as he says to Nora: "If need be, I shall fight as though for my life to keep my little place in the bank. . . . It's not only for the money: that matters least to me. It's something else. Well, I'd better make a clean breast of it. Of course you know, like every one else, that some years ago I--got into trouble. . . . The matter never came into court; but from that moment all paths were barred to me. Then I took up the business you know about. I was obliged to grasp at something; and I don't think I've been one of the worst. But now I must clear out of it all. My sons are growing up; for their sake I must try to win back as much respectability as I can. This place in the bank was the first step, and now your husband wants to kick me off the ladder, back into the mire. Mrs. Helmer, you evidently have no idea what you have really done. But I can assure you that it was nothing more and nothing worse that made me an outcast from society. . . . But this I may tell you, that if I'm flung into the gutter a second time, you shall keep me company."

Even when Nora is confronted with this awful threat, she does not fear for herself, only for Torvald,--so good, so true, who has such an aversion to debts, but who loves her so devotedly that for her sake he would take the blame upon himself. But this must never be. Nora, too, begins a fight for life, for her husband's life and that of her children. Did not Helmer tell her that the very presence of a criminal like Krogstad poisons the children? And is she not a criminal?

Torvald Helmer assures her, in his male conceit, that "early corruption generally comes from the mother's side, but of course the father's influence may act in the same way. And this Krogstad has been poisoning his own children for years past by a life of lies and hypocrisy--that's why I call him morally ruined."

Poor Nora, who cannot understand why a daughter has no right to spare her dying father anxiety, or why a wife has no right to save her husband's life, is surely not aware of the true character of her idol. But gradually the veil is lifted. At first, when in reply to her desperate pleading for Krogstad, her husband discloses the true reason for wanting to get rid of him: "The fact is, he was a college chum of mine--there was one of those rash friendships between us that one so often repents later. I don't mind confessing it--he calls me by my Christian name; and he insists on doing it even when others are present. He delights in putting on airs of familiarity--Torvald here, Torvald there! I assure you it's most painful to me. He would make my position at the bank perfectly unendurable."

And then again when the final blow comes. For forty-eight hours Nora battles for her ideal, never doubting Torvald for a moment. Indeed, so absolutely sure is she of her strong oak, her lord, her god, that she would rather kill herself than have him take the blame for her act. The end comes, and with it the doll's house tumbles down, and Nora discards her doll's dress--she sheds her skin, as it were. Torvald Helmer proves himself a petty Philistine, a bully and a coward, as so many good husbands when they throw off their respectable cloak.

Helmer's rage over Nora's crime subsides the moment the danger of publicity is averted--proving that Helmer, like many a moralist, is not so much incensed at Nora's offense as by the fear of being found out. Not so Nora. Finding out is her salvation. It is then that she realizes how much she has been wronged, that she is only a plaything, a doll to Helmer. In her disillusionment she says, "You have never loved me. You only thought it amusing to be in love with me."

Helmer. Why, Nora, what a thing to say!

Nora. Yes, it is so, Torvald. While I was at home with father he used to tell me all his opinions and I held the same opinions. If I had others I concealed them, because he would not have liked it. He used to call me his doll child, and play with me as I played with my dolls. Then I came to live in your house-- . . . I mean I passed from father's hands into yours. You settled everything according to your taste; and I got the same tastes as you; or I pretended to--I don't know which--both ways perhaps. When I look back on it now, I seem to have been living here like a beggar, from hand to mouth. I lived by performing tricks for you, Torvald. But you would have it so. You and father have done me a great wrong. It's your fault that my life has been wasted. . . .

Helmer. It's exasperating! Can you forsake your holiest duties in this way?

Nora. What do you call my holiest duties?

Helmer. Do you ask me that? Your duties to your husband and children.

Nora. I have other duties equally sacred.

Helmer. Impossible! What duties do you mean?

Nora. My duties toward myself.

Helmer. Before all else you are a wife and a mother.

Nora. That I no longer believe. I think that before all else I am a human being, just as much as you are--or, at least, I will try to become one. I know that most people agree with you, Torvald, and that they say so in books. But henceforth I can't be satisfied with what most people say, and what is in books. I must think things out for myself and try to get clear about them. . . . I had been living here these eight years with a strange man, and had borne him three children--Oh! I can't bear to think of it--I could tear myself to pieces!. . . . I can't spend the night in a strange man's house.

Is there anything more degrading to woman than to live with a stranger, and bear him children? Yet, the lie of the marriage institution decrees that she shall continue to do so, and the social conception of duty insists that for the sake of that lie she need be nothing else than a plaything, a doll, a nonentity.

When Nora closes behind her the door of her doll's house, she opens wide the gate of life for woman, and proclaims the revolutionary message that only perfect freedom and communion make a true bond between man and woman, meeting in the open, without lies, without shame, free from the bondage of duty.

Commedia dell'arte presentations

Today you presented your posters to the class.  You had approximately 20 minutes at the beginning of class to prepare for this portion of the task.

Some of you did very well in picking out the most important information about the characters, while others included more details than needed.  It's good to get a lot of information, but it meant that the poster was less effective--smaller pictures, smaller print....

Here are some tips for the next time you make a presentation: 

1.  Stand up.  Speak loudly and enunciate.  Command our 
     attention!

2.  Hold up the poster so people can see it. 

3.  Know what you are going to say instead of just reading off the
     poster.  If you are nervous and unsure of the information, then
     have a cheat-sheet on the back of the poster!

4.  Use the time you are given to prepare to actually prepare!  With
     20 minutes today on top of last week's time, you shouldn't be
     stumbling over the sentences you and/or your partner put down
     on the paper!

5.  Physically showing the stance of the character and the typical
     facial expression really added to one of the presentations: 
     remember to have fun and add these touches! 

Well, my bus was cancelled....

You and your partner(s) will have the first ten minutes of class to organize yourselves, and then present your posters on Wednesday, February 22.

Commedia dell'arte

This past week our regular classroom was used for grad photos, so we took the opportunity to do some theatre history in computer labs/the library.

On Tuesday, students chose a partner to work with to create a poster of one of the major commedia characters.  Wednesday and Thursday were the two days we had in a computer lab or the library to complete our research and some students were also able to use a library computer on Friday to finish this task. 

Here's a good site to check out for more information:  http://www.theatrefolk.com/spotlights/commedia-dell%E2%80%99arte

ADA 3M – Commedia dell’arte Poster Assignment                                                                                    

1.       With your partner, select one of the Commedia dell’arte characters.

2.      You will create an eye-catching poster that will provide people in the drama room with accurate information about your chosen character.   You will include the following:  

a) costume  b) mask   c) usual props   d) dominant character traits and types of movement    e) typical lazzi (if applicable) 

f) the other names this stock character is known by (if applicable)  ex:  Arlechinno, Harlequin

3.      You will present this poster to the class on Tuesday, February 21. 

Criteria	Level 4	Level 3	Next steps needed  to reach provincial standard
Information on Poster (Knowledge/Understanding)	Detailed accurate well-organized information provided for the audience (viewer) of the poster;  the images and words are attractive and combine well to effectively  conveying the information	Information provided is accurate;  the images and words convey most of the required information
Presentation (Communication)	The presenters are well-prepared and able to answer questions when necessary; the audience can hear and understand everything they say	The presenters are prepared; the audience can hear and understand most of what they say without much effort

Please outline what was done by each group member/partner on the back of this assignment sheet.

Reflection:   (Thinking/Inquiry -  Level 4, 3, 2, 1, R)

1.       What was the most challenging aspect of this assignment?  How did you overcome it?  If there were no challenges for you, explain what it was that made it an easy assignment.

2.       Do you believe that your partner would say that you were a good person to work with?  Why/why not?  Explain what strengths you have when working on this type of assignment.  Explain what weakness you might have when doing this type of assignment and how you could address it in future. 

3.      How might the skills you develop doing this type of assignment benefit you in other situations, for example, the workplace, another class, as a future parent……?

Conflict and Gender...

Make certain that you have completed the worksheet from Friday, February 3rd's class.

The three-person 'conflict' scenes you performed on Monday with the ADA 4M's were excellent.  Today, you focused on developing two-person scenes with a conflict centred on gender-based stereotypes.  We only got to see four scenes before the bell rang--looking forward to seeing the rest tomorrow.

Concepts we were reminded of from sharing our work: 

a) how an object can become a symbol (remote control);

b) how physical proximity can represent the distance between our points of view;

c) how our acting partners can support us in a scene when we forget what we had rehearsed;

d) how to hold for laughs while still maintaining a 'natural' flow of dialogue...


This class will be reading Ibsen's A Doll's House as your introduction to Modern Theatre, hence the focus on gender stereotypes.  You may be surprised at what shocked audiences in 1880!

"How to Succeed in a Drama Class..."

Wow!  The ADA 3M0's and 4M0's put together five wonderful performances illustrating how to succeed in Drama class--this is going to be a fantastic semester! 

You will need a pen or pencil for Friday, February 3rd.  Not a lot of writing, but you will need something to help you hold your thoughts!