Luchadora! Study Guide- Final Draft by Branson Cobb

Study Guide

The UH School of Theatre & Dance produces pre-professional plays, dance concerts, studio productions, and Theatre for Young Audiences. Performances are delivered in in the Wortham and Quintero Theatres. The UH School of Theatre & Dance offers bachelor’s degrees in playwriting and dramaturgy, acting, design and technology, stage management and theatre education. Its graduate programs consist of a Master of Arts in theatre studies, a summer Master of Arts in theatre education, and Master of Fine Arts degrees in acting, and design and technology. Noted alums include actors Jim Parsons, Dennis Quaid, Brett Cullen and Robert Wuhl. Faculty includes award-winning playwright, television writer, and novelist, Theresa Rebeck, Tony Award-winning producer Stuart Ostrow and Tony-nominated designer Kevin Rigdon. Past-distinguished faculty are Edward Albee, Lanford Wilson, Sir Peter Hall, Jose Quintero, Patsy Swayze and Cecil Pickett. In 2012 and 2013, the school was named “Best College Theater” in the Houston Press Theater Awards. For details on UH's School of Theatre & Dance, visit www.theatredance.uh.edu.

CONTENTS About the UH School of Theatre and Dance Audience Etiquette Meet the Director Meet the Costume Designer Meet the Scenic Designer Meet the Dramaturges

1 3 4 5 6 7

Activities for Prior to Watching Luchadora! The Effects of the Vietnam War Through Tableau The Acting Mystique The Traveling Wrestler More Than an Immigrant Where Did You Come From? Creating a Fabel

9 11 13 15 18 20

Activities for Post Watching Luchadora! Luchadora: A Hero's Journey That's a Rap! OMG! It's POV! Training Like a Wrestler Represent! Mask Yourself Tradition Addition

24 26 28 30 32 34 36

WHAT SHOULD I DO WHILE SEEING A PLAY?

We are so pleased that you have come to see Luchadora! To insure every audience member has the best possible experience, please review the following guidelines for watching live theatre... Theatre is a live experience. The actors onstage and the audience share a common bond. The actors and audience have a responsibility to each other. Each night’s performance is a little different, this is for a number of reasons, but the main reason is that no two audiences are the same. Each audience has a different energy and reacts differently to a play's scenes. If the actors find that their audience is engaged and listening the performance quality is higher. If they find that the audience is disinterested and not listening it will bring the energy down in the theatre. Be a supportive audience member, pay attention and engage in the story.

Please turn off all Cell Phones and other devices that can make noise, like watches. Remember, no one likes someone using their phone while they’re talking. Please be respectful.

The Director, Stage Manager, Actors, and Technicians have put in long, hard hours to make the show work. The audience paid to see what’s happening on the stage, not listen to you and your friends chat. Be kind to everyone around you and remain quiet and engaged during the show.

Be sure to get to the theatre at least 15 minutes before the start of the show. It’s always a good idea to arrive early to allow time to use the restroom and find your seat.

What drew you into this show? JL: It speaks to how I grew up, all of the ‘spanglish’ in the play. A lot of the references to the Mexican-American Culture or Traditions are all a part of my life. What led you to Directing after growing up in El Paso? JL: As soon as I graduated college I realized I was not meant to do business. So in the end I became a teacher, believe it or not I became a German teacher. I fell into theatre by accident. Because no matter what I did, be it in my business degree, or my teaching German, everything was always presentational, or creative. I didn’t realize that another word for that was Theatrical. I talked Theatrically, I did my business Theatrically. What are some of the challenges with directing a show like this? JL: I have to make sure we have enough time to learn fight choreography, and enough time to learn accents, and research the Spanish words and those kinds of things. I, as a director, enjoy big picture and small detail directing. I love getting my team enthused, I am a big cheerleader, and I like to make everything about the process positive. Anything you can tell us about the show? JL: This is an exciting, epic play. It’s a familiar story told in a voice that is seldom seen onstage. It will be perfect for young audiences, for families, and even people that go to a lot of stuffy classical theatre like Shakespeare, they’re gonna get a lot out of this play. Just based on how vibrant and relatable it is. I think it’s a big, spectacle, athletic, epic piece of work. So we’re going to make sure that everyone leaves, not only feeling, like they were a part of a piece of theatre, but they were a part of an arena sports spectacular.

Justin Lucero Directing Fellow University of Houston Katherine G. McGovern College of the Arts School of Theatre & Dance

Tell us a little about yourself and what your role is in Luchadora!? JS: My name is Juan Saracay, I am a first year MFA student at UH, I also happen to have gotten my undergrad here too. I have BFA in production. I am the costume designer for Luchadora. What is a costume designer and what does that job entail? JS: A costume designer is someone who dissects and interprets a script and designs garments for the characters on stage in conjunction with the director and his vision of the play. What were some challenges you ran into when designing the costumes? JS: One aspect of my design that I found challenging was channeling the correct and accurate traditions of dress for the characters. For example the Mask Maker, she is a very mystical character. She is almost magical. I decided to make the choice of enhancing this idea and incorporating traditional indigenous Mexican garments. Some of the most revered people in Mexican folklore are the indigenous people, they are the embodiment of tradition and culture in Mexico.

Costume RenderingÂ for the Mask Maker

What was your favorite costume to design and why? JS: Definitely have to say it was the mask maker. She was not only a challenge but she was also the wisest character. The Mask Maker is the mystical part of the play and what makes the piece magical realism. How long have you been designing costumes? JS: I have been designing costumes since my Junior year at UH. I was originally a lighting designer but eventually found my nook within the theatre in costumes.

Costume RenderingÂ for the Mask Maker

How would you describe your set design for Luchadora? AA: Its very Minimal. I tried to play with the colors a lot so it’s very bright and colorful. In Hispanic culture there’s a lot of colors and for a kid show that is the best, so I was very happy to play with colors.” What was the process of putting a wrestling ring on stage? AA: At first we weren’t really going with a wrestling ring as a wrestling ring. It was more of an adaptation of a wrestling ring, but then Adam really wanted to show a real fight so I had to change the design a lot to make sure the actors were safe. Even after we decided to have one piece that would stay and the other piece would move. We had to figure out how to make the ropes to make sure that everything was tied perfectly so that the actors could use it has its own mechanism and no one here has done that before so it was a big challenge.” What got you interested in puppetry, theatre and set design? AA: I wanted to be an actress when I was maybe around 10 years old, and when I was 18 and I was getting ready to go to college I met with Peter Shuman who is a Boston based puppeteer he likes Iran and comes to Iran a lot and I randomly met him and I saw his work and I was so amazed and I thought this is what I want to do for the rest of my life. So I took my entrance exam and got accepted to the only school that has the puppetry program The Art University of Iran.” When and why did you move to Houston? AA: I moved to America 5 years ago and moved to Portland Oregon actually, and I worked for Tears of Joy Theatre it’s a puppet theatre there and I got really depressed because of the weather, and so I randomly moved to Houston. I really didn’t know anything or anybody here but I moved here and I loved it. Houston is home for me.

Afsaneh Aayani MFA Scenic Design University of Houston Katherine G. McGovern College of the Arts School of Theatre & Dance

False Proscenium for Luchadora

6 6

Dramaturgy is the process of researching the world of a play, and a plays history. The dramaturges for Luchadora! were Jeana Magallon and Leo Orozco, Playwrighting & Dramaturgy majors at UH. What is “dramaturgy” to you? JM: I feel that dramaturgy allows directors, actors, and audience members to delve further into the world of the play and build a deeper atmosphere than what’s written on the pages of the script. It brings a lot more to the world of the play. Why is that important to you? JM: Being a dramaturg as well as an actor, I find myself being more immersed in my character and environment when care and attention have been applied to the show’s research. What was your dramaturgy process for Luchadora!? JM: Personally, I read the play multiple times and ask myself what questions an actor might have when walking into the first rehearsal. These questions lead to answers that can continue to open up more opportunities for research and learning.

Jeana Magallon

That’s neat! What’s your favorite thing you’ve learned while going through this process? JM: Well, the things that I learned are just so interesting… The subject I found to be most interesting was how similar the Mexican Revolution’s timeline, causes, and effects are to today’s political landscape. We can see- even today- how politics really haven’t changed. Dramaturgy tends to reveal a lot about our society and the underlying reasons why artists write, develop, and perform the final product we see. Oh, definitely. I know you have a bit of a personal tie to the show as well- your grandfather was a luchador? JM: Yes! He wasn’t committed to it full time or anything- but after doing some research on the play, I was able to discuss my own luchador ancestry with my family, and that’s where I unearthed the amazing picture of him in all his glory. I find that being obsessed with the world of the play brings a unique artistic view that lightens the production from the inside out.

Leo Orozco BFA Playwrighting/Dramaturgy University of Houston Katherine G. McGovern College of the Arts School of Theatre & Dance

Study Guide Activities for Prior to Watching Luchadora! Effects of the Vietnam War Activity US History & Theatre Women's Rights in 1950s Activity US History & Theatre Geography Comparison Activity Geography & Theatre Math Application Activity Algebra I & Theatre Multiculturism Exploration Activity English & Theatre Creating a Fabel Activity English & Theatre

(8) History. The student understands the impact of significant national and international decisions and conflicts in the Cold War on the United States. The student is expected to: (D) Explain reasons and outcomes for U.S. involvement in foreign countries and their relationship to the Domino Theory, including the Vietnam War; (F) Describe the responses to the Vietnam War such as the draft, the 26th Amendment, the role of the media, the credibility gap, the silent majority, and the anti-war movement.

§117.315 (1) (C) Develop and practice stage movement techniques such as mime, pantomime, stage combat, Laban, Lecoq, or Viewpoints consistently to express thoughts, feelings, and actions non-verbally; §117.315 (2) (D) Use physical, intellectual, emotional, and social awareness to portray believable characters and convey a story when applying acting concepts, skills, and techniques;

(§113.41. (9) History. The student understands the impact of the American civil rights movement. The student is expected to: (C) identify the roles of significant leaders who supported various rights movements, including Martin Luther King Jr., Cesar Chavez, Rosa Parks, Hector P. Garcia, and Betty Friedan;

§117.315 ((2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms.

When reviewing flashcards, ask:

(§113.42. (15) Geography. The student uses geographic skills and tools to collect, analyze, and interpret data. The student is expected to: (A) create and interpret thematic maps, graphs, and charts to demonstrate the relationship between geography and the historical development of a region or nation. 17) Culture. The student understands the distribution, patterns, and characteristics of different cultures. The student is expected to: (A) describe and compare patterns of culture such as language, religion, land use, education, and customs that make specific regions of the world distinctive;

§117.315. (1) Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre. The student is expected to: (A) understand the value and purpose of using listening, observation, concentration, cooperation, and emotional and sensory recall;

111.39. Algebra I (c)(1)(A) apply mathematics to problems arising in everyday life, society, and the workplace;

117.315. Theatre, Level I (c)(4)(A) portray theatre as a reflection of life in particular times, places, and cultures;

111.39. Algebra I (c)(1)(B) use a problem-solving model that incorporates analyzing given information, formulating a plan or strategy, determining a solution, justifying the solution, and evaluating the problem-solving process and the reasonableness of the solution;

117.316. Theatre, Level II (c)(2)(B) explore creativity as it relates to self and ensemble.

§110.31. (8) Reading/Comprehension of Informational Text/Culture and History. Students analyze, make inferences and draw conclusions about the author's purpose in cultural, historical, and contemporary contexts and provide evidence from the text to support their understanding. Students are expected to explain the controlling idea and specific purpose of an expository text and distinguish the most important from the less important details that support the author's purpose.

§117.315 (2)(F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms. §117.317 (2)(D) experiment with improvisation and scripted scenes of various styles to portray believable characters;

§110.32. (b)(8)(A) compare and contrast differences in similar themes expressed in different time periods

-§110.33. English Language Arts and Reading (5) Reading/Comprehension of Literary Text/Fiction. Students understand, make inferences and draw conclusions about the structure and elements of fiction and provide evidence from text to support their understanding. Students are expected to: (A) evaluate how different literary elements (e.g., figurative language, point of view) shape the author's portrayal of the plot and setting in works of fiction

-§117.315. Theatre (2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms.

1: Give each group a notecard. 2: Have each group pass their completed fable to another group in the room. Give students 3 minutes to read and identify the parts of the new given fable. Groups are to take note of the parts of these fables and write the identified characters, setting, and figurative language on their notecards. 3: Have students pass their fables until they have all been studied. This, in total, should take around 15 minutes. OPTIONAL PERFORMANCE: 1: Give students 10 minutes to rehearse their scripted fables with their groups. 2: Groups will then perform their fables one by one for the class. Students are to play any needed characters or set pieces.

Study Guide Activities for Post Watching Luchadora! Comparing English & Latin Literature English & Theatre Exploring Honor Activity US History & Theatre Point of View Activity English & Theatre Health and Fitness Plans Activity Health & Theatre Exploring Symbolism Activity English & Theatre Exploring Luchador Mask Activity Health & Theatre Studying different Traditions Activity Sociology & Theatre

(2) Reading/Comprehension of Literary Text/Theme and Genre. Students analyze, make inferences and draw conclusions about theme and genre in different cultural, historical, and contemporary contexts and provide evidence from the text to support their understanding. Students are expected to: (B) archetypes (e.g., journey of a hero, tragic flaw) in mythic, traditional and classical literature

(2) Creative expression: performance. The student develops and demonstrates technical theatre skills through the pre-production processes from concept (script or original idea) to performance. The student is expected to: (A) identify and use technical elements in various theatrical styles and genres;

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ยง113.41 Culture. The student understands how people from various groups contribute to our national identity.

ยง117.317 Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations.

§110.31(5) Reading/Comprehension of Literary Text/Fiction. Students understand, make inferences and draw conclusions about the structure and elements of fiction and provide evidence from text to support their understanding. Students are expected to: (§110.31(C) analyze the way in which a work of fiction is shaped by the narrator's point of view

§117.315 (1) Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre. The student is expected to: (A) understand the value and purpose of using listening, observation, concentration, cooperation, and emotional and sensory recall

116.52 (c)4A - Explain the relationship between physical fitness and health, 116.52 (c)4D – Compare and Contrast healthrelated and skill-related fitness,

117.315 (c)2F - create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms.

(c)4G – design and implement a personal fitness program 116.52(c)5A – Investigate positive and negative attitudes towards exercise and physical activities, 116.52(c)5D – Analyze the relationship between sound nutritional practices and physical activity, 116.52(c)5F – analyze methods of weight control such as diet, exercise, or combination of both.

§110.47 (b) Knowledge and skills. (8) The student formulates and supports responses to a wide variety of texts. The student is expected to: (B) respond to text in multiple ways such as discussion, journal writing, performance, and visual/symbolic representation;

§117.315. Theatre (c) Knowledge and skills. (1) Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre. The student is expected to: (A) understand the value and purpose of using listening, observation, concentration, cooperation, and emotional and sensory recall (4) Historical and cultural relevance. The student relates theatre to history, society, and culture. The student is expected to: (B) relate historical and cultural influences on theatre

§115.32 (16) Personal/interpersonal skills. The student appraises communication skills that show consideration and respect for self, family, friends, and others. The student is expected to: (A) apply communication skills that demonstrate consideration and respect for self, family, and others; B) demonstrate empathy towards others

§117.315. Theatre, Level Grade 9 (4) Historical and cultural relevance. The student relates theatre to history, society, and culture. The student is expected to: (A) portray theatre as a reflection of life in particular times, places, and cultures;

§113.46. Sociolgy (13) Social institutions. The student identifies the basic social institution of the family and explains its influences on society. The student is expected to: (A) define the functions and rituals of the family and how the family has changed over time;

§117.315. Theatre, Level I (1) Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre. The student is expected to: ( J) identify the principles of improvisation; (A) understand the value and purpose of using listening, observation, concentration, cooperation, and emotional and sensory recall

Study Guide

Provided Resources for All Activities

The Feminine Mystique

Following is an excerpt from The Feminine Mystique by Betty Friedan. The problem lay buried, unspoken, for many years in the minds of American women. It was a strange stirring, a sense of dissatisfaction, a yearning that women suffered in the middle of the twentieth century in the United States. Each suburban wife struggled with it alone. As she made the beds, shopped for groceries, matched slipcover material, ate peanut butter sandwiches with her children, chauffeured Cub Scouts and Brownies, lay beside her husband at night -- she was afraid to ask even of herself the silent question -- "Is this all?" For over fifteen years there was no word of this yearning in the millions of words written about women, for women, in all the columns, books and articles by experts telling women their role was to seek fulfillment as wives and mothers. Over and over women heard in voices of tradition and of Freudian sophistication that they could desire no greater destiny than to glory in their own femininity. Experts told them how to catch a man and keep him, how to breastfeed children and handle their toilet training, how to cope with sibling rivalry and adolescent rebellion; how to buy a dishwasher, bake bread, cook gourmet snails, and build a swimming pool with their own hands; how to dress, look, and act more feminine and make marriage more exciting; how to keep their husbands from dying young and their sons from growing into delinquents. In the fifteen years after World War II, this mystique of feminine fulfillment became the cherished and self-perpetuating core of contemporary American culture. Millions of women lived their lives in the image of those pretty pictures of the American suburban housewife, kissing their husbands goodbye in front of the picture window, depositing their stationwagonsful of children at school, and smiling as they ran the new electric waxer over the spotless kitchen floor. They baked their own bread, sewed their own and their children's clothes, kept their new washing machines and dryers running all day. They changed the sheets on the beds twice a week instead of once, took the rug-hooking class in adult education, and pitied their poor frustrated mothers, who had dreamed of having a career. Their only dream was to be perfect wives and mothers; their highest ambition to have five children and a beautiful house, their only fight to get and keep their husbands. They had no thought for the unfeminine problems of the world outside the home; they wanted the men to make the major decisions. They gloried in their role as women, and wrote proudly on the census blank: "Occupation: housewife."

Teacher Reference

Scene Rubric

Canada

Capitalism Principles

Ireland Hamburger

Germany Hockey

Scotland Mechanical Clock

China St. Patrick Day

(The Rough and Rowdy Ranglers) Rambunctious Roxy, and Roping Rhonda burst through a brick wall RHONDA & ROXY Get Rowdy Rambunctious Roxy, and Roping Rhonda Flying and Flipping through The Air. Alternating Lines While Jumping up to the camera (need Trampolines) ROXY Hey yall I’m Rambunctious Roxy RHONDA And I’m Roppin Rhonda ROXY Do you want to be as High RHONDA Flying as the Rowdy and Rough ROXY Wranglers? RHONDA Then buy our Workout and Diet plan and ROXY Become the most rootin tootin wrestler RHONDA around ROXY Our workout consists of intense Cardio RHONDA And weightlifting to ensure you can ROXY Fly above the competition. RHONDA Our Plan includes high carb recipes ROXY That help our muscles endure RHONDA High impact for long periods of time Stops Jumping ROXY So if you want to learn how Ole Roxy and Rhonda can perform the Freight Train RHONDA Then buy the best Workout and diet plan in the west

Dislocation: You have moved to an entirely new place and must ask a group around you to give you one way to change your tradition. Example: Groundhogs day started by clergymen deciding when they would distribute candles for the winter so they used a hedgehog to determine that. When German settlers came to America there were not native hedgehogs, only native groundhogs. Thus sparking the tradition today. Simplifying: You have all decided that your tradition is way too complicated and can’t fit in your current lifestyle. Choose 1 thing from your tradition and keep that. Get rid of everything else. Example: Standing used to be completely required when a Woman entered the room no matter what the setting. Now It is only necessary to do so during business meanings, or sometimes not at all. Prosperity: You have come into much wealth and good fortune leading to an easier lifestyle and more free time. Add something of your choice to your tradition. Example: Halloween is essentially the day where spirits and demons can cross into our world, only recently and only in America has it been romanticized in the way we know it today. Technology: You must now use an item in your tradition! Grab the first item you can think of and it now becomes essential to your tradition. Example: The Presidential Election is only ever held on Tuesdays because many people used to have to travel at least a day to vote, and it couldn’t be held on Sunday because of the Sabbath, and We dnesdays was “Market Day” to go buy and sell produce so it was decided it would be Tuesday.