SlideShare una empresa de Scribd logo
1 de 16
Descargar para leer sin conexión
Study Guide: a resource for teachers
1

           TABLE     OF   CONTENTS                                        KEY
CHAPTER ONE: ABOUT THE PLAY                                Activity
ESPERANZA, AN INTRODUCTION                       3         or discussion questions to
                                                           incorporate in the classroom
THE SETTING                                      4
LITERARY THEMES                                  5         To go further…
                                                           more challenging information
                                                           for older students
CHAPTER TWO: CULTURE AND LANGUAGE
LEARNING SPANISH!                 6                        Behind the scenes
TRADITIONAL VALUES                7                        anecdotes from members of
                                                           Emerson’s production
MARIACHIS                         9

CHAPTER THREE: IMMIGRATION
CAUSE…                                           11
…AND EFFECT                                     12

CHAPTER FOUR: THE PRODUCTION
THEATER FOR YOUNG AUDIENCES                     13
EMERSON’S ESPERANZA                             14



          ABOUT      THE   AUTHOR
       Born on December 25th, 1951 in
Bakersfield, California, Pam Muñoz Ryan earned
her bachelor’s and master’s degree in education         BOOK SIGNING!
from San Diego State University. A former
bilingual teacher, Muñoz Ryan was encouraged by       Pam Muñoz Ryan will be at
one of her professors to write. Taking the advice,      the Emerson College
Muñoz Ryan found success and published her first       Bookstore located at 114
picture book in 1994.                                      Boylston Street,
       The story of Esperanza Rising came from         Saturday, November 14th
Muñoz Ryan’s grandmother who was an immigrant            from 4:00 – 5:30pm!
from Mexico. Like Esperanza, her grandmother
had to endure the hardships of her father’s death
and prejudice against her Mexican heritage.
2
                                                          PLAYWRIGHT
                                             After graduating college, Lynne Alvarez traveled
                                      to Mexico where she served as a newspaper reporter in
                                      Veracruz. Alvarez also taught journalism and English at
                                      the local university. In 1978, the Puerto Rican Traveling
                                      Theatre invited her to join their playwriting workshop.
                                      With the company she wrote three plays, all exploring
                                      her Latina background. Usually a writer of poetry,
                                      Alvarez’s writing style is dense poetic style with rich,
                                      vivid imagery, and highly stylized language.
                                             Before her recent death in 2009, Alvarez lived in
                                      Dallas, TX and was the playwright in residence at the
                                      Undermain Theatre.

                                                  3 Children’s Theater of Madison
         PREVIOUS PERFORMANCES                           Madison, WI (2008)
                                                  4 Chicago Children’s Theatre
               1 Children’s Theatre Company              Chicago, IL (2008)
                      Minneapolis, MN (2006)      5 Civic Youth Theatre
               2 Brigham Young University Theatre        Lafayette, IN (2008)
                      Provo, UT (2008)            6 The Children’s Bilingual Theater
                                                         Marietta, GA (2009)
                                                  7 Emerson Stage
THE JOURNEY FROM BOOK TO STAGE                           Boston, MA (2009)
 
       To get your students in a “theatre” mindset, encourage them to adapt their mind’s image
of a story to the stage.
       Pick either a book the class is reading together, or let your students use one they are
reading independently. Generate a class discussion or activity using the following:
•What is the most important part (the Climax) of the story?
•Who are your favorite characters? How do you envision them in real life? Think of their walk,
physical and personality characteristics, presence, demeanor, clothing etc.
•Attempt to include Dramatic Structure: Who is the antagonist, the villain, and who is the
protagonist, the main character? Describe their traits using the above.

Options:
•Have the students walk across the room as their chosen character. Discuss what the student
conveys in their movement.
•Create a drawing of their chosen character, or an event in the story.
3    Chapter 1: About the Play




PLOT SYNOPSIS
                                                                       THE CHARACTERS
       Esperanza Rising is the story of a
wealthy Mexican girl whose privileged       Esperanza Wealthy rancher’s daughter
existence is shattered when her father      Hortensia Maid of Don Sixto’s family
dies and her family loses everything        4 Mariachis Musicians
they own in a fire. Esperanza is forced     Don Sixto Esperanza’s father, a landowner
to leave her mother behind and flee to      Ramona      Esperanza’s mother, Sixto’s wife
California with the family maid and         Marielena Esperanza’s best friend
her son. Forced to work in a migrant        Miguel      Hortensia’s son, ranch hand
labor camp, Esperanza must learn to         Luis        Sixto’s brother, town mayor, bank owner
rise above her difficult circumstances      Isabel      Miguel’s cousin, 8 years old
and discover what she's truly made of.      Modesta Isabel’s mother, Hortensia’s sister-in-law
Set in the turbulent 1930's, and based      Alfonso     Modesta’s husband, Hortensia’s brother
on the popular book by Pam Muñoz            Marta       Modesta’s niece
Ryan, Esperanza Rising is a poetic tale
of a young girl's triumph over
adversity.

                                                          SPANISH MEANING
                                                          Esperanza: "Hope"
                                                          Ramona: "Protector"
                                                          Luis: (from Louis) "Warrior in Battle"
                                                          Hortensia: "Gardener"
                                                          Miguel: "He who is like God"
                                                          Alfonso: "Eager, noble"
                                                          Modesta: "Shy, modest"
                                                          Isabel: "Consecrated to God"
                                                          Marta: (from Martha) "Lady"
Chapter 1: About the Play      4




                                                           THE VINEYARD
                                        Aguascalientes, Mexico
                                             El Rancho Linda Flor, Esperanza’s home
                                                                growing up is located in
                                                                the center of the country.
                                                                Aguascalientes climate is
                                                                consistently warm,
                                                                averaging 66F. It’s also
                                                                usually dry, with the
                                                                exception of summer
                                                                rains. All types of terrain
                                                                are in the region,
                                                                including mountains,
                                                                valleys, plains, and rivers.




ACROSS     THE   BORDER: SOUTHERN CALIFORNIA
Arvin, California
      The migrant camp, where Hortensia’s family lives is located
north of Los Angeles. Arvin has a brutal climate; hot during the
                            summer, with temperatures in the
                            80's, and cold during the winter with
                            temperatures in the 40's! Temperature variations
                            between night and day also create uncomfortable
                            conditions. Landlocked, with no rivers running
                            through, Arvin is a flat plain with little rainfall; average
                            precipitation is just 12 inches.
5     Chapter 1: About the Play




                                                               DRAMATIC STRUCTURE
            RED ROSES
                                           • Protagonist: Esperanza is the protagonist of the
       Red roses are a major symbol        story. She must rise above her father’s death, the
in Esperanza Rising, representing          burning of their home, the absence of her mother, and
growth, uprooting and rebirth. In          endure poverty in order to find freedom.
history, the red rose is most
                                           • Antagonist: Tio Luis is the antagonist of the story.
commonly recognized as the symbol
for love. This symbol stems from           Esperanza and her mother must flee to the United
Greek and Roman mythology, in              States to escape his hold. He makes it difficult for
which the red rose was closely tied        Ramona to meet Esperanza in California.
to the goddess of love.                    • Conflict: Esperanza must learn to adapt to a new life
                                           as a poor migrant in California, after her father is
                                           murdered and house is burned down. She needs to
                   MIGRATION               raise money by working at the camps, without being
                                           caught, in order to bring her mother from Mexico.
           Emerson cast member             • Climax: Occurs when Miguel brings Ramona to
    Fernanda Vazquez is a Mexican          California at the end of the play.
    native. Below she elaborates on        • Denouement: The resolution occurs in the final
    her heritage and culture:              scene; when Esperanza and Ramona replant the roses
            “My dad’s job kept us          Miguel had brought from their home in Mexico.
    moving for five years, and in that
    time we lived in three different
    countries. To be honest, it was              WHAT       WOULD YOU BRING?
    really hard at first. Letting go of
    your roots is never easy; you feel           Esperanza flees to California to escape her uncle:
    like your identity is being shaken.   •If you had to pack up and leave at a moment’s notice,
    Ultimately you learn to adapt, but    what would you bring? Discuss the meaning of this
    you change a lot. You learn to        object and what it expresses about you.
    integrate bits of the new culture
    with the old one, and you end up             Fernanda has lived in several different cultures:
    being a weird mix, but quite           •If you were traveling to a foreign land, what object
    unique.”                              would you bring to represent, and more importantly
                                          explain, the culture of the United States?
Chapter 2: Culture and Language             6




                                                                                      SPANGLISH

        In groups of four to six, invite each student to randomly choose (from a hat, perhaps?)
 a vocabulary word, or phrase, from the list. Have each group create a story using the words
 selected. Emphasize dramatic structure, and how each story should include a beginning,
 middle, and end.

 Options:
 •Attempt a scene in “spanglish.” Encourage your students to use as much Spanish as possible.
 •Have the group write a formal script in class and perform it.
 •Give them a few minutes to create an outline and then improvise their performance.
 •Every member of the group must say a line with one of words chosen.
       It can be the word they picked, or any the group picked- you choose!


                                                                           FUN PHRASES!
             VOCABULARY                             Arriba y adelante
                                                          Up and ahead
muñequita    doll         cobarde        coward                              Viva México
mi amor      my love      ojalá          I hope     Y tú, qué palillo               Long live Mexico
mi reina     my queen     buitre         vulture           And you’re a toothpick
                                                    .
tío          uncle        escalera       stair      Chiquitita bonita        Qué latosa es Usted
muchacho     boy          cállate        be quiet                                   You’re so noisy
                                                           Pretty little one
pistolero    gunman       paquetes       packages                            Todos a divertirse
                                                    Feliz Cumpleaños                Have a good time
bestia       beast        correo         mail
                                                           Happy Birthday
                                                                             Híjole. Qué montón de gente
                                                                                    Geez. A bunch of people
                  A STUDENT, TEACHER                     Juega el pollo pelón
                                                                Play the bald chicken
     Fernanda Vazquez was a big help by teaching her native language to fellow cast
 members.
        “I generally don’t like correcting people when they are trying really hard to get something right.
 I didn’t feel like a teacher, I felt more like I was someone they could consult when in doubt. My peers
 and I would just go over the words that they have to say, and we would say them over and over again.
 Some of them need to write it phonetically, others learn better by memory.”
7    Chapter 2: Culture and Language

                                                                                       FAMILY
                                                                              In the 1930s and
                                                                        today a lot of importance
                                                                        in Mexican culture is
                                                                        placed on family. Both
                                                                        immediate and extended
                                                                        members define family
                                                                        in Mexico.
MEN                                                   WOMEN
                                                                     Women usually stray little
          Men have the role of protecting their                from the family unit. They are
    family and keeping them financially stable.                responsible for raising the children,
    They are the ones to have friends outside                  and running the household.
    the family and deal with the struggles of the
    outside world.

                                    IMMIGRANTS
      Abigail Vega, the actress playing Ramona in Emerson’s
production, shared her family photographs, taken in 1917.
       The man below is Abigail’s great-grandfather, Siprian
Villareal Benavidas. Born in 1885 on a ranch, he worked there,
much like the campesinos in the play. His last name he would
have passed down in Mexico is actually Villareal, but in the
United States his records indicated that his last name was
Benavidas, Abigail’s grandmother's maiden name.

                                               The woman above is Abigail’s great-grandmother,
                                      Josefina Salinas Rodriguez, and the baby in the photo is her
                                      grandmother, Esperanza Benavidas.
                                               Abigail’s grandmother was born in 1915, which
                                      would have made her 14 in 1929, just 2 years older than our
                                      Esperanza. She was born in the U.S. and grew up along the
                                      border of Texas and Mexico. In this area, almost no one
                                      spoke English, and there was very little connection to
                                      American culture at all. It wasn't until the 1930s that the
                                      U.S. government began paying attention to what was
                                      happening in that Texas area and started implementing laws
                                      regarding English in the schools. For example, Abigail’s
                                      grandmother would have graduated high school (if she did
                                      at all) in 1933, and yet she never spoke a word of English!
Chapter 2: Culture and Language         8




                                                                               THE FLAG
                                                         The colors in Mexico’s flag represent:
                                                                 • Green: the Independence
                                                                 Movement
                                                                 • White: purity of the
                                                                 Catholic Faith
                                                                 • Red: tribute to the
                                                                 Spaniards who fought for
                                                                 Independence


                                                                         THE EMBLEM
                                                                      According to legend,
                                                                the gods advised the Aztecs
                                                                to establish their city at the
                                          place where they saw an eagle, perched on a prickly
                                          pear tree, devouring a serpent. They saw this
        To get the students started,      mythical eagle on a marshy lake that is now the
have them focus on the idea of            Zócaloor main plaza in Mexico City.
creating a country:
        What is important?
• principles                                              THE ISLAND
• lifestyle
• level of community                           Separate the class into groups of four to five,
• terrain                               to create their “island.”
• industry/ economy                     • Have each group create a flag on an 8.5x11in, or
• religion                              larger, piece of paper, representing life on their
• opinion of the other islands          “island.”
• and ask your students to list more!   • On a separate sheet of paper, write what each part
                                        (color, symbol, picture) represents in the flag.
9 Chapter 2: Culture and Language




CLOTHING
       In the 1930s, all Mariachis wore an                     ORIGIN       OF THE      NAME
adapted traje de charro, directly translated to
a cowboy costume. The outfit traditionally                           Coming from Mexico, the
included a waist-length jacket and tight                       word Mariachi is named after the
wool pants. Both were usually decoratively                     wood used to build the village
embroidered and fashioned with silver                          performer’s stage.  
buttons or cut leather designs. The pants
had a slight slit at the ankle, to fit over a                                     LISTEN!
short riding boot.
                                                                      Here are some websites
                   THE TRADITION                               that play great Mariachi music for
                                                               you and your class to listen to:
       Mariachi music commonly deals                           www.mariachimusic.com
with the themes of betrayal, lost love and
                                                               www.last.fm/tag/Mariachi
vengeance; however, the music itself is
characterized by a rhythmical flow of                            Roxanne, Emerson’s Director,
sounds involving Spanish language and                      found Hector while he was playing
heritage.                                                  with a local mariachi. You can read
                                                           and hear more about Hector at:
                                                                 www.martinezmorales.com

      THE TIME         OF    YOUR LIFE

          The roots of Mariachi music are planted in nostalgia from rural life, a time of honor,
  tradition, modernization, and peace. Music has always been a form of expression:
  •Using any creative form (drawing, a poem, lyrics, movement, etc.) have your students
  creatively express their “roots.”
  •After, in small groups of three to four, have them share their creations. Ask the students to
  explain the connection between the art form and their roots.
  •To wrap up, try an open discussion guided by the students. Encourage them to point out
  details they noticed or liked about a group member’s, and/or their own, creation.
Chapter 2: Culture and Language           10




THE MARIACHIS
          The four Mariachis in Esperanza Rising are all well-versed
    musicians with a passion for music. Here is a little bit more
            about the musicians, and the instruments they play:          DISCUSSION
                                                                         QUESTIONS
               Accordion- Musical Theatre BFA Junior Nathan
               Chang from Nashville NC has been playing the                      Try this as a
               clarinet for eight years and started learning the piano   class, or a group,
    just a year ago. Nathan will have been playing the accordion         activity:
    for just six weeks at the show’s opening; however, he mastered
    the instrument in about two weeks to prepare for rehearsals.         • What kind of
                                                                         music do you listen
          Violin- Musical Theatre BFA Junior Nick Lee from               to? Pick one artist
          Kansas had no experience with the Spanish language             or song that
          prior to Esperanza Rising. He approached learning the          everyone in the
          lyrics by concentrating on singing sounds and was              group likes (or can
    coached by Fernanda Vazquez. But Nick’s violin skills needed         at least settle on.)
    no instruction; he has been playing for nine years.                  • Why is that song
                                                                         likeable? Is it the
     Vihuela- An instrument similar to a guitar, the vihuela has         lyrics, melody,
     five strings and is played with the musician’s fingernails. Dru     rhythm, etc?
     Serkes is a Musical Theatre BFA Junior from Connecticut.
     Like Nathan, learned the instrument for the show. Dru’s             • Why do you
     musical training includes a year of bass guitar, five years of      think people listen
     drums, and another five years on the guitar. His guitar             to music?
     experience helped him adapt to the vihuela he plays in              • What do you
    Esperanza Rising.                                                    think would
                                                                         happen if music
    Guitar- The show’s Musical Director, Héctor Martínez                 didn’t exist in the
    Morales, has been playing the guitar since he was 13 years old.      world?
    Currently, Morales teaches music full time in Cambridge and
    also freelances as a composer and performer. Formally trained
    in classical music composition, guitar, and piano performance,
    this is only his second show as the Musical Director.
Chapter 3: Immigration
                                                         THE MEXICAN REVOLUTION
11
                                                                The long, bloody, and chaotic war
                                                         began with Porfirio Díaz, the ruler of
                                                         Mexico since 1876. In 1908, he declared
                                                         that Mexico was ready for democracy, and
                                                         accordingly, he would not seek another
                                                         presidential term. Díaz’s withdrawal
                                                         resulted in several detrimental events:
                   THE BEGINNING                    •Francisco Madero led the uprising that
1910 - 1929                                         started the war.
       Includes the years that Esperanza lived with • Mexico’s population suffered a decline
her family in Aguascalientes, Mexico. During that of 360,000 people.
time, a large number of Mexicans left their country • A major drop occurred in the country’s
to seek opportunities in the United States.         agricultural output.
• U.S. Population: 106,521,537                      • Black markets flourished in cities,
• 2,132,000 unemployed, unemployment 5.2%           funding and perpetuating corrupt
                                                    organizations.
• Average annual earnings $1,236
                                                    • Almost all banking and credit systems
                                                    within Mexico disappeared.
                                       “NEXT!”
        Feel free to photocopy the card (right,) or simply write a similar format on the board,
 for each student in your class to fill out individually.
 • Stress the significance held in this little piece of paper by exploring the thoughts of
 immigrants. Discuss the projected image of the United States as the ideal country and life.
 Have students articulate the good and bad of life in the U.S.


                                                     United States of America
        • This exercise is a                          Immigrant Validation Form
 perfect opportunity for           Name:                            Gender:
 drama in the classroom.           DOB:                             Place of Birth:
 Your students are                 Postal Address:                  Ethnicity:
 immigrants from Mexico                                             Marital Status:
 in the 1930s. The teacher         …………………………………………………...………...………………………………………...
 can play the Immigration          Height:                          Weight:
 Officer creating and
                                   Eye color:                       Hair color:
 playing out different             …………………………………………………...…………………………………………………...
 scenarios that immigrants         Employment Details:              Medical History:
 may have encountered at
 the border.
                                   …………………………………………………...…………………………………………………...
                                   Official use only:

                                    
Chapter 3: Immigration      12
       THE MEXICAN BORDER
     Luis Alberto Urrea, author of Across
the Wire: life and hard times on the
Mexican border, recounts his vivid memory:
         “We met the many ambassadors of poverty:
lice, scabies, tapeworm, pinworm, ring worm, fleas,
and crab lice. We met diphtheria, meningitis,
typhoid, polio, turista, tuberculosis, hepatitis, VD,                          WORKING LIFE
impetigo, measles, chronic hernia, malaria, and                When Esperanza, Hortensia, and
whooping cough. We met madness and demon                Miguel fled to California for work and a
possession.”                                            better life, they met the economic hardships
                   U.S. RESPONSE                        of the Great Depression. Considering the fact
1930 – 1934                                             that immigrants were known as “cheap
       During the time that Esperanza, Miguel,          labor,” they faced the fear of not being paid
and Hortensia were living and working at the            enough to support their families or of being
camps in California, the U.S. deported more             replaced by another person who would work
than four hundred thousand Mexicans.                    for less.
• U.S. Population: 123,188,000                                 Consistently classified as “unskilled”
• Unemployment rises to 25%                             workers, Mexicans were only considered for
• Average annual earnings: $1,368                       labor-intensive jobs, and were thought of by
                                                        employers as expendable. Strikes were
                                                        prevalent in the struggle for better working
    IMMIGRATION TODAY                                   conditions and often turned violent.
     Michelle Macedo, another Emerson cast member, has a personal experience with
immigration; her father is a U.S. immigrant from India.
        “The youngest in his family, my father is from Goa, India, previously a Portuguese colony before
India gained its independence after WWII. Affected by the colonization, the state of Goa still recognizes
three languages- Hindi, a native dialect, and Portuguese. Religion in the state was also influenced; my
father is a Catholic, although most people assume he is Hindu, solely because he is from India. Moving to
the United States for graduate school, my father was the first in his family to move out of India and the
first not to have an arranged marriage.
        My first language was Hindi, but I forgot it pretty quickly because I did not keep up practice. I
have been going to India almost every Christmas, and it is still strange. Strangers think that I am a
westerner who is unaware of the Indian culture, even though all of my family is Indian.
        Esperanza Rising makes me feel very appreciative of diversity in America and how many people
have different backgrounds. I currently live in California, and travel to Mexico often to embrace and
explore the culture. My traveling and heritage has made me develop an immense respect for immigrants.”
Chapter 4: The Production        13




                      NOTES       FROM THE        DIRECTOR
Dear Teachers,
       Like you, I am a teacher. I know the long hours
you put into your work and the great energy it takes to
touch lives like you do. In these times, I also realize that
it is harder than ever to foster opportunities for your
students…busses, permission forms, scheduling, etc.
Therefore, I would like to thank you deeply for bringing
your students to see our production of Esperanza Rising!
Many of you, I am sure, have read this book several
times with multiple groups of young people. I am sure
that more than a few of you consider it one of your
favorites. I understand! Pam Muñoz Ryan has written a
piece rich with poetry, emotion and symbolism. I like to
think that Esperanza Rising helps young people to think
about change, growth, and what gives every one of us
hope in our lives. You will find that Lynn Alvarez’s
dramatic adaptation is quite different from the book.
However, my awareness and appreciation of the book
                                                                              TYA?
influenced my vision of the play and was part of the
                                                                       Representing the United
evolution of the production process. We hope that you
                                                               States in the International Association
will enjoy the production alongside of your students, and
                                                               of Theater for Children and Young People,
that you and your students will leave the theatre thinking
                                                               Theatre for Young Audiences/USA
about migration, oppression and hope! We further hope
                                                               (TYA/USA) is a national service
that the production will serve as a catalyst for dialogue in
                                                               organization promoting theater for
your classrooms. We will be eager to hear from you and
                                                               children and young adults by:
your students, so let us know what you and your students
                                                               • Improving the reputation, and
thought!
                                                               visibility, of theater among young
                                                               audiences
Sinceramente,
                                                               • Connecting professional managing
Roxanne Schroeder-Arce
                                                               and artistic directors, artists, arts
R_Schroeder_Arce@emerson.edu
                                                               agencies, and theaters to encourage
Director
                                                               quality theater for young people.
14   Chapter 4: The Production




 THE CAST
   Peter Andersen     Ensemble 
    Chris Brindley    Agent/Ensemble
  Olivia Brownlee     Okie Mother
       Noel Carey     Okie Father
    Nathan Chang      Mariachi
     Vinny Cueva      Luis
    Alyssa Gomez      Isabel/Ensemble
  Victoria Gomez      Hortensia
Adrian Hernandez      Don Sixto
         Sara Holt    Modesta/Ensemble
    Chelsey Lebel     Esperanza
         Nick Lee     Mariachi
 Michelle Macedo      Servant Girl/Ensemble
   Vanessa Moyen      Ensemble
    Jessica Naimy     Marielena/Ensemble
    Chris Nicolosi    Okie Boy
       Nora Reilly    Worker/Ensemble         Esperanza Rising stage manager, Helen
   Miguel Septién     Miguel                  Bennett with a mariachi at a company
       Dru Serkes     Mariachi                outing early this October!
 Kameron Tarlow       Alfonso/Ensemble
  Hannah Tehrani      Worker/Ensemble
Fernanda Vazquez      Worker/Ensemble
     Abigail Vega     Ramona
        Jill Waters   Marta/Ensemble                                  PRODUCTION STAFF
         ARTISTIC STAFF                                 Stage Manager Helen Bennett
                                             Assistant Stage Manager Steven Kaplan
          Director Roxanne Schroeder-Arce     2nd Asst. Stage Manager Lindsay Eberly
   Music Director Héctor Martínez Morales     2nd Asst. Stage Manager Kevin Dwyer
  Scenic Designer Crystal Tiala                 Production Supervisor Rachel Enright
Costume Designer Rafael Jean                    Production Carpenter Catrin Evans
Lighting Designer Tracy Werheimer                  Master Electrician Brian Choinski
  Sound Designer Brendon Doyle            Production Sound Engineer Erik Skovgaard
     Props Master Michele Teevan                          Scenic Artist Helen McCarthy
Assistant Director Chris Brindley            Study Guide Coordinator Courtney Wrenn
      Dramaturgs Cheyenne Postell
                   Justine Spingler
 

                                     SOURCES
                                                                           Chapter 2 con.
    Table of Contents                                                      Origin of the Name information
    Pam Munoz Ryan picture and information:                                         Gonzalez, Silvia. Mexico, The Meeting of Two
            Scholastic Inc. Pam Munoz Ryan. July 2009                               Cultures. New York: Higgins and Associates, 1991.
            <http://www.pammunozryan.com/>.                                Other mariachi information
            —. Pam Munz Ryan. August 2009                                           Shorris, Earl. The Life and Times of Mexico. New
            <http://teacher.scholastic.com/authorsandbooks/events/                  York: W. W. Norton & Co., 2006.
            ryan/>.                                                        Chapter 3
    Lynne Alvarez information:                                             The Mexican Revolution information
            Peterson, Jane T. and Suzanne Bennett. Women                            Joseph, Gilbert M. and Timothy J. Henderson. The
            playwrights of diversity: a bio-bibliographical sourcebook.             Mexico Reader: History, Culture, Politics. Durham:
            Santa Barbara: Greenwood Press, 1997. Peterson and                      Duke University Press, 2003.
            Bennett                                                        1910-1929, 1930-1934 information:
                                                                                    Whitley, Peggy. American Cultural History. August
    Chapter 1                                                                       2009<http://kclibrary.lonestar.edu/decade20.html>.
    The Vineyard information                                               Chapter 4
             Advameg Inc. Aguascalientes. September 2009                   TYA information:
             <http://www.nationsencyclopedia.com/mexico/Aguascali          ASSITEJ International. Theatre for Young Audiences.
             entes-M-xico/Aguascalientes.html>.                            September 2009 <http://www.assitej-usa.org/>.  
    Southern California information
             Wikimedia Foundation Inc. Arvin, California. September
             2009 <http://en.wikipedia.org/wiki/Arvin,_California>.                   EMERSON STAGE
    Red roses information:
             Types of Flowers. Meaning and Symbolism of Red Rose
             Flower. September 2009
                                                                                     PRODUCTION STAFF
             <http://www.typesoflowersguide.com/flowername/427/
             meaning_of_rose_red_flower.html>.                               Producing Director           Benny Sato Ambush
    Chapter 2
    Family, Women, Men information                                             General Manager            Julie Hennrikus
             Gordon, Milton M., ed. Mexican Americans. Englewood          Director of Production          Bonnie Baggesen
             Cliffs: Prentice Hall, 1970.
    The Flag, Emblem information
                                                                           Production Manager             Deb Acquavella
             Inside Mexico. Inside Mexico. September 2009                    Technical Director           Keith Cornelius
             <http://www.inside-mexico.com/flag.htm>.                      Technical Supervisor           Caroline Mulcahy

          EMERSON COLLEGE
                                                                                  • The Master of Arts degree in
     THEATRE EDUCATION PROGRAM                                             Theatre Education is for students who wish
                                                                           to pursue careers and opportunities that lie at
           • The Bachelor of Arts degree in                                the intersection of theatre and education. As
    Theatre Education involves the use of theatre                          such, this program provides professional
    in a variety of educative settings, in addition                        training in both theatre and education, and in
    to formal K-12 teaching. Some students will                            the uses of theatre and drama as vehicles of
    choose to pursue certification for K-12                                education in a multitude of settings.
    Teachers of Drama; all use the program to                                      The graduate program is designed
    develop interests and expertise in a wide                              with a central core of courses; within the
    range of theatre areas. Students in Theatre                            central core, there are three course streams,
    Education often do two full years of acting                            Theatre Teacher, Education Theatre, and
    work at Emerson, and with the permission of                            Community, Theatre Education. With
    the Acting faculty, can do up to two                                   additional work in areas of special interest to
    additional semesters of work. Students                                 students, Emerson’s program supports a
    seeking licensure must also complete the                               broad range for individuals to meet their
    Educator Licensure requirements.                                       career goals.

Más contenido relacionado

La actualidad más candente

Run on sentences-ppt
Run on sentences-pptRun on sentences-ppt
Run on sentences-pptaelowans
 
Rules of Comma Usage
Rules of Comma UsageRules of Comma Usage
Rules of Comma Usagemissmaryah
 
Introduction to Commas, Part 1
Introduction to Commas, Part 1Introduction to Commas, Part 1
Introduction to Commas, Part 1Kathleen Funk
 
Independent and Dependent Clauses
Independent and Dependent ClausesIndependent and Dependent Clauses
Independent and Dependent Clauseswtwilliams
 
Step up to writing for kids
Step up to writing for kidsStep up to writing for kids
Step up to writing for kidsSonya ter Borg
 
Sentence Fragments And Run Ons
Sentence Fragments And Run OnsSentence Fragments And Run Ons
Sentence Fragments And Run Onsschmeggo
 
Point of View
Point of ViewPoint of View
Point of Viewtfinger
 
CONJUNCTIONS.pptx
CONJUNCTIONS.pptxCONJUNCTIONS.pptx
CONJUNCTIONS.pptxAppleCaete1
 
Main Idea Writing Rubric
Main Idea Writing RubricMain Idea Writing Rubric
Main Idea Writing RubricMeghanWilson19
 
Figurative language power point
Figurative language power pointFigurative language power point
Figurative language power pointkrochalek
 
Power point jeopardy game reviewing literary terms
Power point jeopardy game reviewing literary termsPower point jeopardy game reviewing literary terms
Power point jeopardy game reviewing literary termsMBrantley
 
Summarizing ppoint
Summarizing ppointSummarizing ppoint
Summarizing ppointSusan Isbell
 
Complex and Compound-Complex Sentences
Complex and Compound-Complex SentencesComplex and Compound-Complex Sentences
Complex and Compound-Complex SentencesDavid Wills
 

La actualidad más candente (20)

Run on sentences-ppt
Run on sentences-pptRun on sentences-ppt
Run on sentences-ppt
 
Rules of Comma Usage
Rules of Comma UsageRules of Comma Usage
Rules of Comma Usage
 
Introduction to Commas, Part 1
Introduction to Commas, Part 1Introduction to Commas, Part 1
Introduction to Commas, Part 1
 
Independent and Dependent Clauses
Independent and Dependent ClausesIndependent and Dependent Clauses
Independent and Dependent Clauses
 
Step up to writing for kids
Step up to writing for kidsStep up to writing for kids
Step up to writing for kids
 
Sentence Fragments And Run Ons
Sentence Fragments And Run OnsSentence Fragments And Run Ons
Sentence Fragments And Run Ons
 
Conjunctions
ConjunctionsConjunctions
Conjunctions
 
Apostrophe
ApostropheApostrophe
Apostrophe
 
Point of View
Point of ViewPoint of View
Point of View
 
CONJUNCTIONS.pptx
CONJUNCTIONS.pptxCONJUNCTIONS.pptx
CONJUNCTIONS.pptx
 
Main Idea Writing Rubric
Main Idea Writing RubricMain Idea Writing Rubric
Main Idea Writing Rubric
 
Sentence vs-fragment
Sentence vs-fragmentSentence vs-fragment
Sentence vs-fragment
 
Figurative language power point
Figurative language power pointFigurative language power point
Figurative language power point
 
Point of View
Point of ViewPoint of View
Point of View
 
Adding fractions
Adding fractionsAdding fractions
Adding fractions
 
Plot elements
Plot elementsPlot elements
Plot elements
 
Power point jeopardy game reviewing literary terms
Power point jeopardy game reviewing literary termsPower point jeopardy game reviewing literary terms
Power point jeopardy game reviewing literary terms
 
Summarizing ppoint
Summarizing ppointSummarizing ppoint
Summarizing ppoint
 
Grammar: Semi colon
Grammar: Semi colonGrammar: Semi colon
Grammar: Semi colon
 
Complex and Compound-Complex Sentences
Complex and Compound-Complex SentencesComplex and Compound-Complex Sentences
Complex and Compound-Complex Sentences
 

Destacado

Esperanza Renace - Megan Sherburne SPA 052
Esperanza Renace - Megan Sherburne SPA 052Esperanza Renace - Megan Sherburne SPA 052
Esperanza Renace - Megan Sherburne SPA 052megsher193
 
Esperanza Rising Photo Project
Esperanza Rising Photo ProjectEsperanza Rising Photo Project
Esperanza Rising Photo ProjectFrogy1360
 
Esperanza Rising
Esperanza RisingEsperanza Rising
Esperanza Risinghbroadway
 
Esperanza Rising Voice Thread Class Activity
Esperanza Rising Voice Thread Class ActivityEsperanza Rising Voice Thread Class Activity
Esperanza Rising Voice Thread Class Activitygjducamp
 
Because of Winn-Dixie Vocabulary
Because of Winn-Dixie VocabularyBecause of Winn-Dixie Vocabulary
Because of Winn-Dixie VocabularyOrrHeron7
 
Chronicles of Narnia
Chronicles of NarniaChronicles of Narnia
Chronicles of Narniajustkuk
 
Jerry spinelli ppt
Jerry spinelli pptJerry spinelli ppt
Jerry spinelli pptjenna948
 
The Lion, the Witch and the Wardrobe
The Lion, the Witch and the WardrobeThe Lion, the Witch and the Wardrobe
The Lion, the Witch and the WardrobeJane Tabone
 
The Lion, The Witch & The Wardrobe(p. 9-52)
The Lion, The Witch & The Wardrobe(p. 9-52)The Lion, The Witch & The Wardrobe(p. 9-52)
The Lion, The Witch & The Wardrobe(p. 9-52)Cindy Shen
 
Los Tres Cerditos
Los Tres   CerditosLos Tres   Cerditos
Los Tres Cerditoscprgraus
 
Quería volar como una mariposa (parte 3)
Quería volar como una mariposa (parte 3)Quería volar como una mariposa (parte 3)
Quería volar como una mariposa (parte 3)Lola Garcia
 
Cuadernillo de actividades
Cuadernillo de actividadesCuadernillo de actividades
Cuadernillo de actividadesYani31
 
2. maria y lucia la zorra y el sapo
2. maria y lucia la zorra y el sapo2. maria y lucia la zorra y el sapo
2. maria y lucia la zorra y el sapoadolfogcasanova
 

Destacado (20)

Esperanza Rising
Esperanza RisingEsperanza Rising
Esperanza Rising
 
Esperanza Renace - Megan Sherburne SPA 052
Esperanza Renace - Megan Sherburne SPA 052Esperanza Renace - Megan Sherburne SPA 052
Esperanza Renace - Megan Sherburne SPA 052
 
Esperanza Rising Photo Project
Esperanza Rising Photo ProjectEsperanza Rising Photo Project
Esperanza Rising Photo Project
 
Esperanza Rising
Esperanza RisingEsperanza Rising
Esperanza Rising
 
2ppt
2ppt2ppt
2ppt
 
Esperanza Rising Voice Thread Class Activity
Esperanza Rising Voice Thread Class ActivityEsperanza Rising Voice Thread Class Activity
Esperanza Rising Voice Thread Class Activity
 
Because of Winn-Dixie Vocabulary
Because of Winn-Dixie VocabularyBecause of Winn-Dixie Vocabulary
Because of Winn-Dixie Vocabulary
 
Mariachi 1
Mariachi 1Mariachi 1
Mariachi 1
 
Mariachi facts
Mariachi factsMariachi facts
Mariachi facts
 
Chronicles of Narnia
Chronicles of NarniaChronicles of Narnia
Chronicles of Narnia
 
Chronicles of narnia
Chronicles of narniaChronicles of narnia
Chronicles of narnia
 
Jerry spinelli ppt
Jerry spinelli pptJerry spinelli ppt
Jerry spinelli ppt
 
The Lion, the Witch and the Wardrobe
The Lion, the Witch and the WardrobeThe Lion, the Witch and the Wardrobe
The Lion, the Witch and the Wardrobe
 
The Lion, The Witch & The Wardrobe(p. 9-52)
The Lion, The Witch & The Wardrobe(p. 9-52)The Lion, The Witch & The Wardrobe(p. 9-52)
The Lion, The Witch & The Wardrobe(p. 9-52)
 
Charlotte's web
Charlotte's webCharlotte's web
Charlotte's web
 
Los Tres Cerditos
Los Tres   CerditosLos Tres   Cerditos
Los Tres Cerditos
 
El Inmundo
El InmundoEl Inmundo
El Inmundo
 
Quería volar como una mariposa (parte 3)
Quería volar como una mariposa (parte 3)Quería volar como una mariposa (parte 3)
Quería volar como una mariposa (parte 3)
 
Cuadernillo de actividades
Cuadernillo de actividadesCuadernillo de actividades
Cuadernillo de actividades
 
2. maria y lucia la zorra y el sapo
2. maria y lucia la zorra y el sapo2. maria y lucia la zorra y el sapo
2. maria y lucia la zorra y el sapo
 

Similar a Esperanza Rising

Fairy Oak: A dazzling world of fantasy and adventure.
Fairy Oak: A dazzling world of fantasy and adventure.Fairy Oak: A dazzling world of fantasy and adventure.
Fairy Oak: A dazzling world of fantasy and adventure.Alberto Crippa
 
Isabel allende
Isabel allendeIsabel allende
Isabel allendeAmanda Kay
 
The House on Mango Street
The House on Mango StreetThe House on Mango Street
The House on Mango StreetKevin O'Brien
 
The place of literature in child's life
The place of literature in child's lifeThe place of literature in child's life
The place of literature in child's lifeyllaine purino
 
Lesson 2 (Representative Texts and Authors from each Regions).pptx
Lesson 2 (Representative Texts and Authors from each Regions).pptxLesson 2 (Representative Texts and Authors from each Regions).pptx
Lesson 2 (Representative Texts and Authors from each Regions).pptxOtenciano
 
NICK-JOAQUIN-GROUP-6-21ST-CENTURY.pptx
NICK-JOAQUIN-GROUP-6-21ST-CENTURY.pptxNICK-JOAQUIN-GROUP-6-21ST-CENTURY.pptx
NICK-JOAQUIN-GROUP-6-21ST-CENTURY.pptxMnMVlog
 
Region 1 Philippine Literature
Region 1 Philippine LiteratureRegion 1 Philippine Literature
Region 1 Philippine LiteratureJade de Guzman
 
REVOLUTION AND AMERICAN PERIOD.pptx
REVOLUTION AND AMERICAN PERIOD.pptxREVOLUTION AND AMERICAN PERIOD.pptx
REVOLUTION AND AMERICAN PERIOD.pptxgladysmaaarquezramos
 
CHAPTER-1-8.pptx
CHAPTER-1-8.pptxCHAPTER-1-8.pptx
CHAPTER-1-8.pptxrubycubiona
 
Cristina Pantoja Hidalgo www.mannrentoy.com
Cristina Pantoja Hidalgo www.mannrentoy.comCristina Pantoja Hidalgo www.mannrentoy.com
Cristina Pantoja Hidalgo www.mannrentoy.comMann Rentoy
 
Fables folktales and fairytales
Fables folktales and fairytalesFables folktales and fairytales
Fables folktales and fairytalesNelly Zafeiriades
 
Author presentation
Author presentationAuthor presentation
Author presentationSara Holley
 

Similar a Esperanza Rising (20)

Esperanza Rising
Esperanza RisingEsperanza Rising
Esperanza Rising
 
Examples Of Foreshadowing In Esperanza Rising
Examples Of Foreshadowing In Esperanza RisingExamples Of Foreshadowing In Esperanza Rising
Examples Of Foreshadowing In Esperanza Rising
 
Esperanza Rising Summary
Esperanza Rising SummaryEsperanza Rising Summary
Esperanza Rising Summary
 
Fairy Oak: A dazzling world of fantasy and adventure.
Fairy Oak: A dazzling world of fantasy and adventure.Fairy Oak: A dazzling world of fantasy and adventure.
Fairy Oak: A dazzling world of fantasy and adventure.
 
Esperanza Rising Quotes
Esperanza Rising QuotesEsperanza Rising Quotes
Esperanza Rising Quotes
 
Isabel allende
Isabel allendeIsabel allende
Isabel allende
 
The House on Mango Street
The House on Mango StreetThe House on Mango Street
The House on Mango Street
 
The place of literature in child's life
The place of literature in child's lifeThe place of literature in child's life
The place of literature in child's life
 
Lyn
LynLyn
Lyn
 
Lesson 2 (Representative Texts and Authors from each Regions).pptx
Lesson 2 (Representative Texts and Authors from each Regions).pptxLesson 2 (Representative Texts and Authors from each Regions).pptx
Lesson 2 (Representative Texts and Authors from each Regions).pptx
 
9 notable names
9 notable names9 notable names
9 notable names
 
Esperanza Rising Essay
Esperanza Rising EssayEsperanza Rising Essay
Esperanza Rising Essay
 
NICK-JOAQUIN-GROUP-6-21ST-CENTURY.pptx
NICK-JOAQUIN-GROUP-6-21ST-CENTURY.pptxNICK-JOAQUIN-GROUP-6-21ST-CENTURY.pptx
NICK-JOAQUIN-GROUP-6-21ST-CENTURY.pptx
 
21st quiz.pptx
21st quiz.pptx21st quiz.pptx
21st quiz.pptx
 
Region 1 Philippine Literature
Region 1 Philippine LiteratureRegion 1 Philippine Literature
Region 1 Philippine Literature
 
REVOLUTION AND AMERICAN PERIOD.pptx
REVOLUTION AND AMERICAN PERIOD.pptxREVOLUTION AND AMERICAN PERIOD.pptx
REVOLUTION AND AMERICAN PERIOD.pptx
 
CHAPTER-1-8.pptx
CHAPTER-1-8.pptxCHAPTER-1-8.pptx
CHAPTER-1-8.pptx
 
Cristina Pantoja Hidalgo www.mannrentoy.com
Cristina Pantoja Hidalgo www.mannrentoy.comCristina Pantoja Hidalgo www.mannrentoy.com
Cristina Pantoja Hidalgo www.mannrentoy.com
 
Fables folktales and fairytales
Fables folktales and fairytalesFables folktales and fairytales
Fables folktales and fairytales
 
Author presentation
Author presentationAuthor presentation
Author presentation
 

Esperanza Rising

  • 1. Study Guide: a resource for teachers
  • 2. 1 TABLE OF CONTENTS KEY CHAPTER ONE: ABOUT THE PLAY Activity ESPERANZA, AN INTRODUCTION 3 or discussion questions to incorporate in the classroom THE SETTING 4 LITERARY THEMES 5 To go further… more challenging information for older students CHAPTER TWO: CULTURE AND LANGUAGE LEARNING SPANISH! 6 Behind the scenes TRADITIONAL VALUES 7 anecdotes from members of Emerson’s production MARIACHIS 9 CHAPTER THREE: IMMIGRATION CAUSE… 11 …AND EFFECT 12 CHAPTER FOUR: THE PRODUCTION THEATER FOR YOUNG AUDIENCES 13 EMERSON’S ESPERANZA 14 ABOUT THE AUTHOR Born on December 25th, 1951 in Bakersfield, California, Pam Muñoz Ryan earned her bachelor’s and master’s degree in education BOOK SIGNING! from San Diego State University. A former bilingual teacher, Muñoz Ryan was encouraged by Pam Muñoz Ryan will be at one of her professors to write. Taking the advice, the Emerson College Muñoz Ryan found success and published her first Bookstore located at 114 picture book in 1994. Boylston Street, The story of Esperanza Rising came from Saturday, November 14th Muñoz Ryan’s grandmother who was an immigrant from 4:00 – 5:30pm! from Mexico. Like Esperanza, her grandmother had to endure the hardships of her father’s death and prejudice against her Mexican heritage.
  • 3. 2 PLAYWRIGHT After graduating college, Lynne Alvarez traveled to Mexico where she served as a newspaper reporter in Veracruz. Alvarez also taught journalism and English at the local university. In 1978, the Puerto Rican Traveling Theatre invited her to join their playwriting workshop. With the company she wrote three plays, all exploring her Latina background. Usually a writer of poetry, Alvarez’s writing style is dense poetic style with rich, vivid imagery, and highly stylized language. Before her recent death in 2009, Alvarez lived in Dallas, TX and was the playwright in residence at the Undermain Theatre. 3 Children’s Theater of Madison PREVIOUS PERFORMANCES Madison, WI (2008) 4 Chicago Children’s Theatre 1 Children’s Theatre Company Chicago, IL (2008) Minneapolis, MN (2006) 5 Civic Youth Theatre 2 Brigham Young University Theatre Lafayette, IN (2008) Provo, UT (2008) 6 The Children’s Bilingual Theater Marietta, GA (2009) 7 Emerson Stage THE JOURNEY FROM BOOK TO STAGE Boston, MA (2009)   To get your students in a “theatre” mindset, encourage them to adapt their mind’s image of a story to the stage. Pick either a book the class is reading together, or let your students use one they are reading independently. Generate a class discussion or activity using the following: •What is the most important part (the Climax) of the story? •Who are your favorite characters? How do you envision them in real life? Think of their walk, physical and personality characteristics, presence, demeanor, clothing etc. •Attempt to include Dramatic Structure: Who is the antagonist, the villain, and who is the protagonist, the main character? Describe their traits using the above. Options: •Have the students walk across the room as their chosen character. Discuss what the student conveys in their movement. •Create a drawing of their chosen character, or an event in the story.
  • 4. 3 Chapter 1: About the Play PLOT SYNOPSIS THE CHARACTERS Esperanza Rising is the story of a wealthy Mexican girl whose privileged Esperanza Wealthy rancher’s daughter existence is shattered when her father Hortensia Maid of Don Sixto’s family dies and her family loses everything 4 Mariachis Musicians they own in a fire. Esperanza is forced Don Sixto Esperanza’s father, a landowner to leave her mother behind and flee to Ramona Esperanza’s mother, Sixto’s wife California with the family maid and Marielena Esperanza’s best friend her son. Forced to work in a migrant Miguel Hortensia’s son, ranch hand labor camp, Esperanza must learn to Luis Sixto’s brother, town mayor, bank owner rise above her difficult circumstances Isabel Miguel’s cousin, 8 years old and discover what she's truly made of. Modesta Isabel’s mother, Hortensia’s sister-in-law Set in the turbulent 1930's, and based Alfonso Modesta’s husband, Hortensia’s brother on the popular book by Pam Muñoz Marta Modesta’s niece Ryan, Esperanza Rising is a poetic tale of a young girl's triumph over adversity. SPANISH MEANING Esperanza: "Hope" Ramona: "Protector" Luis: (from Louis) "Warrior in Battle" Hortensia: "Gardener" Miguel: "He who is like God" Alfonso: "Eager, noble" Modesta: "Shy, modest" Isabel: "Consecrated to God" Marta: (from Martha) "Lady"
  • 5. Chapter 1: About the Play 4 THE VINEYARD Aguascalientes, Mexico El Rancho Linda Flor, Esperanza’s home growing up is located in the center of the country. Aguascalientes climate is consistently warm, averaging 66F. It’s also usually dry, with the exception of summer rains. All types of terrain are in the region, including mountains, valleys, plains, and rivers. ACROSS THE BORDER: SOUTHERN CALIFORNIA Arvin, California The migrant camp, where Hortensia’s family lives is located north of Los Angeles. Arvin has a brutal climate; hot during the summer, with temperatures in the 80's, and cold during the winter with temperatures in the 40's! Temperature variations between night and day also create uncomfortable conditions. Landlocked, with no rivers running through, Arvin is a flat plain with little rainfall; average precipitation is just 12 inches.
  • 6. 5 Chapter 1: About the Play DRAMATIC STRUCTURE RED ROSES • Protagonist: Esperanza is the protagonist of the Red roses are a major symbol story. She must rise above her father’s death, the in Esperanza Rising, representing burning of their home, the absence of her mother, and growth, uprooting and rebirth. In endure poverty in order to find freedom. history, the red rose is most • Antagonist: Tio Luis is the antagonist of the story. commonly recognized as the symbol for love. This symbol stems from Esperanza and her mother must flee to the United Greek and Roman mythology, in States to escape his hold. He makes it difficult for which the red rose was closely tied Ramona to meet Esperanza in California. to the goddess of love. • Conflict: Esperanza must learn to adapt to a new life as a poor migrant in California, after her father is murdered and house is burned down. She needs to MIGRATION raise money by working at the camps, without being caught, in order to bring her mother from Mexico. Emerson cast member • Climax: Occurs when Miguel brings Ramona to Fernanda Vazquez is a Mexican California at the end of the play. native. Below she elaborates on • Denouement: The resolution occurs in the final her heritage and culture: scene; when Esperanza and Ramona replant the roses “My dad’s job kept us Miguel had brought from their home in Mexico. moving for five years, and in that time we lived in three different countries. To be honest, it was WHAT WOULD YOU BRING? really hard at first. Letting go of your roots is never easy; you feel Esperanza flees to California to escape her uncle: like your identity is being shaken. •If you had to pack up and leave at a moment’s notice, Ultimately you learn to adapt, but what would you bring? Discuss the meaning of this you change a lot. You learn to object and what it expresses about you. integrate bits of the new culture with the old one, and you end up Fernanda has lived in several different cultures: being a weird mix, but quite •If you were traveling to a foreign land, what object unique.” would you bring to represent, and more importantly explain, the culture of the United States?
  • 7. Chapter 2: Culture and Language 6 SPANGLISH In groups of four to six, invite each student to randomly choose (from a hat, perhaps?) a vocabulary word, or phrase, from the list. Have each group create a story using the words selected. Emphasize dramatic structure, and how each story should include a beginning, middle, and end. Options: •Attempt a scene in “spanglish.” Encourage your students to use as much Spanish as possible. •Have the group write a formal script in class and perform it. •Give them a few minutes to create an outline and then improvise their performance. •Every member of the group must say a line with one of words chosen. It can be the word they picked, or any the group picked- you choose! FUN PHRASES! VOCABULARY Arriba y adelante Up and ahead muñequita doll cobarde coward Viva México mi amor my love ojalá I hope Y tú, qué palillo Long live Mexico mi reina my queen buitre vulture And you’re a toothpick . tío uncle escalera stair Chiquitita bonita Qué latosa es Usted muchacho boy cállate be quiet You’re so noisy Pretty little one pistolero gunman paquetes packages Todos a divertirse Feliz Cumpleaños Have a good time bestia beast correo mail Happy Birthday Híjole. Qué montón de gente Geez. A bunch of people A STUDENT, TEACHER Juega el pollo pelón Play the bald chicken Fernanda Vazquez was a big help by teaching her native language to fellow cast members. “I generally don’t like correcting people when they are trying really hard to get something right. I didn’t feel like a teacher, I felt more like I was someone they could consult when in doubt. My peers and I would just go over the words that they have to say, and we would say them over and over again. Some of them need to write it phonetically, others learn better by memory.”
  • 8. 7 Chapter 2: Culture and Language FAMILY In the 1930s and today a lot of importance in Mexican culture is placed on family. Both immediate and extended members define family in Mexico. MEN WOMEN Women usually stray little Men have the role of protecting their from the family unit. They are family and keeping them financially stable. responsible for raising the children, They are the ones to have friends outside and running the household. the family and deal with the struggles of the outside world. IMMIGRANTS Abigail Vega, the actress playing Ramona in Emerson’s production, shared her family photographs, taken in 1917. The man below is Abigail’s great-grandfather, Siprian Villareal Benavidas. Born in 1885 on a ranch, he worked there, much like the campesinos in the play. His last name he would have passed down in Mexico is actually Villareal, but in the United States his records indicated that his last name was Benavidas, Abigail’s grandmother's maiden name. The woman above is Abigail’s great-grandmother, Josefina Salinas Rodriguez, and the baby in the photo is her grandmother, Esperanza Benavidas. Abigail’s grandmother was born in 1915, which would have made her 14 in 1929, just 2 years older than our Esperanza. She was born in the U.S. and grew up along the border of Texas and Mexico. In this area, almost no one spoke English, and there was very little connection to American culture at all. It wasn't until the 1930s that the U.S. government began paying attention to what was happening in that Texas area and started implementing laws regarding English in the schools. For example, Abigail’s grandmother would have graduated high school (if she did at all) in 1933, and yet she never spoke a word of English!
  • 9. Chapter 2: Culture and Language 8 THE FLAG The colors in Mexico’s flag represent: • Green: the Independence Movement • White: purity of the Catholic Faith • Red: tribute to the Spaniards who fought for Independence THE EMBLEM According to legend, the gods advised the Aztecs to establish their city at the place where they saw an eagle, perched on a prickly pear tree, devouring a serpent. They saw this To get the students started, mythical eagle on a marshy lake that is now the have them focus on the idea of Zócaloor main plaza in Mexico City. creating a country: What is important? • principles THE ISLAND • lifestyle • level of community Separate the class into groups of four to five, • terrain to create their “island.” • industry/ economy • Have each group create a flag on an 8.5x11in, or • religion larger, piece of paper, representing life on their • opinion of the other islands “island.” • and ask your students to list more! • On a separate sheet of paper, write what each part (color, symbol, picture) represents in the flag.
  • 10. 9 Chapter 2: Culture and Language CLOTHING In the 1930s, all Mariachis wore an ORIGIN OF THE NAME adapted traje de charro, directly translated to a cowboy costume. The outfit traditionally Coming from Mexico, the included a waist-length jacket and tight word Mariachi is named after the wool pants. Both were usually decoratively wood used to build the village embroidered and fashioned with silver performer’s stage.   buttons or cut leather designs. The pants had a slight slit at the ankle, to fit over a LISTEN! short riding boot. Here are some websites THE TRADITION that play great Mariachi music for you and your class to listen to: Mariachi music commonly deals www.mariachimusic.com with the themes of betrayal, lost love and www.last.fm/tag/Mariachi vengeance; however, the music itself is characterized by a rhythmical flow of Roxanne, Emerson’s Director, sounds involving Spanish language and found Hector while he was playing heritage. with a local mariachi. You can read and hear more about Hector at: www.martinezmorales.com THE TIME OF YOUR LIFE The roots of Mariachi music are planted in nostalgia from rural life, a time of honor, tradition, modernization, and peace. Music has always been a form of expression: •Using any creative form (drawing, a poem, lyrics, movement, etc.) have your students creatively express their “roots.” •After, in small groups of three to four, have them share their creations. Ask the students to explain the connection between the art form and their roots. •To wrap up, try an open discussion guided by the students. Encourage them to point out details they noticed or liked about a group member’s, and/or their own, creation.
  • 11. Chapter 2: Culture and Language 10 THE MARIACHIS The four Mariachis in Esperanza Rising are all well-versed musicians with a passion for music. Here is a little bit more about the musicians, and the instruments they play: DISCUSSION QUESTIONS Accordion- Musical Theatre BFA Junior Nathan Chang from Nashville NC has been playing the Try this as a clarinet for eight years and started learning the piano class, or a group, just a year ago. Nathan will have been playing the accordion activity: for just six weeks at the show’s opening; however, he mastered the instrument in about two weeks to prepare for rehearsals. • What kind of music do you listen Violin- Musical Theatre BFA Junior Nick Lee from to? Pick one artist Kansas had no experience with the Spanish language or song that prior to Esperanza Rising. He approached learning the everyone in the lyrics by concentrating on singing sounds and was group likes (or can coached by Fernanda Vazquez. But Nick’s violin skills needed at least settle on.) no instruction; he has been playing for nine years. • Why is that song likeable? Is it the Vihuela- An instrument similar to a guitar, the vihuela has lyrics, melody, five strings and is played with the musician’s fingernails. Dru rhythm, etc? Serkes is a Musical Theatre BFA Junior from Connecticut. Like Nathan, learned the instrument for the show. Dru’s • Why do you musical training includes a year of bass guitar, five years of think people listen drums, and another five years on the guitar. His guitar to music? experience helped him adapt to the vihuela he plays in • What do you Esperanza Rising. think would happen if music Guitar- The show’s Musical Director, Héctor Martínez didn’t exist in the Morales, has been playing the guitar since he was 13 years old. world? Currently, Morales teaches music full time in Cambridge and also freelances as a composer and performer. Formally trained in classical music composition, guitar, and piano performance, this is only his second show as the Musical Director.
  • 12. Chapter 3: Immigration THE MEXICAN REVOLUTION 11 The long, bloody, and chaotic war began with Porfirio Díaz, the ruler of Mexico since 1876. In 1908, he declared that Mexico was ready for democracy, and accordingly, he would not seek another presidential term. Díaz’s withdrawal resulted in several detrimental events: THE BEGINNING •Francisco Madero led the uprising that 1910 - 1929 started the war. Includes the years that Esperanza lived with • Mexico’s population suffered a decline her family in Aguascalientes, Mexico. During that of 360,000 people. time, a large number of Mexicans left their country • A major drop occurred in the country’s to seek opportunities in the United States. agricultural output. • U.S. Population: 106,521,537 • Black markets flourished in cities, • 2,132,000 unemployed, unemployment 5.2% funding and perpetuating corrupt organizations. • Average annual earnings $1,236 • Almost all banking and credit systems within Mexico disappeared. “NEXT!” Feel free to photocopy the card (right,) or simply write a similar format on the board, for each student in your class to fill out individually. • Stress the significance held in this little piece of paper by exploring the thoughts of immigrants. Discuss the projected image of the United States as the ideal country and life. Have students articulate the good and bad of life in the U.S. United States of America • This exercise is a Immigrant Validation Form perfect opportunity for Name: Gender: drama in the classroom. DOB: Place of Birth: Your students are Postal Address: Ethnicity: immigrants from Mexico Marital Status: in the 1930s. The teacher …………………………………………………...………...………………………………………... can play the Immigration Height: Weight: Officer creating and Eye color: Hair color: playing out different …………………………………………………...…………………………………………………... scenarios that immigrants Employment Details: Medical History: may have encountered at the border. …………………………………………………...…………………………………………………... Official use only:  
  • 13. Chapter 3: Immigration 12 THE MEXICAN BORDER Luis Alberto Urrea, author of Across the Wire: life and hard times on the Mexican border, recounts his vivid memory: “We met the many ambassadors of poverty: lice, scabies, tapeworm, pinworm, ring worm, fleas, and crab lice. We met diphtheria, meningitis, typhoid, polio, turista, tuberculosis, hepatitis, VD, WORKING LIFE impetigo, measles, chronic hernia, malaria, and When Esperanza, Hortensia, and whooping cough. We met madness and demon Miguel fled to California for work and a possession.” better life, they met the economic hardships U.S. RESPONSE of the Great Depression. Considering the fact 1930 – 1934 that immigrants were known as “cheap During the time that Esperanza, Miguel, labor,” they faced the fear of not being paid and Hortensia were living and working at the enough to support their families or of being camps in California, the U.S. deported more replaced by another person who would work than four hundred thousand Mexicans. for less. • U.S. Population: 123,188,000 Consistently classified as “unskilled” • Unemployment rises to 25% workers, Mexicans were only considered for • Average annual earnings: $1,368 labor-intensive jobs, and were thought of by   employers as expendable. Strikes were prevalent in the struggle for better working IMMIGRATION TODAY conditions and often turned violent. Michelle Macedo, another Emerson cast member, has a personal experience with immigration; her father is a U.S. immigrant from India. “The youngest in his family, my father is from Goa, India, previously a Portuguese colony before India gained its independence after WWII. Affected by the colonization, the state of Goa still recognizes three languages- Hindi, a native dialect, and Portuguese. Religion in the state was also influenced; my father is a Catholic, although most people assume he is Hindu, solely because he is from India. Moving to the United States for graduate school, my father was the first in his family to move out of India and the first not to have an arranged marriage. My first language was Hindi, but I forgot it pretty quickly because I did not keep up practice. I have been going to India almost every Christmas, and it is still strange. Strangers think that I am a westerner who is unaware of the Indian culture, even though all of my family is Indian. Esperanza Rising makes me feel very appreciative of diversity in America and how many people have different backgrounds. I currently live in California, and travel to Mexico often to embrace and explore the culture. My traveling and heritage has made me develop an immense respect for immigrants.”
  • 14. Chapter 4: The Production 13 NOTES FROM THE DIRECTOR Dear Teachers, Like you, I am a teacher. I know the long hours you put into your work and the great energy it takes to touch lives like you do. In these times, I also realize that it is harder than ever to foster opportunities for your students…busses, permission forms, scheduling, etc. Therefore, I would like to thank you deeply for bringing your students to see our production of Esperanza Rising! Many of you, I am sure, have read this book several times with multiple groups of young people. I am sure that more than a few of you consider it one of your favorites. I understand! Pam Muñoz Ryan has written a piece rich with poetry, emotion and symbolism. I like to think that Esperanza Rising helps young people to think about change, growth, and what gives every one of us hope in our lives. You will find that Lynn Alvarez’s dramatic adaptation is quite different from the book. However, my awareness and appreciation of the book TYA? influenced my vision of the play and was part of the Representing the United evolution of the production process. We hope that you States in the International Association will enjoy the production alongside of your students, and of Theater for Children and Young People, that you and your students will leave the theatre thinking Theatre for Young Audiences/USA about migration, oppression and hope! We further hope (TYA/USA) is a national service that the production will serve as a catalyst for dialogue in organization promoting theater for your classrooms. We will be eager to hear from you and children and young adults by: your students, so let us know what you and your students • Improving the reputation, and thought! visibility, of theater among young audiences Sinceramente, • Connecting professional managing Roxanne Schroeder-Arce and artistic directors, artists, arts R_Schroeder_Arce@emerson.edu agencies, and theaters to encourage Director quality theater for young people.
  • 15. 14 Chapter 4: The Production THE CAST Peter Andersen Ensemble  Chris Brindley Agent/Ensemble Olivia Brownlee Okie Mother Noel Carey Okie Father Nathan Chang Mariachi Vinny Cueva Luis Alyssa Gomez Isabel/Ensemble Victoria Gomez Hortensia Adrian Hernandez Don Sixto Sara Holt Modesta/Ensemble Chelsey Lebel Esperanza Nick Lee Mariachi Michelle Macedo Servant Girl/Ensemble Vanessa Moyen Ensemble Jessica Naimy Marielena/Ensemble Chris Nicolosi Okie Boy Nora Reilly Worker/Ensemble Esperanza Rising stage manager, Helen Miguel Septién Miguel Bennett with a mariachi at a company Dru Serkes Mariachi outing early this October! Kameron Tarlow Alfonso/Ensemble Hannah Tehrani Worker/Ensemble Fernanda Vazquez Worker/Ensemble Abigail Vega Ramona Jill Waters Marta/Ensemble PRODUCTION STAFF ARTISTIC STAFF Stage Manager Helen Bennett Assistant Stage Manager Steven Kaplan Director Roxanne Schroeder-Arce 2nd Asst. Stage Manager Lindsay Eberly Music Director Héctor Martínez Morales 2nd Asst. Stage Manager Kevin Dwyer Scenic Designer Crystal Tiala Production Supervisor Rachel Enright Costume Designer Rafael Jean Production Carpenter Catrin Evans Lighting Designer Tracy Werheimer Master Electrician Brian Choinski Sound Designer Brendon Doyle Production Sound Engineer Erik Skovgaard Props Master Michele Teevan Scenic Artist Helen McCarthy Assistant Director Chris Brindley Study Guide Coordinator Courtney Wrenn Dramaturgs Cheyenne Postell Justine Spingler
  • 16.   SOURCES Chapter 2 con. Table of Contents Origin of the Name information Pam Munoz Ryan picture and information: Gonzalez, Silvia. Mexico, The Meeting of Two Scholastic Inc. Pam Munoz Ryan. July 2009 Cultures. New York: Higgins and Associates, 1991. <http://www.pammunozryan.com/>. Other mariachi information —. Pam Munz Ryan. August 2009 Shorris, Earl. The Life and Times of Mexico. New <http://teacher.scholastic.com/authorsandbooks/events/ York: W. W. Norton & Co., 2006. ryan/>. Chapter 3 Lynne Alvarez information: The Mexican Revolution information Peterson, Jane T. and Suzanne Bennett. Women Joseph, Gilbert M. and Timothy J. Henderson. The playwrights of diversity: a bio-bibliographical sourcebook. Mexico Reader: History, Culture, Politics. Durham: Santa Barbara: Greenwood Press, 1997. Peterson and Duke University Press, 2003. Bennett 1910-1929, 1930-1934 information: Whitley, Peggy. American Cultural History. August Chapter 1 2009<http://kclibrary.lonestar.edu/decade20.html>. The Vineyard information Chapter 4 Advameg Inc. Aguascalientes. September 2009 TYA information: <http://www.nationsencyclopedia.com/mexico/Aguascali ASSITEJ International. Theatre for Young Audiences. entes-M-xico/Aguascalientes.html>. September 2009 <http://www.assitej-usa.org/>.   Southern California information Wikimedia Foundation Inc. Arvin, California. September 2009 <http://en.wikipedia.org/wiki/Arvin,_California>. EMERSON STAGE Red roses information: Types of Flowers. Meaning and Symbolism of Red Rose Flower. September 2009 PRODUCTION STAFF <http://www.typesoflowersguide.com/flowername/427/ meaning_of_rose_red_flower.html>. Producing Director Benny Sato Ambush Chapter 2 Family, Women, Men information General Manager Julie Hennrikus Gordon, Milton M., ed. Mexican Americans. Englewood Director of Production Bonnie Baggesen Cliffs: Prentice Hall, 1970. The Flag, Emblem information Production Manager Deb Acquavella Inside Mexico. Inside Mexico. September 2009 Technical Director Keith Cornelius <http://www.inside-mexico.com/flag.htm>. Technical Supervisor Caroline Mulcahy EMERSON COLLEGE • The Master of Arts degree in THEATRE EDUCATION PROGRAM Theatre Education is for students who wish to pursue careers and opportunities that lie at • The Bachelor of Arts degree in the intersection of theatre and education. As Theatre Education involves the use of theatre such, this program provides professional in a variety of educative settings, in addition training in both theatre and education, and in to formal K-12 teaching. Some students will the uses of theatre and drama as vehicles of choose to pursue certification for K-12 education in a multitude of settings. Teachers of Drama; all use the program to The graduate program is designed develop interests and expertise in a wide with a central core of courses; within the range of theatre areas. Students in Theatre central core, there are three course streams, Education often do two full years of acting Theatre Teacher, Education Theatre, and work at Emerson, and with the permission of Community, Theatre Education. With the Acting faculty, can do up to two additional work in areas of special interest to additional semesters of work. Students students, Emerson’s program supports a seeking licensure must also complete the broad range for individuals to meet their Educator Licensure requirements. career goals.