Carmen-uCarmen (Grades 9-12)

UCARMEN STUDY GUIDE

South African Tourism and The Broad Stage present

An Isango Ensemble Production of Bizet’s

Carmen-uCarmen In partnership with South African Tourism and with special thanks to South African Airways – Africa’s Most Awarded Airline and South African Tourism – Inspiring new ways.

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Student Matinee

TUES OCT 6 | THUR OCT 8 11AM Theater at The Broad Stage made possible in part by a generous gift from Laurie and Bill Benenson

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UCARMEN STUDY GUIDE

EDUCATION AND COMMUNITY PROGRAMS STAFF Amy Kirkland, General Manager Carolyn Palmer, Director of Programming and Education Alisa De Los Santos, Manager of Education and Community Programs Jonathan Redding, Dramaturg Klarissa Leuterio, Education and Community Programs Coordinator EDUCATION & COMMUNITY PROGRAMS Phone 310.434.3560 education @thebroadstage.com thebroadstage.com/education

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Education and Community Programs at The Broad Stage is supported in part by Herb Alpert Foundation Bank of the West Austin and Virginia Beutner Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission Colburn Foundation The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission The Ralph M. Parsons Foundation SMC Associates David & Linda Shaheen Foundation Sidney Stern Memorial Trust Dwight Stuart Youth Fund Ziering Family Foundation, a Support Foundation of the Jewish Community Foundation of Los Angeles

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UCARMEN STUDY GUIDE

Greetings from The Broad Stage!

Hello Teachers and Educators, Welcome to a new school year! We have been hard at work all summer (as you have!) planning and preparing for a new season’s worth of student matinees, study guides, and special events for our education community. As we kick off this season, we couldn’t be more excited to have you join us for this amazing Student Matinee of Isango Ensemble’s uCarmen.

At The Broad Stage, we delight in bringing performances from all over the world that can challenge the way we experience the classics and open our minds something we have never imagined. uCarmen does just that. We enter into a story that transcends borders and cultural traditions and speaks to the humanity in each of us. The opera is an alive and immediately accessible story of love and betrayal for the next generation of artists and arts lovers.

In preparation for the performance, we ask that you take a few minutes to look through this study guide. It contains teaching resources for you to use in your classroom and each lesson is based on Common Core and VAPA State Standards. Our hope is to support your efforts not only in preparing students for this particular program, but in integrating the arts into other aspects of your students’ day to day learning process.

We are honored to have you and your students as a part of our Broad Stage family. We admire your hard work every day and are so fortunate to be working with such a talented and engaged group of educators! Thank you for taking this journey with us and for your continued dedication to your students’ academic and artistic development.

See you at the show!

Sincerely, Alisa De Los Santos Klarissa Leuterio Manager of Education & Education & Community Community Programs Programs Coordinator delossantos_alisa@smc.edu leuterio_klarissa@smc.edu

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This unique production of Bizet’s opera is brought to us all the way from Cape Town, South Africa, where a group of artists from Isango Ensemble have reinvented the piece from with distinctly South African flare. Isango Ensemble gathers its performers from the townships surrounding Cape Town and creates a space where veterans can mentor developing artists as they create music and tell stories together.

CONTENTS

Contents Lesson 1: Rewriting Classics Understanding Adaptation Lesson 2: Art & Society Lesson 3: Themes & Review

About Isango Ensemble & uCarmen uCarmen Plot Summary South African History Writing a Review Standards Addressed

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Appendix

LESSON 1

Rewriting Classics Understanding Adaptation LESSON AT A GLANCE Aim: What is an adaptation? Why should we adapt classics?

Materials: Plot Summary Handout, South African Culture Handout, About Isango Ensemble & uCarmen Handout, Chalkboard/Whiteboard, writing utensils, paper, access to YouTube, materials for a collage (magazines, drawing tools, photos, etc.)

Summary: 1) Students will have an understanding of the uCarmen plot.

2) Students will make predictions about this interpretation of an opera.

3) Students will be familiar with the concept of adapting classics.

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Visual and Performing Arts THEATRE: 3.2, 4.1

Explain that the production of Carmen they will be seeing is adapted by Isango Ensemble, a South African Opera Company.

Discuss Adaptations: Do you know any examples of adaptations? What were the changes made to these adaptations? Why make an adaptation? Create a class definition of an adaptation using examples discussed in the class.

Examples of adaptations: • Bridget Jones’ Diary (Pride and Prejudice) • West Side Story (Romeo & Juliet) • Sherlock (Sherlock Holmes) • The Lion King (Hamlet) • Sons of Anarchy (Hamlet) • She’s All That (Pygmalion) • 10 things I Hate About You (Taming of the Shrew) • She’s The Man (Twelfth Night) • Clueless (Emma) DEFINITION: Adaptation: A movie, play, musical, or television show that is based on a written piece, such as a novel or a script. In an adaptation, there will usually be some changes made to the final piece—a change in setting, time period, characters, etc.

cont.

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Standards Addressed: Common Core Grades 9-10: Writing 2, 4, 7.

Speaking & Listening 1, 2. Language 1, 2 Grades 11-12: Writing 2, 4, 7.

Speaking & Listening 1, 2. Language 1, 2.

LESSON 1

Explain that one of the most well-known songs in Carmen is the first song the title character sings, entitled “Habanera.”

Review the plot of Carmen. You can refer to the much more detailed Plot Synopsis worksheet, and/or watch this overview video as a class: • Opera Cheats: CARMEN • https://www.youtube.com/watch?v=1UoFqwgHhdM Watch the video of the Royal Opera’s “Habanera” as a class, and then watch the video of the film version of uCarmen, U-Carmen eKhaylitsha • Royal Opera “Habanera” •https://www.youtube.com/watch?v=KJ_HHRJf0xg •U-Karmen eKhaylitsha “Habanera” •https://www.youtube.com/watch?v=c8b-kqw5RJw Discuss the similarities and differences between these two productions of the same song. Note that U-Carmen eKaylitsha was directed by the same director,and features many actors from Isango Ensemble, who will be performing uCarmen at The Broad Stage.

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Another adaptation to consider presenting to your students is MTV’s Carmen: A Hip-Hopera, featuring a young Beyonce as Carmen. It is a looser adaptation of Carmen, primarily focused on rap.

You can find their adaptation of the Habanera at this link: https://www.youtube.com/watch?v=G5J9kN2nKY8 Please be sure to review this vide prior to presenting it to your class- it is more sexually suggestive than the other adaptations and should be pre-screened.

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Free Write: Ask your students to write about their thoughts on the two videos (or another adaptation that you are familiar with and the classic that on which it was based.) Did you like one more over the other? Why? Describe the classic and the adaptation—what are the key changes that were made in the adaptation? Did it bring certain issues to light? Did it make you think of the story in a different way? How did the adaptation affect the story? If you were going to make an adaptation of this classic story, what choices would you make? (3 Paragraphs)

LESSON 1

PART 3 Predicting uCarmen Distribute the “South African History” Handout and “About Isango Ensemble & uCarmen” Handout.

Read and discuss as a class.

Research: Have your students do their own research on South African Culture. They can look for examples of South African clothing, dance, music, etc. Ask them to share their findings with the class.

(Can be done in groups or individually) Discuss as a class how a South African theatre company might adapt a classic opera such as Carmen.

Think about the history and culture of South Africa, and how that might impact the production.

Break the class into groups of 4 or 5. Have them create a collage of images that reflect what they might see at The Broad Stage. How will Isango Ensemble interpret uCarmen? Assign a design element to each group (Costume & Makeup, Set Design, Lighting, Sound Design.) Based on your own research, what colors, sounds, music and instruments would they use? How would they depict the characters onstage? What elements of their culture would they display? What themes might they bring to light?

(They can use their own drawn images, magazine cut outs, photos, etc—Get creative!)

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LESSON 2

Art & Society LESSON AT A GLANCE Aim: How does art bring societal issues to light?

Materials: Plot Summary Handout, Whiteboard/Chalkboard, Writing Utensils.

Summary: 1) Students will explore the ways in which many modern films and books address a broad range of issues important to society today.

2) Students will write outlines of their own stories addressing issues that are important to them.

Visual and Performing Arts THEATRE: 4.1

PART 1 Addressing Gender in uCarmen Review Isango’s Synopsis of uCarmen. Make note of the issues addressed in the synopsis, and in turn,

by Isango Ensemble.

Discuss as a class: What issues is Isango Ensemble trying to address by presenting uCarmen? If you haven’t seen seen the show yet, how do you think it will be presented onstage? If you have already seen it, what were issues addressed and were they addressed successfully? If you were directing Carmen, how would you try to highlight these issues? Would you highlight them at all?

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Standards Addressed: Common Core Grades 9-10: Writing 3, 4.

Speaking & Listening 1. Language 1.

Grades 11-12: Writing 3, 4.

Speaking & Listening 1. Language 1.

LESSON 2

PART 2 Discussion What movies, TV shows, or books, etc. have come out recently that bring to light an issue that we might not be familiar with?

Examples: • Straight Outta Compton • Silver Linings Playbook • MILK • Eleanor and Park (novel)

How many of you know a lot about these parts of society? What do these works teach us? How do they introduce us to an issue that we might not be familiar with?

Discuss how they engage us and teach us something through telling a story through characters that we are invested in.

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PART 3 Writing Task students with writing their own story addressing an important issue that many people may know little about.

Things to consider: How would you communicate about this issue to a wider audience? What is important for people outside of an issue to understand when approaching it?

This activity can be expanded into a longer process-- including storyboards, drafts, revision, peerreview and presentation.

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Is there an issue that feel people know little about? Is there an issue that you don’t know much about and would like to know more? Brainstorm a list together as a class.

LESSON 3

Themes & Review LESSON AT A GLANCE Aim: What did you think of the show?

Materials: Paper, Pen, Writing a Review handout, Whiteboard/Chalkboard.

Summary: 1) Students will reflect on their experience at The Broad Stage and write a review about Isango Ensemble’s uCarmen.

2) They will analyze Isango Ensemble’s adaptation of the opera, and provide their subjective opinion on it.

Visual and Performing Arts THEATRE: 1.1

PART 1 Initial Impressions Discuss the experience of seeing uCarmen at The Broad Stage.

Helpful Hint: Encourage students to pull from information they learned in Lesson 1 (Adaptations, and South African History/Culture) to make analyses and form opinions about the production.

Ask your class:

• Was the adaptation what you expected?

• What were your favorite parts?

• Did the South African adaptation change/alter the story? How so? Do you think Bizet would like this Adaptation?

Free write: Was there a particular message the Ensemble was trying to communicate?

If so, what was it and how do you know?

PART 2 Review Distribute Writing a Review Handout Using the handout as a guide, ask students to write a review of Isango Ensemble’s uCarmen that gives a future audience member an idea of what they will be seeing, while also providing their own opinions of the production.

Have the students share their reviews with the class.

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Standards Addressed: Common Core Grades 9-10: Writing 2, 4.

Speaking & Listening 1. Language 1, 2.

Grades 11-12: Writing 2, 4.

Speaking & Listening 1. Language 1, 2.

UCARMEN STUDY GUIDE

About Isango Ensemble & uCarmen

Bizet’s opera is based on Prosper Merimee’s novella and premiered in Paris on March 3, 1875. Set in a poor area of Seville, the story of the magnetic woman who seduces, loves and ultimately destroys her lover and herself, is well known: Girl seduces boy, boy becomes obsessed, girl leaves boy for another, boy in a jealous rage kills her. Carmen’s mother-obsessed soldier lover who is displaced by the glamorous matador is one of the greatest tragic figures in all of musical theatre. But the story is her story. Why does she push her soldier into violence?

Why doesn’t she escape at the last moment? What drives her to destruction?

The Carmen story owes part of its huge popularity to the thrilling combination of a violent gangster tale with a passionate almost supernatural love story. As it unfolds it explores issues of fame and wealth, the position of a strong and independently minded women in a very masculine society, and perhaps most importantly, the incomprehensible attraction between abuser and victim.

Within many of the cultures in South Africa sexism is still very strong with abuse embedded and perceived gender roles upheld. Appallingly, gender-based violence is at an all-time high – on an average day three women will die at the hands of their intimate partners, every seventeen seconds a woman is raped and forty percent of men freely admit to hitting their partner. There have been improvements: prior to democracy in 1994 less than three percent of MP’s were women, now forty percent of MP’s are women, however within the workplace women are still victims of inequality and rampant sexual harassment which severely affects their promotion prospects. The story of a woman murdered for wanting her freedom to choose how she wants to live is very sad therefore an extremely important topic for us to explore. Carmen chooses death rather than be false to herself. Although these fascinating aspects of human relationships are revealed in a penetrating and at times uncomfortable way, this is no intellectual journey but a bawdy, passionate, vibrant tale with enormous warmth and heat and some of the greatest tunes ever written. The fantastic thing has been that several of the ensemble have been on this dramatic journey since 2000 including Pauline Malefane who first played Carmen at THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

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Isango Ensemble was formed in 2000 when the new company created productions of Carmen and the Chester Cycle of Mystery plays. Originally performed at the Spier estate outside Cape Town in South Africa, the production transferred to Wilton’s Music Hall in London and then went onto play many of the world’s major festivals. Carmen stayed with us for the next four years touring the world, and became the 2004 feature film uCarmen eKhayelitsha which won the Golden Bear at the Berlin International Film Festival in 2005. After the film, we felt it time to let our relationship with this extraordinary piece of music theatre fade away. Then last year we started to look at it again but through new eyes. Originally we worked it with a western symphony orchestra; now we wanted to re-work it with marimbas.

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uCarmen Plot Summary UCARMEN SYNOPSIS uCarmen is set in a land which somehow borders France, Spain and South Africa.

A month passes. Carmen and her friends Frasquita and Mercédès are entertaining Zuniga and other officers in Pastia’s she been. Carmen learns of José’s release from a month’s prison sentence. Outside noise and excitement announce the arrival of the toreador Escamillo. Invited inside, he flirts with Carmen, who brushes him aside. When only Carmen, Frasquita, and Mercédès remain, the smugglers Dancaire and Remendado arrive and reveal their plans. Frasquita and Mercédès are keen to help, but Carmen refuses, since she wishes to wait for José. After the smugglers leave, José arrives. When José says he must return to the barracks, she mocks him, and he tries to convince her of his love by showing her the flower that she threw to him. Carmen demands he shows his love by deserting. José refuses to desert, but as he makes to leave, Zuniga enters looking for Carmen. He and José fight but are separated by the returning smugglers. José now has no choice but to join Carmen and the smugglers.

PART II Carmen and José enter with the smugglers and their goods; Carmen has now become bored with José and mocks him as a ‘mummy’s boy’. Frasquita and Mercédès amuse themselves by reading their fortunes from the *“bones”; Carmen joins them and finds that the “bones” are foretelling her death. The women depart to occupy the customs officers who are patrolling the area. José is placed on look-out.

Micaëla enters looking for José and wanting to win him back from Carmen. There is a shot; José has fired at an unknown figure who proves to be Escamillo. José’s pleasure at meeting the bullfighter turns to fury when Escamillo announces his love for Carmen. They fight, but are interrupted by the returning smugglers. As Escamillo leaves he invites everyone to his next bullfight. Micaëla is discovered; José agrees to go away with her when told that his mother is dying.

The crowd awaits the start of the bullfight. Escamillo enters with Carmen. As Escamillo goes into the arena, Fraquita warns Carmen that José is nearby, but Carmen is unafraid and willing to speak to him.

Alone, she is confronted by a desperate José. While he pleads for her to return to him, cheers are heard from the arena. As José makes his last entreaty, Carmen throws down the ring he gave her and makes to enter the arena. He stabs her; as she dies the crowd enter from the arena. * ‘bones’ not cards are read to reveal the future in South Africa

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PART I A group of soldiers relax in the township square commenting on the women passing by. Micaëla arrives looking for José. When she can’t find Jose, she tells the soldiers she will return later. José arrives a few minutes after she leaves. As the factory bell rings, the cigarette girls emerge and flirt with the soldiers.

Carmen emerges, the men plead with her to choose a lover, and after some mocking she throws a flower to José, who has been ignoring her but is now annoyed by her insolence. The women go back to the factory, Micaëla returns and gives José a letter from his mother – in it his mother asks him to return home and marry Micaëla. The women stream from the factory in great excitement. Carmen has slashed a woman with a knife. José is ordered to tie her hands. Left alone with José, Carmen seduces him - besotted, José agrees to free her hands; as she is led away she escapes. José is arrested for his complicity.

UCARMEN STUDY GUIDE

“South African History” Timeline 1497 First known Portuguese explorers set foot on South African soil for the first time, as they search for a sea trade route to India.

1554 Portuguese mariner and cartographer Manuel de Mesquite Perestrelo survives a shipwreck on the South African coast. He goes on to explore and draw the first detailed map of the southern South African coastline in 1575.

1652 The Dutch East India Trading Company establishes a “refreshment station” at Table Bay, to provide fresh water, fruit, vegetables and meat for passing ships en route to India.

Approximately ten years later, the station becomes a colony.

1653 The first slave, Abraham, a stowaway aboard the Dutch ship Batavia, works for the Dutch East India Trading Company. A year later, the first slave expedition is sent from the Cape to Madagascar and Mozambique.

1659-1676 A series of wars take place between the Dutch and the Khoi-Khoi (a native tribe of people who raised livestock on the Western side of South Africa) ending with the Dutch seizing control of large portions of Khoi-Khoi land, sheep and cattle.

1685 A slave school is established in the Dutch East India Trading Company for children of Company slaves only. Marriages between Dutchman and female slaves are also prohibited.

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1795 British forces seize Cape territory from the Dutch, ending the rule of the Dutch East India Trading Company and beginning British occupation.

1800 An official newspaper press is established, forbidding freedom of the press with a heavy fine threatening anyone who attempts to publish.

1820 Approximately 5000 British settlers arrive in the Cape, increasing the size of the white settler population.

1828 Freedom of press is recognized by the Cape government.

1834 Official emancipation of slaves, in accordance with the British Parliament’s emancipation decree. However, the Cape slaves are indentured as “apprentices” to their owners for four years; despite this, many slaves desert their owners completely. The estimated slave population of the Cape stood at 59,000 people at Emancipation.

1838 The Voortrekker Republic of Natalia is established, settling on land seized from various African chiefdoms. The Voortrekkers – a group of South African pioneers descended from Dutch settlers – draw up the framework of a Constitution which establishes the superiority of White over Black.

1848 After several years of conflict between the Voortrekkers and the powerful British government, the entire region of the Cape Colony comes under British control.

1880 The First South African War begins when the expansion of the British Empire meets resistance from the Boer people. The British are heavily outnumbered, but by the time their reinforcements arrive the Boers have overrun them. The South African Republic regains its independence, but tensions run high.

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1754 A census of the Cape reveals that its non-indigenous population comprises 510 colonists/settlers and 6,279 slaves.

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1882 For the first time in 10 years, an election is held and Paul Kruger is sworn in as president. He would serve three more terms over the next 15 years, as British pressure to expand into Republic territory increased.

1899 British and South African troops prepare for war. Paul Kruger demands that the British that they remove their troops within 48 hours. The British refuse and the Second South African War begins.

1902 The Second South African War ends with the signing of a peace treaty, and Paul Kruger dies two years later.

1920 The ‘Civilized Labor Policy’ and the Apprenticeship Act entrenches disadvantages for Africans. Black workers are placed in an inferior position to white workers, and are also denied certain freedoms.

1922 The Rand Rebellion: an armed uprising of white miners after the Chamber of Mines gave notice that they would be replaced 2,000 semi-skilled white workers with cheap black laborers. The white miners attacked colored Africans, causing huge losses to both sides. It ended two years later, when three Acts were passed that increased employment opportunities for whites and introduced a program of African segregation.

Paul Kruger (1825-1904), 5th president of South Africa

1925 Afrikaans is recognized as an official language.

1930 White women gain the right to vote. As a result, the weight of the black vote decreases to 1.4%.

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1946 Indians protest an early apartheid (separateness) law – the Asiatic Land Tenure and Indian Representation Bill (also called the ‘Ghetto Bill’), which seeks to confine Asian ownership and occupation of land to clearly defined areas of town – also depriving them of Parliament representation except by a white representative.

1946 Several thousand Indians convene in camps called Passive Resisters, protesting the Bill. They are attacked and harassed by white hooligans, and the police do nothing to stop the violence. Mahatma Ghandi calls for the South African government to put an end to the harassment of Passive Resisters, and the Bill is repealed two years later.

1948 The National party comes into power, and a policy of apartheid is adopted.

1950 The Group Areas Act is passed to segregate blacks and whites. The Communist Party is banned. Nelson Mandela leads a campaign of civil disobedience.

1952 Rigid ‘pass laws’ are put into place by the South African government, requiring all African males over 16 to carry reference books detailing their employment history and personal information. Protest against these pass laws fuels the anti-apartheid struggle.

1960 The bloodiest massacre in the history of South Africa – the Sharpeville massacre – occurs when police open fire on peaceful African demonstrators protesting pass laws in Sharpeville.

1960s South Africa is banned from the Olympics because of apartheid stance. International pressure against the government begins.

1964 African National Congress leader Nelson Mandela is sentenced to life imprisonment.

1970s Over 3 million blacks are forcibly resettled in designated ethnic ‘homelands,’ and denied rights to South African citizenship, causing massive uprisings.

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1936 Black voters in the Cape are removed from the common roll and placed them on a separate roll. Blacks throughout the Union were then represented by four white senators.

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1990 At last, the African National Congress is unbanned and Nelson Mandela is released after 27 years in prison.

1991 The remaining apartheid laws are repealed.

1994 The first non-racial election takes place and Nelson Mandela is elected president. South Africa takes a seat at the UN General Assembly after a 20-year-absence.

1996 Truth and Reconciliation Commission chaired by Archbishop Desmond Tutu begins hearings on human rights crimes committed by former government and liberation movements during apartheid era.

2003 Government approves major program to treat and tackle HIV/Aids. It envisages a network of drug-distribution centers and preventative programs.

2006 South Africa becomes the first African country, and the fifth in the world, to allow same-sex unions.

2007 Hundreds of thousands of public-sector workers take part in the biggest strike since the end of apartheid. The strike lasts for four weeks and causes widespread disruption to schools, hospitals and public transport.

2009 Parliament elects AMC leader Jacob Zuma as president.

2013 Nelson Mandela dies, aged 95. Tributes to “the father of the nation� flood in from throughout the world.

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http://www.sahistory.org.za/timelines http://www.bbc.com/news/world-africa-14094918 http://overcomingapartheid.msu.edu/multimedia.php?id=65-259-3

Nelson Mandela (1918-2013) leaves the courtroom in Pretoria during the Treason Trial in 1958

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Sources:

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Play Review Outline 1. Title of your review 2. Your name (by-line) 3. Introduction a. Title of production b. Genre c. Name of performing group d. Name of Director

5.

Production Value a. Describe the set and lighting b. Costumes c. Sound d. Music & Musical Elements e. Does it all work together? What does it all achieve?

6.

The Actors a. Did the lead actor deliver a strong performance? b. Were there any remarkable performances within the smaller roles? c. Were the actors believable? d. Was there a performance that detracted from the show? e. Was the show appropriately cast?

7.

The Director a. Did the director surprise you with any innovative show elements? b. Did the director’s choices support the text of the play, or detract from it? c. Was the show easy to understand, or were there confusing elements? d. What did you particularly enjoy/not enjoy? e. What did you think of the adaptation of uCarmen? f. Would Bizet have liked it?

Based on “How to Write a Play Review.” Goodman Theater http://www.goomdmantheatre.org/education/materials/howto.aspx

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4. Theme a. What is the message of the play?

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California Common Core Standards Addressed

LESSON 1:

Grades 11-12

Grades 9-10

Writing

Writing

2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

7. Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

2. Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

Language 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

7. Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively 2. Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data.

Language 1. Demonstrate command of the conventions of standard English grammar andusage when writing or speaking.

2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

THEBROADSTAGE.COM/EDUCATION

15/16 SEASON

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

UCARMEN STUDY GUIDE

California Common Core Standards Addressed

LESSON 2:

Grades 11-12

Grades 9-10

Writing

Writing

3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

15/16 SEASON

Language 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively Language 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

THEBROADSTAGE.COM/EDUCATION

Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

UCARMEN STUDY GUIDE

California Common Core Standards Addressed

LESSON 3:

Grades 11-12

Grades 9-10

Writing

Writing

2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

15/16 SEASON

Language 1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively Language 1. Demonstrate command of the conventions of Standard English grammar and usage when writing or speaking.

2. Demonstrate command of the conventions of Standard English capitalization, punctuation, and spelling when writing.

THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

THEBROADSTAGE.COM/EDUCATION

Speaking & Listening 1. Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

UCARMEN STUDY GUIDE

VAPA Standards Addressed

THEATRE 1.0 ARTISTIC PERCEPTION Development of the Vocabulary of Theatre 1.1 Use the vocabulary of theatre, such as acting values, style, genre, design, and theme, to describe theatrical experiences.

3.0 HISTORICAL AND CULTURAL CONTEXT Role and Cultural Significance of Theatre

15/16 SEASON

4.0 AESTHETIC VALUING Critical Assessment of Theatre 4.1 Compare a traditional interpretation of a play with a nontraditional interpretation and defend the merits of the different interpretations.

THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

THEBROADSTAGE.COM/EDUCATION

3.2 Describe the ways in which playwrights reflect and influence their culture in such works as Raisin in the Sun, Antigone, and the Mahabarata.