Proof (Grades 11-12)

PROOF STUDY GUIDE

Classic & Contemporary American Plays Presents

Proof

by David Auburn

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Student Matinee

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PROOF STUDY GUIDE

EDUCATION AND OUTREACH STAFF Amy Kirkland, Associate General Manager Carolyn Palmer, Artistic Programming Manager Alisa De Los Santos , Education and Outreach Coordinator Klarissa Leuterio, Education and Outreach Assistant Jackie Rosas, Education and Outreach Assistant CONSULTANTS Danika Burmester, Curriculum Writer Jonathan Ng, Designer

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Education and Outreach at The Broad Stage is supported in part by Austin and Virginia Beutner, Eisner Foundation, Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, City of Santa Monica and the Santa Monica Arts Commission, Herb Alpert Foundation, John W. Carson Foundation, The Rosalinde and Arthur Gilbert Foundation, The Green Foundation, SMC Associates, Matthewson Charitable Trusts, The Roth Family Foundation, Bank of the West, the Ralph M. Parsons Foundation and the Dwight Stuart Youth Fund.

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EDUCATION & OUTREACH Phone 310.434.3560 education @thebroadstage.com thebroadstage.com/artsed

PROOF STUDY GUIDE

Greetings from The Broad Stage!

Dear Students and Teachers, We are honored to continue our partnership with Classic & Contemporary American Plays.

Last year, we lost CCAP co-founder Bonnie Franklin so it is with great joy and a bit of sadness that we embark on this year’s production of Proof by David Auburn.

Have you ever felt betrayed? Not been given credit for your work? Tried so hard to create something beautiful that you were afraid you might be going crazy? Proof beautifully interweaves the big ideas of trust, scientific process, the connection between mental illness and genius, and being true to your life’s purpose together with words that make an audience think and feel deeply.

We hope the staged reading of Proof you see at The Broad Stage will serve as a launching point for great conversations and debate with your classmates. Without the burden of elaborate and expensive sets, costumes, lighting and sound design, CCAP strips down every barrier between the actor and audience…and what you are left with is the words…the beautiful, indelible words of a great American play. Eat them up.

This one is for you, Bonnie.

Sincerely, Alisa De Los Santos Education & Outreach Coordinator delossantos_alisa@smc.edu

Klarissa Leuterio Education & Outreach Assistant leuterio_klarissa@smc.edu

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This play is meaningful on so many levels. CCAP was founded by Bonnie Franklin and Judy Bush in 2001—the same year that Proof earned a Pulitzer Prize for Drama and a Tony Award for best play. CCAP was created because great American playwrights had all but been erased from high school curriculum. You might be introduced to Shakespeare, but would never learn about the playwrights who reflect the beauty and complexities of our diverse and vibrant American culture.

CONTENTS

Contents Pre-Show Lesson 1: Big Ideas Handout 1: Meet the Director

Pre- or Post-Show Lesson 2: That’s What You Said but What Did You Mean?

Handout 2: Proof Excerpt

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Lesson 3: The Art of the Critique Handout 3: Play Review Outline

Appendix Theatre Glossary Proof Glossary Cast of Characters Theater Traditions!

Common Core and VAPA Content Standards

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Post-Show

LESSON 1

Big Ideas (Pre-Show, 50 minutes) Grade Levels 11-12 Materials: Whiteboard, whiteboard makers, paper, writing utensil. Copy of Proof

by David Auburn, Handout 1: Meet the Director.

Description: Students familiarize themselves with the themes of the play through writing exercises.

Goals: 1) Students will be confident in understanding the play’s subject matter.

2) Students will connect the themes in Proof to their own lives and experiences.

PART 1 Engagement (15 minutes)

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Remind students that many people work “behind-the-scenes” to create the magic that appears onstage or on film.

Discuss student’s initial reaction to the play. What struck them as interesting? Were there any parts they found confusing?

List on the whiteboard, first the characters and then the various relationships in the play.

(Ex: father-daughter; older sibling-younger sibling; mentor-mentee, etc.)

Explore the relationship dynamics in the play. Ask your students: Which relationships seemed respectful? Which relationships changed over the course of the play? Did anyone’s behavior seem out of line? Was anyone “wrong” in the way they acted or reacted?

Brainstorm the “Big Ideas” of the play. List the big ideas or themes on the whiteboard. (Ex: the line between genius and madness; the hope and fear of inheritance; duty to family v. duty to oneself; trust; grief; cheating; love and responsibility, vocation, and being true to your personal passion.)

Remind students that a play is very subjective. Differing opinions and viewpoints can be valid at the same time.

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Read Proof and Handout 1: Meet the Director as a class or as a homework assignment.

LESSON 1

PART 2 Activity (35 minutes) Instruct students to choose one of the following prompts for a 35 minute free-write.

Ask students to write non-stop for 20 minutes. They may use the last 15 minutes to edit and revise.

Writing Prompt #2 Choose the “big idea” or theme that you connected most with in the play. Why did it resonate with you? In your opinion, why was it important enough to include in the narrative? Describe an instance in your own life when the “big idea” or theme played itself out. Did that experience involve conflict? If so, how did it resolve? Finally, they say, “write what you know” If you were to write a play at this point in your life, what themes would you incorporate? Why are they important to share with other people? Using what you have just explored, develop a thesis as to why people create theater.

Writing Prompt #3 A vocation is the strong desire to spend your life doing a certain kind of work. It is what you are meant or “called” to do. In Proof, both Robert and Catherine find their vocations in Mathematics. In Handout 1: Meet the Director, Mr Figueroa talks about his passion for theatre. Use someone you know (or yourself), to describe someone who has been truly called to the work they do (or will do). Why do they feel called to do this work? What motivates them? Did they have obstacles they needed to overcome to continue on their path? If you don’t know someone who has been true to their calling, imagine a person who would inspire you and use them as a starting place.

Take it Further: Using their free-writes as a jumping off point, have students dramatize a scene from their own lives using dialogue. Remind them to apply basic dramatic structure (exposition, complication, crises, climax, and resolution).

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Writing Prompt #1 Choose the relationship dynamic that you have experienced and most resonates with you. Describe both the joys and challenges of being a part of that relationship. Was this a relationship you chose (i.e. a romantic or mentoring relationship) or one you happened to become a part of (i.e. through birth or marriage)? Has choosing (or not choosing) the relationship affected it? What are your responsibilities in the relationship? Is the other person responsible to you? What are the spoken and unspoken “rules” that make the relationship what it is? Using the importance of this relationship as an example, develop a thesis as to why people create theater.

HANDOUT 1

Meet the Director ERNEST A. FIGUEROA has been involved as a director, producer, actor and playwright in theatre, film, and television throughout the country. For the past fourteen years, Mr. Figueroa has served on the Steering Committee and is a founding member of the DIRECTORS LAB WEST national Directors Conference which takes place in Los Angeles.

As a Drama League Directing Fellow, he worked at the Roundabout Theatre on the new show BLUE starring Phylicia Rashad and went on to be the Associate Director of the BLUE national tour starring Leslie Uggams. He has directed several shows for CCAP including ALL MY SONS with Pat Harrington, DEATH OF A SALESMAN with Michael Gross, BROADWAY BOUND with Bonnie Franklin, TOYS IN THE ATTIC with Susan Clark, AND MISS REARDON DRINKS A LITTLE with Marsha Kramer, REDWOOD CURTAIN with Matt Letscher and ANNA IN THE TROPICS with Arianna Ortiz. He currently serves as the Producer at The Broad Stage in Santa Monica. He is a member of the Society of Stage Directors and Choreographers.

How do you describe the role of the director?

The role of the director is to get the entire creative company (including designers and actors) to fulfill the goals of the playwright. Our job is to serve the script and tell the story to the audience using all our creative skills to make the story, theme, or message as clear as possible.

What have been your greatest challenges?

By far the biggest challenge for me as a director was and continues to be making a living at something that allows me to pursue my art. It is an unending struggle to make sure that whatever I am doing to make money helps me to pursue my art and does not prevent me from doing my art. It is a delicate balance to strike when you are making a living in the arts.

How did you start working with Classic & Contemporary American Plays?

I was producing a staged reading at The Pasadena Playhouse at the Artistic Directors request. There was a short list for the female lead and Bonnie Franklin was on the list.

When we offered it to her, Bonnie’s manager introduced me to the company and I saw one show and I was hooked. I was soon asked to direct and then was asked to serve on the Board which I do now. I have been with the company about ten years.

What compels you to do this work?

Classic & Contemporary American Plays’ mission is to re-introduce the work of the great classic and contemporary American playwrights to a generation which has lost familiarity with these works due to the economic cutbacks in schools nationwide. Since most students are only introduced to (possibly) the plays of Shakespeare in their English classes, the reading of great American playwrights and their works serves also as a literacy program for those English classes. I cannot think of something I’d rather be doing than working with wonderful actors and reading amazing material to an appreciative new audience.

Do you have any advice for young artists?

No matter what, keep doing what you do whether it is music, dance, performing, or the visual arts. Art feeds your soul and artists feed the world. They don’t feed people food but they inspire people to be better than they think they can be. Do not let discouragement knock you off the artistic track. The more you try, the more you will succeed and your process will inspire others.

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How/when did you discover you wanted to be a director?

I started out as an actor and began to direct sketches for church camps and youth groups during my first years in college. Since I was the one with the most knowledge, I began to direct others in the youth group and the group grew to into a full-fledged theatre company producing four shows a year. I found in some ways I was a better director than I was and actor and decided to get my Graduate Degree in directing when I was 27.

LESSON 2

That’s What You Said But What Did You Mean?

(Pre- Or Post-Show, 50 minutes) Grade Levels 11-12 Materials: Paper, writing utensil. Handout 2: Proof Excerpt Description: Students dissect an excerpt from David Auburn’s Proof to discern the nuances of subtext. Students will perform and write their own pieces using subtext as a device.

Goals: 1) Students will understand the importance of subtext in dramatic literature.

2) Students will explore subtext as writers and performers.

PART 1 Engagement (15 minutes)

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Introduce the concept of subtext to the class.

Pair students to read Catherine and Claire’s lines from the excerpt. Once the students have read it through, ask them to switch characters and read it again.

Challenge the students to share examples of subtext.

Encourage students to deliver the lines as realistically as possible while acting and experimenting with the subtext of each line.

PART 2 Exercise (35 minutes) Ask students to write the scene’s subtext line by line. They do not need to change each line, just the one’s they feel have an underlying meaning.

Encourage students to exchange their versions of the excerpt with a different pair of students. Have students act out the new versions.

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Information that is implied by a character but not stated by a character in dialogue, including actions and thoughts.

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Distribute Handout 2: Proof Excerpt.

HANDOUT 2

Proof Excerpt Act II Scene 5 Claire: You’ll love New York.

Catherine: I can’t wait.

Claire: You’ll love it. It’s the most exciting city.

Catherine: I know.

Claire: It’s not like Chicago, it’s really alive.

Catherine: I’ve read about that.

Claire: I think you’ll feel truly at home there.

Catherine: You know what I’m looking forward to?

Claire: What?

Catherine: Seeing Broadway musicals.

(Beat.)

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Catherine: And Rockefeller Center in winter—all the skaters!

Claire: Well, you— Catherine: Also, the many fine museums!

(Beat.)

Claire: I know how hard this is for you.

Catherine: Listening to you say how hard it is for me is what’s hard for me.

Claire: Once you’re there you’ll see all the possibilities that are available.

Catherine: Restraints, lithium, electroshock.

Claire: Schools. In the New York area alone there’s NYU, Columbia— Catherine: Bright college days! Football games, road trips, necking on the “quad.”

Claire: Or if that’s not what you want we can help you find a job. Mitch has terrific contacts all over town.

Catherine: Does he know anyone in the phone-sex industry?

Claire: I want to make this as easy a transition as I can.

Catherine: It’s going to be easy, Claire, it’s gonna be so fucking easy you won’t believe it.

Claire: Thank you.

Catherine: I’m going to sit quietly on the plane to New York. And live quietly in a cute apartment. And answer Dr. Von Heimlich’s questions very politely.

Claire: You can see any doctor you like, or you can see no doctor.

Catherine: I would like to see a doctor called Dr. Von Heimlich: please find one. And I would like him to wear a monocle. And I‘d like him to have a very soft, very well upholstered couch, so that I’ll be perfectly comfortable while I’m blaming everything on you.

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Claire: Mitch can get us tickets to whatever you’d like.

LESSON 3

Everyone’s a Critic (Post-Show, 50 minutes) Grade Levels 11-12 Materials: Paper, Pen, Handout 3: Play Review Outline.

Description: Students reflect on their experience of Proof in the form of a theater review.

Goals: 1) Students will analyze their experience of seeing Proof at The Broad Stage.

2) Students will use critical language to develop their response to director Ernest Figueroa’s interpretation of Proof.

PART 1 Engagement (10 minutes)

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Encourage the students to demonstrate their knowledge by discussing the genre, style, acting, theme and design of the play.

Ask students what they think David Auburn was trying to say through Proof? What did CCAP’s version say? Was the staged reading what they expected? Were there any parts that seemed different from what they had read?

How to Pay it Forward.

CCAP and The Broad Stage rely on foundations and donors to make their work possible. If you enjoyed your experience, ask your students to write CCAP and/or The Broad Stage a letter detailing what seeing the show meant to them. It is proof positive that bringing young people to the theater is of vital importance. Your letters help make it possible to continue our programming.

You can send your letters to The Broad Stage Attn: Klarissa Leuterio, Education and Outreach 1900 Pico Blvd.

Santa Monica, CA 90405

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Discuss the shared experience of seeing Proof at The Broad Stage. Start with getting on the bus at school, arriving at the theater, etc…

LESSON 3

PART 2 Exercise (40 minutes) Distribute Handout 3: An Outline of a Play Review.

Write a review, using the handout as a guide, of Proof that gives a future audience member an idea of what they will be seeing. Use the terms found in the glossary when referring to the play.

PART 3 Reflect Share student reviews with the class.

Discuss the overall impression of Proof amongst the students.

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HANDOUT 3

Handout 3 Play Review Outline1 1. Title of your review 2. Your name (by line) 3. Introduction: a. Title of the play b. What genre of play is it? c. Name of the performing group d. Name of the director 4. Theme: a. What is the message of the play?

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?

8. Personal Opinion - Make sure to give reasons to back up your opinion: a. What did you think of the play as a whole? b. Would you recommend the show? c. What did you particularly enjoy/not enjoy?

1

Based on “How to Write a Play Review.” Goodman Theater.

Http//www.goodmantheater.org/Education/Materials/HowTo.aspx

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5. Production Values: a. Describe the set and lighting b. Costumes c. Sound d. Does it all work together? What effect does it achieve?

GLOSSARY

Visual and Performing Arts: Theatre Content Standards Glossary actor • A person, male or female, who performs a role in a play or an entertainment.

motivation • A character’s reason for doing or saying things in a play.

antagonist • A person, a situation, or the protagonist’s own inner conflict in opposition to his or her goals.

pacing • The tempo of an entire theatrical performance.

articulation • The clear and precise pronunciation of words.

play • The stage representation of an action or a story; a dramatic composition.

blocking • The planning and working out of the movements of actors on stage.

objective • A character’s goal or intention.

pitch • The highness or lowness of the voice.

characterization • The development and portrayal of a personality through thought, action, dialogue, costuming, and makeup.

projection • The placement and delivery of volume, clarity, and distinctness of voice for communicating to an audience.

climax • The point of highest dramatic tension or a major turning point in the action.

protagonist • The main character of a play and the character with whom the audience identifies most strongly.

crisis • A decisive point in the plot of a play on which the outcome of the remaining actions depends. critique • Opinions and comments based on predetermined criteria that may be used for self-evaluation or the evaluation of the actors or the production itself. denouement design • The final resolution of the conflict in a plot. design • The creative process of developing and executing aesthetic or functional designs in a production, such as costumes, lighting, sets, and makeup. dialogue • The conversation between actors on stage. diction • The pronunciation of words, the choice of words, and the manner in which a person expresses himself or herself. directing • The art and technique of bringing the elements of theatre together to make a play. director • The person who oversees the entire process of staging a production. downstage • The stage area toward the audience. exposition • Detailed information revealing the facts of a plot. gesture • An expressive movement of the body or limbs.

reader’s theatre • A performance created by actors reading script rather working from memory. rising action • The middle part of a plot consisting of complications and discoveries that create conflict. stage left • The left side of the stage from the perspective of an actor facing the audience. stage right • The right side of the stage from the perspective of an actor facing the audience. subtext • Information that is implied by a character but not stated by a character in dialogue, including actions and thoughts. theatre • The imitation or representation of life performed for other people; the performance of dramatic literature; drama; the milieu of actors, technicians, and playwrights; the place where dramatic performances take place. theatrical experiences • Events, activities, and productions associated with theatre, film/ video, and electronic media. upstage • Used as a noun, the stage area away from the audience; used as a verb, to steal the focus of a scene. vocal quality • The characteristics of a voice, such as shrill, nasal, raspy, breathy, booming, and so forth. volume • The degree of loudness or intensity of a voice.

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center stage • The center of the acting area.

production values • The critical elements of a production, such as acting, direction, lighting, costuming, sets, and makeup.

conflict • The opposition of persons or forces giving rise to dramatic action in a play.

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Additional Resources: TDF Theatre Dictionary www.theatredictionary.org

GLOSSARY

Glossary of terms found in Proof dementia • a decline in brain function that affects mental ability, memory, behavior, judgment, and thought processes. May happen due to old age or be triggered by a stroke.

game theory • Popularized by movies such as “A Beautiful Mind”, game theory is the mathematical modeling of strategic interaction and decision-making among rational (and irrational) agents.

proof • In mathematics, a proof is a deductive argument proving a particular mathematical statement to be true. Generally, proofs include established theorems and rules as evidence to in support of the statement.

Many high school students learn to write proofs in geometry class.

algebraic geometry • The study of solutions to algebraic equations.

lucid • Thinking with clarity. In a medical context, it refers to when dementia patient’s symptoms disappear for some period of time, and he/she is able to think and speak as they did before they suffered from dementia.

dissertation • A long essay studying a particular topic or subject. Usually written by graduate students, as to present their research and work throughout their years in graduate school.

SOURCES 1.

2.

3.

4.

http://game-theory-class.org/ http://www.math.purdue.edu/~dvb/algeom.html http://www.math.purdue.edu/~dvb/algeom.html http://www.princeton.edu/~achaney/tmve/wiki100k/docs/Imaginary_number.html

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imaginary number • An imaginary number is a square root of a nonpositive real number.

operator theory • Operator theory studies transformations between the vector spaces studied in Functional Analysis

GLOSSARY

Proof Cast of Characters Catherine: Female, early to late 20s. Attractive, fiercely intelligent college student at the intersection of an emotional past and an unsure future. Tough, guarded, sometimes imposing and intimidating exterior camouflages a great vulnerability, a vibrant if ironic wit and a capacity for immense spiritual and psychological depth.

Robert: Male, early 50s – mid 60s. Catherine and Claire’s father; brilliant math professor suffering from a debilitating gradual dementia; caring, compassionate father; absentminded and endearingly rumpled even before illness; increasingly frustrated with his deteriorating condition and wistful about what could have been.

Claire: Female, late 20s – early 30s. Catherine’s older sister; smooth, stylish, attractive; Chicago native now working as a currency analyst on Wall Street; forthright and extremely pragmatic; cares deeply for her sister; believes she knows what’s best for everyone.

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Hal: Male, mid 20s – early 30. Former assistant of Robert’s; graduate student in mathematical theory; moonlights as a drum player in an admittedly amateur rock band; endearingly selfdeprecating; patient and well-intentioned; easy going and affable; calls himself a “math-geek” but is actually “semi-hip” and certainly nobody’s fool.

THEATER TRADITIONS!

Theater Traditions!

The Broad Stage is a beautiful theater that was inspired by Italian “horseshoe” theaters in Italy. Theater shows, dance, film, operas, musicals, and symphonies are performed here. The Broad Stage has 499 seats and you will be sitting in one of them! The theater is a very special place and, it has some special traditions.

Fun Audience Traditions!

Dress Up! Everyone is welcome at the theater no matter what they are wearing but it can be really fun to “dress” for the theater. It’s a very special place so it’s fun to wear special clothes.

Watch and Listen! Many things are happening on the stage and you want to make sure to catch every moment. Live theater is different than watching a movie. What you see on the stage is the ONE and ONLY time you’ll see that exact performance because theater changes a little bit each time. You can’t rewind and see a part over again.

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Talk After! Talking to your friends is an important part of seeing a show at a theater. There are special times to talk about the show.

Before the performance you can talk about what you’re excited about seeing or what you are wondering about. If there is an intermission (a break between acts) you can talk about what you have seen and what you anticipate is coming next. After the show, is a great time to talk to your friends, teachers, or parents about what you just saw. You can share what you liked or disliked and ask them to share what they thought about the show too!

Fun Theater Traditions!

Break a leg! It is considered bad luck to wish someone “good luck” in a theatre so instead we say “break a leg!” to the actors before they perform.

Keep the ghosts away! One silly tradition is that the theatre should always be closed one night a week to give the ghosts a chance to perform their own plays. This is usually on a Monday night which is nice because it gives everyone a day off after they’ve performed all weekend!

Ghost light! A light is always left on in an empty theater.

People say the theater’s ghosts want to have enough light to see. If you don’t leave one on, they might play tricks on you during your performance. Having a ‘ghost light’ is useful too. It lights the backstage area so nobody gets hurt when they’re hunting for a light switch.

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Tradition: A way of behaving or doing something that has been used by a society or group of people for a long time

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Audience Participation! In the theater, the audience is VERY important. The actors on the stage can see and hear you. In our culture, you can laugh at funny parts and clap at the end of a scene that you really enjoyed. It’s important to find a comfortable seat and sit still so the actors can concentrate on giving you a GREAT performance.

PROOF STUDY GUIDE

California Common Core State and VAPA Standards Addressed

LESSON 1

LESSON 2

VAPA Grades 9-12-Theater Advanced

VAPA Grades 9-12-Theater Advanced

2.0 CREATIVE EXPRESSION

1.0 ARTISTIC PERCEPTION

2.2 Improvise or write dialogues and scenes, applying basic dramatic structure (exposition, complication, crises, climax, and resolution) and including complex characters with unique dialogue that motivates the action.

4.0 AESTHETIC VALUING 4.3 Develop a thesis based on research as to why people create theatre.

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Text Types and Purposes 1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

5. Use specific rhetorical devices to support assertions (e.g., appeal to logic through reasoning; appeal to emotion or ethical belief; relate a personal anecdote, case study, or analogy). CA 3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

5. Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative.

Production & Distribution of Writing 4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.)

5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

(Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 11–12.)

2.0 CREATIVE EXPRESSION 2.1 Make acting choices, using script analysis, character research, reflection, and revision to create characters from classical, contemporary, realistic, and nonrealistic dramatic texts.

2.2 Improvise or write dialogues and scenes, applying basic dramatic structure (exposition, complication, crises, climax, and resolution) and including complex characters with unique dialogue that motivates the action.

CCSS Reading Standards Grades 11-12 Key Ideas and Details 1. Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.

Craft and Structure 6. Analyze a case in which grasping point of view requires distinguishing what is directly stated in a text from what is really meant (e.g., satire, sarcasm, irony, or understatement).

LESSON 3 VAPA 9-12-Theater Advanced 1.0 ARTISTIC PERCEPTION 1.1 Use the vocabulary of theatre, such as genre, style, acting values, theme, and design, to describe theatrical experiences 4.0 AESTHETIC VALUING 4.2 Draw conclusions about the effectiveness of informal and formal productions, films/videos, or electronic media on the basis of intent, structure, and quality of the work.

4.2 Report on how a specific actor used drama to convey meaning in his or her performances.

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CCSS Writing Standards Grades 11-12

1.3 Identify the use of metaphor, subtext, and symbolic elements in scripts and theatrical productions.

PROOF STUDY GUIDE

California Common Core State and VAPA Standards Addressed

CCSS Writing Standards Grades 11-12 Text Types and Purposes 1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

6. Use specific rhetorical devices to support assertions (e.g., appeal to logic through reasoning; appeal to emotion or ethical belief; relate a personal anecdote, case study, or analogy). CA

13 / 14 SEASON

4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.)

5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

(Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 11–12.)

6. Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative.

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

THEBROADSTAGE.COM/ARTSED

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

Production & Distribution of Writing