Learning Guide
From the
Director of Education
Dear Parents, Artists and Educators: For those of you who have previously attended performances or workshops at Adventure Stage Chicago you know that one of our biggest goals is to start multi-generational conversations and to provide resources and support that will keep those conversations going long after you leave the theater. We hope the stories we tell will inspire audiences to reflect on their own lives, question boundaries and inspire imaginative thinking. Through reflecting, questioning and imagining we can uncover hidden springs of reason and empathy that can make us all better community members and citizens of the world. That is the transformative power of quality theatre. And we all know that quality theatre’s foundation is quality stories. This is why we are so excited to be sharing Six Stories Tall with audiences this fall. Marco Ramirez’s collection of six short plays contains so much humor, music, heartbreak, and magic that we know audiences will Merissa Stewart revel in each story. With a multi-racial Director of Education cast and a Chicago merissa@adventurestage.org setting we hope that students can see themselves reflected in the characters and the unique challenges they must face. As always, our goal with this guide is to give you tools to aid you in your exploration. Two years ago we unveiled our “ASC Fieldtrip Experience.” The experience incorporates the many services we offer to make your trip to ASC smooth, fun and educational. The moment you book a trip to see one of our shows, we send you this guide as a resource to help you begin preparing your students. On October 19th we will offer a professional development workshop to demonstrate activities and outline how to best use the guide (more information on the back cover). After every performance we conduct a curtain conversation to guide the audience into a deeper discussion of the play and give them a chance to ask their questions of the cast. After you leave the show you can use the follow up activities and discussion questions in this guide as a reference tool, in addition to our online resources that allow your students to respond to the play and further interact with the cast. We hope that each component of our fieldtrip experience helps inspire you and offers you the support you need to continue the great work you are doing with your kids in school and at home. We offer you our support as you begin this journey! We urge you to go to our website for more activities, downloadables, and cast information. If you have any questions, comments or suggestions regarding the guide, we’d love to hear them. Thank you for being a part of our ASC community, we look forward to seeing you at the theater!
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From the
Director of Six Stories Tall
Six stories tall. When you hear that title, what images does it evoke? A ladder, maybe. Or a building. Are you standing at the bottom looking up at it or are you on top of it looking down at a view that can only be enjoyed from up high? It makes me wonder what kind of courage it takes to scale that height. How would I get up there? Would I use the stairs? The elevator? The fire escape? Or would I instead use my superpowers and climb the side of it using only my hands and feet like Spiderman or fly to the top like Superman? The gift that Marco Ramirez has given us with Six Stories Tall is the joy derived from the power of youthful imagination and the conceit that young people can be superheroes, guardians and saviors. Through six uniquely wrought adventures we see a boy save a mermaid, a girl defeat the devil at the crossroads, another boy become Batman, another girl defeat a legendary monster relying on video game skills, a boy and a girl invent a musical language together, and a boy express his love for his grandfather by literally changing the world. I love these kinds of stories (and I hope you do, too) because they make me feel strong. They make me feel heard. They make me feel capable. We deserve the opportunity to imagine ourselves capable of feats of unbelievable strength, stamina, skill and sacrifice. This is the power of good storytelling. To transport the listener to another time and place where they can put on the shoes of the hero and be a hero themselves. These kinds of stories also succeed in making me feel connected to something or someone else. Maybe it’s the playwright to whom I am grateful for giving us this gift. Maybe it’s the actors on stage who mesmerize me with their talent and inspire me to want to play the way they play. Maybe it’s all those other people in the room who are watching with me. Are they feeling the same feeling as me? Are we all connected? And maybe there’s something bigger still. A world beyond the dark theatre in which stories have real power – the power to unite, the power to change, the power to inspire. Thank you for coming to see Six Stories Tall. It has been incredibly fulfilling to work with these stories and prepare them for your enjoyment. Hopefully they will spark something in you, too, and you’ll be using your imagination to climb to unheard of heights! Cheers, Tom Arvetis
Tom Arvetis Producin Artistic Director tom@adventurestage.org
Table of Contents INTRODUCTION Directors’ Letters
1
Table of Contents
2
ON THE STAGE
Synopsis of the Play
3-4
Spotlight on the Movement Director, Stephanie Paul
5-6
IN THE CLASSROOM Starting Points - Themes, Questions & Quotes
7-8
Putting the Play into Context
9-10
Arts Integrated Activities
11-12
AT THE THEATER Acknowledgements & Recommended Resources
13
Coming to our Theater & Directions
14
BACK COVER
Upcoming Events
www.adventurestage.org
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Synopsis of the Play Please see our website for a downloadable version of this synopsis in Spanish! You will encounter the following words in both the synopsis and the play: UÊ Abuelo/a: the Spanish word for grandfather or grandmother. UÊ Improvisation: to invent, compose, or perform something with no preparation. UÊ LLiÀ Ã : made up nonsense words
Sirena
Day 1 – While Tomas is busy throwing notes into the ocean he is startled by Sirena peering out from behind the rocks. Tomas is curious about this girl he doesn’t recognize who seems so different from the village girls. He explains to Sirena that because the people from his town are starving they write their wishes on pieces of paper in hopes that the Ocean Gods will provide. It is Tomas’ job to throw their notes into the ocean even though he doesn’t believe it will work. Sirena asks why he bothers to throw them and he admits that he does it just in case there might be some truth to them. Day 2 – Tomas returns with more notes to toss. Sirena begins reciting some of the past messages from memory and Tomas doesn’t understand how she has read them. Sirena reveals to Tomas that she is a mermaid. Day 3 – Tomas returns to the beach to see Sirena and confesses that he wants to be with her. Sirena explains that he isn’t the first boy to fall for her before but it is impossible for them to be together. Day 4 – Tomas explains to Sirena that the famine is getting worse and people are dying. Sirena is afraid when she discovers that Tomas told his mother about her. Suddenly, hungry townspeople storm onto the beach hoping to capture and eat the mermaid. Tomas tries to stop them and Sirena tells him she must go.
B Minor
The Visitor- Alfredo gives up life as a musician to become a shoemaker and marry the woman he loves. His wife gives birth to a daughter, Rebecca, and passes away many years later. Many years down the road, a strange visitor comes into town. They know he is strange when he doesn’t break a sweat even in the blistering heat. He asks for Alfredo and says he has come for a challenge of musical improvisation. In this challenge, singers make up the music as they go along and the audience chooses the winner. Alfredo protests and says his musical days are long over. The stranger presses and Alfredo gives in, but eventually he loses his rhythm and the contest. Alfredo and the stranger
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suddenly disappear. Rebecca, Alfredo’s daughter, is so shocked by his disappearance that she stops speaking entirely.
10 Years Later – For years, Rebecca has silently stood on the road looking for her missing father. The townspeople pity her and try to help her. Again, the strange visitor appears and demands another musical challenge. Rebecca has been waiting for his return and speaks for the first time in a decade in order to accept the stranger’s challenge. She asks for her father’s return if she wins. The stranger does not want to accept this challenge, but as Rebecca begins to rhyme he gets pulled into the contest. The Second Challenge – Rebecca is able to rhyme with ease, until she stumbles and resorts to gibberish in order to complete the rhyme. The stranger begins to do the same and the two begin a battle of purely made up phrases. The challenge continues until one is crowned the winner.
I am not Batman
Intro – The boy stands on the edge of an eightyseven story building overlooking the city. He explains that he is Batman and describes his outfit, car and weapons. People respect Batman because he only wants to save people and seek justice. He describes the people of the city he sees below including a drunken janitor who is about to run into a group of good-fornothings. Justice – The boy leaps down and knocks the lights out in the alley. He begins to fight the bad guys until there is one left with a gun. The janitor is afraid and the Batman boy is his only hope. He defeats the final bad guy and tells the janitor to go home. End – Swooping from building to building, the boy secretly follows the janitor home to make sure he arrives safely.
All the Noises This House Makes
Carbon – Abuela tells the story of a slave boy named Carbon. He is shipped to a strange land and sold to a new owner. He is put under the control of the Orderer, who screams commands at Carbon in a language Carbon doesn’t understand. Carbon learns to watch body language to learn what he must do to keep everyone happy. He is mistreated, overworked and forced to sleep in the basement of his new owner’s house.
Emilia – Abuela then tells of a girl named Emilia who lives a life of luxurious confinement. Like Carbon’s life of slavery, her life of privilege offers no freedom and she is always kept in the sheltered house. She is forced to take singing lessons from a cruel Voice Instructor. When Emilia doesn’t want to hit a high note he yells and leaves Emilia in tears.
Lupe and the Red Line Monster – In the distance, two loud roars are heard. Lupe remembers what her cousin Marta Elena told her about the time the train stopped and the so called “Red Line Monster” appeared and ate her friend Patty. Lupe doesn’t want to believe the story until suddenly the real Red Line Monster appears.
Together – Carbon hears Emilia crying above his basement prison. He taps one of the metal pipes and Emilia hears it. Carbon begins to tap out rhythms and uses various objects to make different sounds. Eventually, Carbon taps out one single note and waits. Emilia hits the note on the piano and discovers it is the same note she refused to sing for the instructor. With Carbon’s tapping, Emilia practices her scales and the two begin to improvise making rhythms and songs together. They continue to play music together night after night through the walls.
Chester, Who Painted the World Purple Intro –Chester explains that he loves his Abuelo (grandfather) more than anything in the world. His Abuelo is always losing things like his pillow or his cap and Chester always helped him find them. Chester’s Abuelo likes baseball and loves to watch it on television. Abuelo tells stories about when he used to play baseball in his youth even though the stories are always changing.
Meeting – Emilia decides she must meet Carbon, so she steals the keys to the basement and sneaks in. Carbon can not understand her language and Emilia is shocked at the state of the basement where he lives. Music brings them together again as he shows her how he makes the music and she happily sings along.
Purple – Chester sneaks out and goes to the store to buy cans of purple paint, since purple is the only color Abuelo can still see. The Store Clerk is suspicious about why Chester needs so much, but sells it to him anyway. Chester returns home at noon just as Abuelo lays down for a nap. While he sleeps Chester paints the entire apartment and all the things in it purple. Abuelo wakes up and is able to see all the objects that were painted purple. But when he turns on the TV he is disappointed and confused that he can’t see anything on the screen.
End – The Orderer discovers the two together and is furious. He separates the two and sends Carbon back to the ship and away from Emilia.
Lupe and the Red Line Monster
Lupe –Warrior One and Warrior Two are fighting each other in Lupe’s handheld video game. Warrior Two wins and the game is over. Lupe is mad that she can never get the moves right for Warrior One to win the game. She is only eleven years old but she often rides the train alone twentythree stops home while her mother is at work. Suddenly, the train stops. While she waits for the train to start again, Lupe returns to her game. She is about to finally defeat Warrior Two when her battery dies.
The Battle – The F Train Monster takes the place of Warrior Two and challenges Lupe, who steps in Warrior One’s spot. At first Lupe doubts her ability to beat the monster but then she realizes how strong a kid she is and draws on her gaming experience to fight the monster.
Colors – One morning, as they sit down to eat a breakfast of Froot Loops, Abuelo looks in the bowl with confusion. He asks Chester why they stopped making the yellow Froot Loops. Soon Abuelo becomes angry when he can’t see any red ones either. Chester looks in the bowl and sees both red and yellow Froot Loops and realizes his Abuelo is losing his ability to see colors. Abuelo turns on the TV to watch an important baseball game but he has lost so many colors he can no longer see the remote control.
The Field – Chester realizes he must get to the baseball field, so he rushes there and runs into the >Ü Ê ÕÞ who refuses to let him paint the field. Chester explains that his grandfather is going blind and he must do this for him. The lawn guy is touched and relents, letting Chester paint everything purple. Chester finishes painting and rushes home just in time to catch the ninth inning, hoping that the purple paint job worked.
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Most of the young protagonists in Six Stories Tall come from Latin or South American backgrounds. These cultures includes an appreciation of storytelling and oral tradition, an observance of superstitions based on mythical creatures or folk stories, and music that makes participants feel emotionally connected to their places of origin. Many of the characters have learned to assimilate in Chicago while preserving their national cultures. As immigrant populations in major US cities continues to rise, this process of assimilation has led to greater influences on American music, theatre, and literature such as the widespread incorporation of magical realism.
Music Latin America has produced many musical genres by mixing European folk music, African music and native traditions. --Mariachi is a form of folk music from Mexico. It began as small groups of string musicians who wore the traditional dress of local peasant farmers, and has expanded to become a popular party entertainment across Latin America and in the southwestern United States. --Reggaeton is a modern development of multiple Latin American music traditions. First popular in Puerto Rico, reggaeton combines Jamaican dance hall music with Latin American salsa, hip hop, and electronica to create a unique sound and rhythm comparable to rap. Reggaeton is an example of traditional Latino expression developing and changing through Western influence. Stephanie guides a movement activity.
Spotlight on Movement Director Superstitions and Folklore Stephanie --La Llorona, or ThePaul Weeping Woman, is the ghost of a woman to roam thewe night her In eachsaid Learning Guide like searching to spotlightfor one oflost the many people who work behind the scenes to bring a production children, sometimes snatching up disobedient children to the stage. For this spotlight, we have a conversation with movement who have stayed out too late. director Stephanie Paul, whose work aims to create a specific
--El Cucuyworld is a Hispanic superstition that originated in physical for the actors of Six Stories Tall. Portugal and Spain. Otherwise known as the Boogeyman, El Cucuy takes the form of a shadow or ASC: How you on become involvedchildren’s with movement and dance monster anddid waits disobedient roofs to for the theater? kidnap them and eat them.
ASC: Why is movement an important part of the storytelling in Six Stories Tall? Stephanie: There is a larger than life quality to many of these stories and they deserve to be played out in majestic ways. Dance is a way to increase the theatricality of the stories. There are moments when we’ll purposefully choose to keep things small (to highlight the power of both the text and acting) but we will also counter the simple with the grand. I believe that when the body and voice are equally invested the power of the storytelling is always greater.
Stephanie: It kind of happened by accident. In early 2010, Albany Park Theatre Project (Chicago based youth theater company that creates original plays based on people’s real life stories) was looking ASC: How are you planning to handle the magical and fantastic for someone to help them create a piece for their production moments in Six Stories Tall with movement and choreography? “Feast.” The story I was asked to help tell was that of an Albany Stephanie: I plan to continue discovering how the ensemble moves Park-based Lebanese butcher. Our goal was to tell the story as a unit. This play calls for a strong ensemble, not a cast of solo through a seamless blend of traditional storytelling, percussion and stars. I want to see how we as a team can take on these moments. movement. I was recommended because of my multi-disciplinary Tom Arvetis (Director) has talked a lot about tackling the magic with music/ dance work and very quickly realized that my contribution to the bodies in the space versus relying solely on technical elements. the piece had to be integral to the process. We couldn’t stage the This is most certainly a challenge but also exciting because every acting and then plop movement and music on top of it afterwards. Storytelling and Oral successTradition we make will be that much sweeter. I think we will discover a My work couldn’t be the extra “fries on the side.” It had to be part lot about the power of the human body. of the main dish! This was a challenge but itThe also original inspired me. I am Central and South American civilizations—the Aztec and Mayan committed to discovering new ways in which dance can contribute peoples—relied heavily on ASC: the written toget preserve theirfor stories and histories. Where word do you inspiration movement and dance for to storytelling and be a necessary part. The goal is never to distract They carved many messages and records in Specifically stone, and for alsoSix wrote information on but to contribute to the larger whole. a particular play? Stories Tall? My movement inspiration forthe Six Stories comes from animal hides. Unfortunately,Stephanie: when Christian explorers came to area toTall conquer and many places butnatives’ here are writings. a few notable settle, they destroyed the majority of the Thissources: left the citizens of of writing: As I noted earlier I love the young, fresh energy of ASC: What drew you to Six Stories Tall? these former societies with Style nothing but the spoken word and music to maintain the script. It transports me to NYC (specifically Brooklyn and Harlem) Stephanie: I fell in love with the style of the writing. It’s fresh, their traditions and stories. Today, the tradition of everything! with its slang, music, style, contemporary and real. Even though the story lines are occasionally storytelling to preserve the past, butTom really wants to know what his Production Team: farfetched I could feel the truth behind the words and theserves passionnot only Director/ teamcommunicate is inspired by, which is awesome. It’s wonderful to work in poured into them. I grew up outside of NYCto and these stories feelculture and celebrate Latino the simple an environment in which your like home. They are tales of young, urban kids with incredible spirit, and vibrant influence of Latino thinkers in a complex opinion is truly valued. However, I also love knowing what is motivating him and my fellow designers. fight and passion. When I read the script I could see the action multicultural society. We have production meetings as a group and these sessions are unfold right in front of me. That’s the power of great theater. A door invaluable as we are able to be together to brainstorm, discuss and opens and when you walk through it you’re transported to a magical as a team make decisions about the overall direction of the play. new place. Actors: We had a 3 day workshop with many actors (some in the play, some not… but they were all major players in helping us
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discover what this show looks/feels like) and in those few days we learned so much about the possibilities of this production. We did a lot of group improvisation and through that I got a sense of how people moved as individuals, as a team, etc. We played a lot! We also frequently dialogued with the actors, picking their brains to see if they had any ideas and always checking in to see how things felt. Though I trust my instincts, as a movement director it’s essential that I know how the actors feel. If something looks right to me but feels awkward or strange to the movers it’s worth knowing why. ASC: How do you work with directors, designers, and actors? What is your role in the rehearsal room? Stephanie: It can be tricky when you have lots of “captains” (other directors, etc) in the room, but for me it’s important to have confidence in what I bring to the table. Yet, I must also be open to other ideas. You can’t walk into a rehearsal room believing it’s your way or the highway because you then lose the opportunity to have new discoveries and be inspired by others. My job is to have a vision for the movement of this play while also being open to collaboration. That’s what being on a team is all about.
Latinos and Chicago Today The foreign-born population in the United States has tripled in the last four decades, and is currently 12% of the total American populace. This increase in immigration, significantly from Latin and South American countries, can be seen in Chicago with its approximately 28.9% Hispanic population. This strong Hispanic influence can especially be seen in the following Chicago neighborhoods: Humboldt Park (with a large Puerto Rican population); Pilsen, Little Village, and Back of the Yards (with a large Mexican population).
Workshop participants present their devised choreography. ASC: Do you work with the sound designer to decide on the musical world of the play, or are those decisions made by the director? Stephanie: Mikhail Fiksel (Sound Designer), Tom Arvetis (Director) and I very quickly established a feeling of trust and respect for each but since the music relates to everything (movement, acting, etc) it’s other. It’s interesting because all three of us have crossed over into for us to work as a team. each other’s fields at one point in our careers. For example, Mikhail Magicalnecessary Realism has experience in dance choreography and Tom is both a musician Magical realism is a style of writing that combines detailed ASC: What was reality the casting Did you use movement and sound designer. I direct my own multi disciplinary music/dance descriptions of objective with process suddenlike? and often casual company and am also a musician. Ultimately, as Sound Designer, and choreography to audition actors? supernatural occurrences. Magical realism is not simply Mikhail will have the biggest hand in determining the musical world Stephanie: We used the 3 day workshop as a callback and explored fantasy writing because it is as grounded in improvisation a recognizable such things movement (withworld and without with modern conveniences rather than a technique, world withvocal different themes), body percussion scatting, and exploration of magical magical rules. Themovement term wascreation first introduced by a German artmoments in the play. Most of what we did was framed as popularized by Central and Southan exploration Actors collaborate on an improvised movement piece. critic, but was eventually versus an audition. We really just wanted to play together American writers and is oftenasseen as a brainchild ofauditioning the oral actors. and engage people… not directors tradition and storytelling to that Magical Through native the process we area. were of course able to determine skill sets and make casting decisions based on what the realism writers include Gabriel Garcia-Marquez, Isabel Allende, and Joseshow Luis needed Borges.but we wanted it to be a process founded in the development of ensemble (not competition!).
Mythical Creatures
ASC: What images and themes do you hope audiences will leave the show with? Stephanie: These stories all feature young people with strength and purpose. I hope our young audiences are able to take a piece of what they see, reflect on who they are and know that they too can create their own magic. ASC: What advice do you have
--El Cadejo – In Salvadorean, Costa Rican, and southern Mexican folklore, el cadejofor is aspiring young actors, either a black or white large dog with red eyes and goat’s hooves that follows travelers dancers, and choreographers? at night. The white cadejo protects and guides, whereas the black cadejo brings death. Stephanie: Keep a journal and down your ideas/stories/ Sometimes El Cadejo is portrayed dragging a chain, because its name derives fromjot the adventures. It’s great to have Spanish word for chain. a place where you can express
--El Chupacabra – El chupacabra is well-known in Puerto Rican and South Americanyourself without fear of being judged, etc. culture as a bear-like creature with spines on its back that sucks the Take dance, music or acting classes blood from goats and other livestock. The Bigfoot or Yeti of Latino if you can. If not, create on your culture, its myth is so widespread that is has appeared in modern own! Get a group of friends American entertainment on television shows such as “The X Files.” together and make dances or put --El Coqui – While this creature is not imaginary, its mystery has puzzled locals and scientists for years. This species of frog is found only in Puerto Rico, and is known for its beautiful singing. The name “coqui” comes from what the male frogs often sing in the evening, which sounds like “Ko-kee.” The myth states that when the frogs are removed from Puerto Rico they no longer sing. However, Coqui have become invasive species on many tropical Stephanie (center top) addresses the group. islands where their singing has been heard.
on a show for your family & friends. Just have fun. There are no rules!
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Starting Points Themes:
Magical realism, upstanders, unrequited love, secrets, communication, enduring challenges, teamwork, choices and consequences, finding inner strength, helping those in need, family, heritage, magic, Hispanic Americans today, folklore, courage, abandonment, good vs. evil, importance of stories, intergenerational relationships
Prompt Questions: Inquiry Question:
If you’ve been to a show at Adventure Stage Chicago before you know that we start every performance with a question for the audience. We ask them to keep that question in mind as they watch the show and we return to the question afterwards; allowing students, teachers and parents to share observations and draw connections to their own lives. We encourage you to prepare your students for their fieldtrip by investigating the following line of inquiry: UÊ 7 >ÌÊ` iÃÊ ÌÊ i> ÊÌ ÊLiÊ>Ê iÀ ¶Ê (See Ways to Use the Quotes in the Classroom on page 8 for a short activity that will help you explore this concept). In addition to the line of inquiry we will investigate at the theater, here are some prompt questions you can use to prepare for the performance and to follow up and continue the conversation.
Pre-Show Questions: 1. What challenges do you have as kids today in Chicago? 2. What are adults’ expectations/assumptions/stereotypes for kids your age? 3. In what ways is it possible to communicate without language?
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Post-Show Questions: 1. Which characters did you identify with the most? Why? 2. In each story the main character had to make a choice, what were their challenges and how did they overcome them? 3. What were the various ways that music was used to communicate in the stories?
Quotes:
Sirena 1. “Wishes. In each wish there’s a story.” (Tomas, p. 5) 2. “Mermaids live as long as the ocean lets them. Nothing interrupts that.” (Sirena, p. 10) 3. “ ‘Cause you’re real. ‘Cause there’s no reason to cry. ‘Cause you’re beautiful.” (Tomas, p. 11) 4. “And so I’m not writing like the others are writing. I’m not writing to ask…I’m writing to thank you. Thank you for letting me love her…” (Tomas, p. 13) B Minor 5. “Even in the sweltering, blistering heat, the man did not sweat.” (Townsperson, p. 17) 6. “And sometimes she stands out on the road, staring off into the distance, calling for her missing father, not with her voice, but with her eyes.” (Townsperson & Musician, p. 23) 7. “And that girl, that poor girl his daughter…All alone – His daughter – Pobrecita, -” (Townspeople, p.24) 8. “You’ve never met a girl with thunder in her heart, behind her soul…” (Rebecca, p. 27) I am not Batman 9. “ ‘Cause they got nothing but respect, and not like afraidrespect. Just like respect-respect. ‘Cause nobody’s afraid of you. ‘Cause Batman doesn’t mean anybody no harm.” (Boy, p. 34) 10. “And the one good-for-nothing left standing grips a handgun and aims straight up, like he’s holding the stars hostage, like maybe he’s threatening to blow a hole in the moon.” (Boy, p. 36) 11. “And I lean over and open my window just a crack…If you look up high enough you could see me. And from where I am?.. I could hear everything.” (Boy, p. 40)
All the Noises This House Makes 12. The sounds of creaking wood, crashing waves, quiet whispers. He remembered ropes and chains, a baby crying louder, And the sick ones got thrown overboard.” (Abuela, p. 42) 13. “And they’d keep him here the same reason they’d keep the rakes and the axes, Because tools are always better without rust. And everything there was sharp. And everything was cold.” (Abuela, p. 44) 14. “Her life was this house. This room. These walls. And nothing more.” (Abuela, p. 45) 15. “With a single sound, this becomes more than the story of a boy and a girl. With a single sound, this becomes the story of the house that invented music.” (Abuela, p. 47) Lupe and the Red Line Monster 16. “A kid like Lupe had to figure a lot of stuff out on her own. So Lupe rode the train by herself. A lot. Lupe was a nice kid, a good kid, but Lupe had done nothing extraordinary her whole life.” (Narrator, p. 53) 17. “And it’s in the window behind her and it’s just looking at me, like straight at me, and it’s got these eyes, like huge, and it’s got these fang-teeth things, like huge…” (Marta Elena, p. 57) 18. “If you thought the extraordinary thing was that Lupe was gonna beat the videogame, you’re wrong. This story is bigger than that.” (Narrator, p. 58) 19. “You’re the one I was born to battle.” (Lupe, p. 60) Chester, Who Painted the World Purple 20. “He liked lots of stuff: baseball cards, skateboarding shows on TV, SuperSour Apple Bubblicious, but most of all? Most of all what Chester liked, was his grandfather.” (Yennifer, p. 65) 21. “Today’s game is the most important game of the season. Maybe of the decade. Maybe of my life.” (Abuelo, p. 70) 22. “He lost yellow, then he lost blue, then red, then orange, then green, and all he has is purple.” (Chester, p. 73) 23. “Like, yes, if his own mother was alive, that’s exactly what she’d want him to do. And he didn’t know it, but his mother, who was in another place, smiled for the first time in years, and she was very proud of him when she heard him say this one word: Fine.” (Yennifer/Lawn Guy, p. 74) 24. “Everything… Everything turned off.” (Abuelo, p. 75)
Ways to Use these Quotes in the Classroom:
1. After reading the synopsis, hand out one quote to each student and then ask them to sort themselves by story (for example, the Tomas and Sirena quotes would be handled by the same group, as would those of Lupe and Marta Elena, Chester and Abuelo, etc.). Each student takes a turn reading their quote aloud to the group. Then the group tries to place their quotes in the order they think they occur in the story. (You may want to hand out the synopsis to the groups to help them order their quotes.) 2. Share the following quotes with the class: #4, #8, #9, and #19. Explain that each of these is a quote from a young hero who overcomes obstacles to accomplish a goal or to make life better for someone else. Brainstorm the characteristics of a hero from these four quotes. As a follow-up you can download the Create Your Own Superhero worksheet from our website. 3. After reading the synopsis, hand out the quotes, one per student, with the speaker’s name folded over. Students should read the quotes and decide if they think the speaker or subject of the quote is old or young. Then explain that there is a line down the center of the room with 0 years of age at one end and 100 years of age at the other end. Ask students to stand along the imaginary line at the point they feel represents the age of their speaker/subject. Instruct students to reveal the speaker’s name and determine if they still feel they are standing at the right point along the age spectrum. If they are unsure return to the synopsis and let the group discuss and determine the best position. Younger characters: Tomas, Rebecca, Boy, Lupe, Marta Elena, Yennifer, Chester, Sirena(?) Older characters: Abuela, Abuelo, Lawn Guy, Stranger/The Man, Sirena(?) 4. Hand out one quote per student (some students may get the same quote). Ask students to read their quote and then illustrate the quote with their quote incorporated into their illustration. If they don’t know the context of their quote they can invent a context. After watching the play students should present their illustration to the group and explain the inferences they made about the quote and how well their illustration fits or doesn’t fit into the context of the play.
www.adventurestage.org
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Putting the Play into Context: A Cultural Journey/Un Viaje Cultural Most of the young protagonists in Six Stories Tall come from Latin or South American backgrounds. These cultures includes an appreciation of storytelling and oral tradition, an observance of superstitions based on mythical creatures or folk stories, and music that makes participants feel emotionally connected to their places of origin. Many of the characters have learned to assimilate in Chicago while preserving their national cultures. As immigrant populations in major US cities continues to rise, this process of assimilation has led to greater influences on American music, theatre, and literature such as the widespread incorporation of magical realism.
Music Latin America has produced many musical genres by mixing European folk music, African music and native traditions. --Mariachi is a form of folk music from Mexico. It began as small groups of string musicians who wore the traditional dress of local peasant farmers, and has expanded to become a popular party entertainment across Latin America and in the southwestern United States. --Reggaeton is a modern development of multiple Latin American music traditions. First popular in Puerto Rico, reggaeton combines Jamaican dance hall music with Latin American salsa, hip hop, and electronica to create a unique sound and rhythm comparable to rap. Reggaeton is an example of traditional Latino expression developing and changing through Western influence.
Superstitions and Folklore
--La Llorona, or The Weeping Woman, is the ghost of a woman said to roam the night searching for her lost children, sometimes snatching up disobedient children who have stayed out too late. --El Cucuy is a Hispanic superstition that originated in Portugal and Spain. Otherwise known as the Boogeyman, El Cucuy takes the form of a shadow or monster and waits on disobedient children’s roofs to kidnap them and eat them.
Storytelling and Oral Tradition The original Central and South American civilizations—the Aztec and Mayan peoples—relied heavily on the written word to preserve their stories and histories. They carved many messages and records in stone, and also wrote information on animal hides. Unfortunately, when Christian explorers came to the area to conquer and settle, they destroyed the majority of the natives’ writings. This left the citizens of these former societies with nothing but the spoken word and music to maintain their traditions and stories. Today, the tradition of storytelling serves not only to preserve the past, but to celebrate Latino culture and communicate the simple and vibrant influence of Latino thinkers in a complex multicultural society.
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Latinos and Chicago Today The foreign-born population in the United States has tripled in the last four decades, and is currently 12% of the total American populace. This increase in immigration, significantly from Latin and South American countries, can be seen in Chicago with its approximately 28.9% Hispanic population. This strong Hispanic influence can especially be seen in the following Chicago neighborhoods: Humboldt Park (with a large Puerto Rican population); Pilsen, Little Village, and Back of the Yards (with a large Mexican population).
Magical Realism
Magical realism is a style of writing that combines detailed descriptions of objective reality with sudden and often casual supernatural occurrences. Magical realism is not simply fantasy writing because it is grounded in a recognizable world with modern conveniences rather than a world with different magical rules. The term was first introduced by a German art critic, but was eventually popularized by Central and South American writers and is often seen as a brainchild of the oral tradition and storytelling native to that area. Magical realism writers include Gabriel Garcia-Marquez, Isabel Allende, and Jose Luis Borges.
Mythical Creatures --El Cadejo – In Salvadorean, Costa Rican, and southern Mexican folklore, el cadejo is either a black or white large dog with red eyes and goat’s hooves that follows travelers at night. The white cadejo protects and guides, whereas the black cadejo brings death. Sometimes El Cadejo is portrayed dragging a chain, because its name derives from the Spanish word for chain. --El Chupacabra – El chupacabra is well-known in Puerto Rican and South American culture as a bear-like creature with spines on its back that sucks the blood from goats and other livestock. The Bigfoot or Yeti of Latino culture, its myth is so widespread that is has appeared in modern American entertainment on television shows such as “The X Files.” --El Coqui – While this creature is not imaginary, its mystery has puzzled locals and scientists for years. This species of frog is found only in Puerto Rico, and is known for its beautiful singing. The name “coqui” comes from what the male frogs often sing in the evening, which sounds like “Ko-kee.” The myth states that when the frogs are removed from Puerto Rico they no longer sing. However, Coqui have become invasive species on many tropical islands where their singing has been heard. pg 10
Arts-Integrated Activities Trapped!
Story Rap
Objectives: Students will get on their feet and use their imaginations and found objects to escape a make-believe trap.
Objectives: Students will practice storytelling, rhythm, listening and rhyming skills to create a collaborative group rap.
Learning Standards: ISBE: Fine Arts: 25.A.3b, 26.B.3b & Social Emotional Learning: 1.C.3a, 3.B.4a
Learning Standards: Common Core English Language Arts: L.6.3, SL.6.6 ISBE: SEL 1.A.3b, 1C.3b, 1C.4b, 2C.3b & Fine Arts: 26.B.3c (music)
Materials: A random group of everyday objects (office supplies, coat hanger, etc.) Procedure: 1. Group students in a circle. 2. Tell them that one person will always be in the center of the circle with one of your found objects. The person in the center is “trapped,”, and it is up to that person—without speaking—to show how they will creatively use the object to escape the trap. 3. When one person manages to escape, they hand the found object to a new person, who must then figure out a new way to use it in order to get out. Feel free to switch objects as often as desired. 4. The warm-up ends when every student has escaped the trap. For a large group, more than one student can be in the center at a time and work together to escape using the same object.
Materials: none Procedure: 1. The group stands in a circle and the teacher begins the story with a short line. It is important that the line end with a simple word that is easy to rhyme with (i.e. cat, on, know, etc.) 2. The next person in the circle must continue the rhythm that the teacher set and add a line onto the story that ends with a word that rhymes with the previous line. 3. Story continues around the circle until it reaches the teacher. When you first try this activity you may want to focus on establishing consistent rhythms and rhymes before you worry about a story plot that makes sense. 4. Once you have gone around the circle a few times creating stories tell the kids that if they can anticipate the last word of the sentence while they listen to their classmates they are welcome to chime in and say the word with them (ala Beastie Boys).
Message in a Bottle Objectives: Each student will write a message about an imaginary voyage that has left them stranded on an island or in a foreign country of their choosing. They will incorporate clues about their journey that will allow the receiver of the message to pinpoint their location. Learning Standards: Common Core English Language Arts: RL6.1, W.6.3, W.6.4, W.6.7 ISBE: Social Sciences: 17.A.2a, 17.A.2b Materials: UÊ 7 À `Ê >«ÃÊ> `Ê>Ì >Ãià UÊ VÞV «i` >ÃÊ> `ÊÌÀ>Ûi ÊL à UÊ *>«iÀÊ> `Ê«i ÃÉ«i V à UÊ * >ÃÌ VÊL ÌÌ iÃÊÜ Ì ÊV>«ÃÊ iÊ«iÀÊÃÌÕ`i Ì® Procedure: 1. Tell the students that each of them is going to write a tale about an imaginary adventure or trip that has left them stranded on a desert island or on the coast of a foreign country. Explain that the only chance for rescue or returning home is to write a message, put it in a bottle, and put the bottle in the water, with the hope that someone will find it. 2. Brainstorm the kind of information they should include in their tales. For example, they might want to explain who they are, where they were going when they got stranded/lost, where they came from, and how they were traveling. They should also include information about where they landed, such as the climate, what plants and animals they have seen, and how they are surviving or living. Record their suggestions on the board. 3. When the students are ready to begin writing, make maps, atlases, encyclopedias, and/or travel books available to them. They can refer to these if they need help planning their trips or spelling names they will want to include in their messages. 4. When students have finished writing, have them place their messages in their plastic bottles and seal them with the cap. Collect the bottles and hand them out to different students. 5. Give students time to read the messages in the bottles and decipher the location of the mystery writer. Again, make maps, atlases, encyclopedias, and travel books available. Then have each student present their findings, including where they think their message writer is stranded and the reasons why. Verify with the message writers whether or not the guessing student is correct.
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Mythical Creature Mash-Up Objectives: Students will decorate a mythical creature of their choosing. The creatures will then be cut apart and their bodies will be re-combined to make a totally new monster for students to name and describe. Learning Standards: ISBE: Fine Arts: 26.B.3d & Common Core English Language Arts: W.6.2 Materials: UÊ ÞÌ V> ÊVÀi>ÌÕÀiÊV À }ÊÌi « >ÌiÃÊ` Ü >`>L iÊ i® UÊ ÞÌ V> Ê Ài>ÌÕÀiÊMash-Up Worksheets (downloadable online) UÊ ÀÌÊÃÕ«« ià (crayons, markers, colored pencils, other embellishments) UÊ -V Ãà Àà UÊ />«i UÊ *i É«i V Procedure: 1. Download the various mythical creature coloring templates and print enough for the entire class. 2. Have students choose one template to color and decorate using art supplies. 3. When the creatures are fully decorated, cut along the two horizontal lines through each template and organize the new pieces by body part: one pile for heads, one for middle of body, and one for feet. 4. Have students choose one body part piece from each pile and tape along the edges on the back of the sheets to create a new monster mash-up. 5. Download the Mythical Creature Mash-Up Worksheet from our website and have each student write a bio using the prompts and then present their imaginary creature to the class.
Step 1 decorate a template
Step 2 cut along the 2 horizontal lines and mix up the pieces
Step 3 tape the three parts together to create a new creature!
tip: to give your new creatures a more cohesive look, don’t decorate the background until you have completed step 3
activities For more s, nloadable and dow website: r u o o t please go tage.org s e r u t n e v www. ad
www.adventurestage.org
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Acknowledgements: The content of this Learning Guide was shaped and edited by Merissa Stewart, Alex Benjamin and Amanda Pintore, who would like to thank Dani Bryant, Sarah Beth Weinberg and Mary Sturgis for their assistance! The guide’s layouts & cover were designed by Eric Tuttle / tuttlecreative.com. The cover art is by Ben Rumback.
Recommended Resources For Further Investigation: Fiction: UĂŠ Abuela by Arthur Dorros. This heartwarming tale is a great example of magical realism and would be a fantastic read-aloud book your students could share with lower grade students. UĂŠ The Day it Snowed Tortillas by Joe Hayes. This collection of folktales in both English and Spanish has many fantastic short stories full of clever tricksters and magical realism. UĂŠ The Indian in the Cupboard by Lynne Reid Banks. This classic tale is a great example of magical realism set in an urban environment. Check out the movie after you read the book! UĂŠ When TĂa Lola Came to Stay by Julia Alvarez. This colorful story is about the time troubled pre-teen Miguel’s quirky, charismatic, and possibly magical Aunt Lola arrives from the Dominican Republic for an extended stay, ensuring that his life will never be the same again. Non-Fiction: UĂŠ My Name is Gabito by Monica Brown. This is a child friendly biography of Colombian writer Gabriel Garcia Marquez, who popularized magical realism throughout the world. UĂŠ A Kid’s Guide to Latino History: More than 50 Activities by Valerie Petrillo. Hands-on activities, games, and crafts that explore the diversity of Latino culture and teach children about the people, experiences, and events that have shaped Hispanic American history. UĂŠ Extraordinary Hispanic Americans by Cesar Alegre. Real-life stories of Hispanic struggle, achievement, victory, and sometimes loss.
Websites: The Mexican Museum of Art, Chicago IL: www nationalmuseumofmexicanart.org These sites contain collections of Latino folklore, including mythical creatures such as El Chupacabra: UĂŠ ĂœĂœĂœÂ°}ÂœĂƒÂœĂ•ĂŒÂ…>“iĂ€ÂˆV>°>LÂœĂ•ĂŒÂ°VÂœÂ“Ă‰Âœ`ÉvÂœÂ?ÂŽÂ?ÂœĂ€iÉ ĂžĂŒÂ…ĂƒĂš ÂœÂ?ÂŽÂ?ÂœĂ€iĂš >}ˆVÚÊ ĂŠ >˜`Ăš ÂœÂ˜ĂƒĂŒiĂ€ĂƒÂ°Â…ĂŒÂ“ UĂŠ ĂœĂœĂœÂ°>“iĂ€ÂˆV>˜vÂœÂ?ÂŽÂ?ÂœĂ€i°˜iĂŒĂ‰vÂœÂ?ÂŽÂ?ÂœĂ€iÉÂ?>ĂŒÂˆÂ˜Â‡>“iĂ€ÂˆV>˜‡vÂœÂ?ÂŽÂ?ÂœĂ€iÉ These sites include information about the origins of Latin American music and dance: UĂŠ ĂœĂœĂœÂ°Ă€iĂ›iÂ?ĂƒÂ‡LiÞ°VÂœÂ“Ă‰Â…ÂˆĂƒĂŒÂœĂ€ĂžĂšÂœvĂšÂ?>ĂŒÂˆÂ˜ĂšÂ“Ă•ĂƒÂˆVÂ°Â…ĂŒÂ“ĂŠ UĂŠ ĂœĂœĂœÂ°ĂƒV>ÀÕvw°VÂœÂ“Ă‰Â…ÂˆĂƒĂŒÂœĂ€ĂžĂ‰Â?>ĂŒÂˆÂ˜Â°Â…ĂŒÂ“Â? for a new spaceship bound society.
Movies: UÊ Honey I Shrunk the Kids (1989) rated PG A preoccupied inventor creates an electro-magnetic shrinking machine that accidentally shrinks his kids down to one-quarter-inch tall. When the kids get swept into the trash, they try to make their way home through the jungle of their own backyard. UÊ The Sorcerer’s Apprentice (2010) rated PG Balthazar Blake is a modern-day sorcerer defending Manhattan against dark forces. When a seemingly average kid shows hidden potential, Balthazar takes his reluctant recruit on a crash course in the art and science of magic revealing that the real world is far more magical than he ever knew. UÊ The Water Horse: Legend of the Deep (2007) rated PG On the edges of war a lonely young boy discovers a large, mysterious egg along the shores of Loch Ness. He soon discovers that the strange, mischievous hatchling inside is none other than The Water Horse, the loch’s most mysterious and fabled creature.
Adventure Stage Chicago acknowledges the following sources for information and images included in this guide: p. 3-4 emilymews.files.wordpress.com/2008/10/message-in-a-bottle. jpg, iwaffena.deviantart.com/art/The-Little-Mermaid-292952214, afrocityblog.wordpress.com/tag/health-and-the-elderly/, www. dulwichcobblers.com/shoe-repair-srvices/, www.denversuzukistrings. com/NewFiddlerModified2in.jpg, marvelmania.deviantart.com/art/ Batman-at-Night-Silhouette-196320819, h2g2.com/h2g2/blobs/ ĂƒĂ•ÂŤiÀ…iĂ€ÂœĂšyĂžÂˆÂ˜}Ăš>VĂ€ÂœĂƒĂƒĂšĂƒÂŽĂžÂ?ˆ˜i°Â?ÂŤ}]ĂŠ}>ˆÂ?`>Ă›ÂˆĂƒ>Ă€ĂŒÂ°LÂ?Âœ}ĂƒÂŤÂœĂŒÂ°VÂœÂ“Ă‰]ĂŠ www.couragelongisland.org/questions-and-answers/food-matters, v>À“nÂ°ĂƒĂŒ>ĂŒÂˆVyˆVŽÀ°VÂœÂ“Ă‰Ă‡Ă¤{nÉÇ£{änÎÇÓΣÚÓLnV>ĂŽ>Çvn°Â?ÂŤ}]ĂŠĂœĂœĂœÂ° cs4fn.org/vision/images/monster.jpg, www.photo-dictionary.com/ phrase/5692/paint-can.html, http://en.wikipedia.org/wiki/Baseball p. 7-8ĂŠ}Â?>ĂƒĂƒÂœvv>˜VÞ°VÂœÂ“Ă‰ĂœÂŤÂ‡VÂœÂ˜ĂŒiÂ˜ĂŒĂ‰Ă•ÂŤÂ?Âœ>`ĂƒĂ‰Ă“Ă¤ÂŁĂ“Ă‰Ă¤ĂˆĂ‰L>ĂŒĂšÂŽÂˆ`Ăš LÞÚ>˜`Ăžv>ÂˆĂ€Â…Ă•Ă€ĂƒĂŒÂ‡`xä`nÂ“ĂˆÂ°Â?ÂŤ}]ĂŠ LĂ•iÂ?>ĂŠÂŁ\ĂŠĂœĂœĂœÂ°Li>ĂŒĂ€ÂˆĂƒLĂ•Ă€}œˆ˜° com/2010/04/blog-post.html Mural 2: rafaellopezbooks.blogspot. com/2012/04/new-childrens-mural.html 9-10ĂŠV`˜x°vÂœĂŒÂœĂƒi>Ă€V…°VÂœÂ“Ă‰LĂŒÂ…Ă•Â“LÉ ,*É ,*ÂŁÂŁĂˆĂ‰ `ÂœLiĂš °Â?ÂŤ}]ĂŠ www.buzzle.com/img/articleImages/54924-38.jpg, mrjam.typepad. com/photos/uncategorized/2008/08/26/storytelling.jpg, hogwartsexperience.heavenforum.org/t3782-hogwarts-ghosts, images. i`Փ>Ă€ĂŒÂ°VÂœÂ“Ă‰Ă˘ÂœÂœÂ“Ă‰/ ÚÎÎ䣰Â?ÂŤ}]ĂŠĂœĂœĂœÂ°ÂœvwVˆ>Â?ÂŤĂƒ`ĂƒÂ°VÂœÂ“Ă‰Â“iÀ“>ˆ`Â‡ĂŒ>ˆÂ?‡ PSD52635.html, www.relevantclassroom.com/blog/post/hit-the-road, comp.webstockpro.com/fancy/42-26111308.jpg, www.ebhavitha. com/koine/chicago-skyline-outline-i0.jpg, demonicneko.deviantart. com/art/Coqui-Coqui-181798061/coqui.jpg, dailypaintersofcolorado. blogspot.com/2011/06/i-can-do-all-things-magical-realism.html p. 11-12ĂŠĂœĂœĂœÂ°ÂŁĂ“ĂŽĂ€v°VÂœÂ“Ă‰ÂŤÂ…ÂœĂŒÂœĂšĂ“Ă¤ĂŽÂ™nxړiĂƒĂƒ>}i‡ˆ˜‡>‡LÂœĂŒĂŒÂ?i‡œ˜‡>‡ wet-stoney-beach-with-seashells.html p. 13Ê£°L°LÂ?Âœ}ĂƒÂŤÂœĂŒÂ°VÂœÂ“Ă‰ĂšÂœL* âV6-iÂœĂ‰-ĂˆÂľni VVÂ?ä É AAAAAAAAAEI/ZVvoXxlPwjQ/s400/abuela.jpg, www.delsolbooks. com/jpg/mynameisgabito2b.jpg, parentpreviews.com/moviereviews/water-horse-legend-of-the-deep, blog.wsd.net/mthorngren/ files/2011/05/Atlanta-1.jpg Back cover: gracetrivino.com/wp-content/uploads/2011/11/2011-03Pilsen-57.jpg
pg 13
Coming To Our Theater Planning Your Field Trip We want your visit to ASC at the Vittum Theater to go as smoothly as possible! Here’s an idea of what to expect during your field trip.
Seating Requests: Seating for our shows is prearranged based on special seating needs and the ages of students. Please call 773.342.4141 before you arrive if we need to accommodate members of your group with hearing, vision, or mobility impairments.
Arrival: Please arrive between 10:00 and 10:15 a.m.; our shows begin promptly at 10:30. Buses should pull in front of the theater at 1012 N. Noble Street. Remain on your bus until a member of our staff has come to the bus to greet you and your students. We will then lead your group into our lobby for a short speech about our theater and the performance you are about to see. Performance: A member of our staff will show your group to their seats. Performances run approximately 90 minutes and include a post-show discussion. The entire event usually lasts around two hours. We ask that all members of your group remain in the theater until the performance and discussion are over. If you must leave before the discussion, however, please let us know in advance.
Lunch: Unfortunately, we do not have space available for students to eat lunch in the theater or at the Settlement House. Departure: At the conclusion of the performance and discussion, we dismiss the audience school by school in order to reduce confusion. Staff will lead you down the stairs and to your buses, which will be waiting for you on Augusta Blvd. in the bus lane in front of Peabody Elementary School.
Directions to 1012 N. Noble
From South Chicago: Take the Dan Ryan West (90/94 toward Wisconsin). Exit at Milwaukee/Augusta. At the end of the exit ramp, continue West on Augusta one block to Noble. Turn Right (North) onto Noble. Arrive at the theater on Left. From North Chicago: Take the Kennedy East (90/94 toward Indiana) to the Division Street exit. At the end of the exit ramp, take a Right (West) onto Division Street and follow it to Ashland. Turn Left (South) onto Ashland and follow it one light to Augusta. Turn Left (East) onto Augusta and follow one light to Noble. Turn Left (North) onto Noble. Arrive at the theater on Left. From West Chicago: Take the Eisenhower East (290 toward the Loop) to the Dan Ryan West (90/94 toward Wisconsin). Exit at Milwaukee/Augusta. At the end of the exit ramp, continue West on Augusta one block to Noble. Turn Right (North) onto Noble. Arrive at the theater on Left.
-ASC Staff t! or pp su r u yo r fo s nk a h T www.adventurestage.org
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UPCOMING EVENTS
Adventure Stage Chicago Professional Development Workshops
STAND UP ON THE SCHOOL YARD A Prevention Program Using Drama Based Activities to Explore Bullying. Presented in Partnership with Lifeline Theatre. Master teaching artist Julie Ganey will present a framework for identifying the different types of bullying, and introduce tools that can be used in the classroom to promote courage and self-confidence in students. Through a dynamic process of lecture, pairshare, and improvisational theatre activities, the workshops will provide educators with strategies to empower victims, witnesses, and those doing the bullying to stand up for themselves and others. Educators leave with the basics of a six-week training curriculum that can be implemented with their students. Tuesday, October 2nd, from 5:00- 8:00 PM or Saturday, October 6th 11:00-2:00 PM These Professional Development Workshops will each provide 3 CPDU credits. The Workshop costs $12, which includes a meal and all materials.
MAGICAL REALISM MASHUPS Exploring Communication through music, poetry, art and drama This workshop will begin by exploring how teachers can use simple melody and percussion with their students to explore modes of communication. Drawing upon the Latin American literary mode of magical realism teachers will also participate in hands-on language arts, visual arts and drama activities to deepen imagination and self expression in the classroom. This workshop will take place at Adventure Stage Chicago. Thursday, October 18th, from 4:00- 8:00 PM This Professional Development Workshop will provide 4 CPDU credits and tools to help teachers prepare their students for a fieldtrip to see the show. The Workshop costs $15, which includes dinner and all materials.
Please call 773.342.4141 to reserve a spot in any of the workshops. For more information, visit www.adventurestage.org