Yvette Martínez-Vu
Theater and Performance Studies
University of California, Los Angeles
yvettemtz3@ucla.edu
TEACHING PORTFOLIO
Table of Contents
Statement of Teaching Philosophy ........................................................................................................... 1
Description of Teaching Responsibilities ................................................................................................. 2
Summarized Student Evaluations ............................................................................................................. 4
Summarized Written Student Evaluations (Abridged) ............................................................................. 5
Appendices Attached ................................................................................................................................ 7
Syllabus for Advanced English Composition ...................................................................................... 7
Syllabus for Beginnings of Chicano Theater Movement ................................................................... 13
Syllabus for Introduction to Theater .................................................................................................. 17
Appendices Available Upon Request
Copies of Student Evaluations ...............................................................................................................
Syllabi For All Courses Taught ..............................................................................................................
Sample of Student Work ........................................................................................................................
Instructional Handouts ...........................................................................................................................
Sample Exam Prompt and Rubric ..........................................................................................................
Sample Essay Prompt and Rubric ..........................................................................................................
1
Statement of Teaching Philosophy
I structure my classroom with the goal of incorporating experiential forms of learning. As an instructor
trained in performance studies, I bridge theory and practice with hands-on workshops to equip my
students with the necessary tools to navigate their courses. I also organize every class in such a way that
my students will have the opportunity to apply theories practically. For example, I ask students to perform
scenes from texts informed by a concept discussed in class. Thereafter, they lead their peers in discussing
how the concept also informed their reception of the performance.
I prioritize an intersectional approach to reading. For example, I use directed reading to teach about the
relationship between language and feminism. In my Chicana/o literature course, students read Gloria
Anzaldua’s “La conciencia de la mestiza / Towards a New Consciousness” twice, once focusing on the
politics of language and again with a concentrating on U.S feminism. First, I explain the concept of
intersectionality to the class. Afterwards, we analyzed different excerpts of the piece to examine shifts in
the author’s language from English to Spanish. Then the class analyzes moments of codeswitching
wherein certain gendered Spanish phrases— such as “mestiza” and “Chicana,” are italicized while others
are not. In an in-class reflection assignment, one student stated, “Some of the struggles that mestizos have
to endure are trying to juggle two cultures. I interpret Anzaldua as using different punctuation to come to
terms with her multiple identities.” Students learn from this analysis that punctuation matters and that
Anzaldúa’s use of italics places an emphasis on both the feminine gender and the cultural practice of
speaking Spanish, which mirrors her Chicana feminist beliefs.
To strengthen my student’s writing skills, I create workshops that address writing as a multi-step process.
When teaching writing-intensive courses, I assign several papers that build on each other. The final paper,
for example, is an intensive revision of an earlier paper. First, they exchange papers with a partner who
locates confusing sentences before they proofread together. I emphasize peer-review exercises that break
down writing into multiple drafts, so students can learn that writing is a skill that takes time, regardless of
one’s writing-level. Prior to submitting their final paper, I have students “perform” their paper in another
genre (poetry, short story, or drama) to get them to think about their argument in another medium. This
performance also allows them to gather feedback from their peers. Student evaluations have identified the
effectiveness of my process-based writing strategies, averaging at 8.3 out of 9 in instructor effectiveness.
I also stress experiential learning by assigning reflective exercises in which students must consider their
own personal background against the author’s. In one exercise, they read documents from the Walt
Whitman archive, including a Spanish letter he wrote in 1883 that addressed New Mexico’s Spanish
roots. Students respond to Whitman’s letter by writing a two-page paper answering the question, “what
historical genealogies does the author rely on to construct his performance of the ‘American’ identity?” In
class discussion, some of my undergraduates have noted that while Whitman supports New Mexico’s
entrance into statehood, his treatment of race is contradictory—both inclusive yet chauvinistic. The
reflective essay improved student engagement with Whitman’s text and placed students in dialogue with
the author, allowing their experiences to be considered just as much as those the author prioritized.
Through utilizing performance as a pedagogical lens, my overall goal is to have my students shift away
from the passive reception of information towards an active production and transmission of knowledge.
Regardless of whether undergraduates become academics, they leave my classroom with the practical
writing and critical thinking skills necessary to excel in most professions.
2
Description of Teaching Responsibilities
Instructor of Record
I was responsible for designing the courses below, which included developing and grading all
assignments. Since we met daily, I lectured for the first hour and held workshops and discussion during
the second hour. Assignments include: three five-page papers, pop quizzes, student final presentations,
reading responses, and in-class peer-review workshops.
Intersectionality in Chicana/o Literature and Culture (Academic Advancement Program, Summer 2015)
Performance in Chicana/o Literature and Culture (Academic Advancement Program, Summer 2013)
• Two survey courses on Chicana/o literature and culture
• Courses include major literary texts and debates from the Chicana/o Civil Rights Movement,
including texts from Gloria Anzaldúa, Sandra Cisneros, and Rudolfo Anaya.
• Part of the Freshman/Transfer Summer Program, a writing intensive summer bridge program
aiming to help multiracial underrepresented students develop critical thinking and writing skills
• Courses fulfill the university-wide Writing II requirement
• Comprised of 20 junior transfer students
• Courses meet for ten weekly lecture and discussion hours
Teaching Assistant Positions
As a teaching assistant for the courses below, my primary responsibilities were to assist the instructors
with drafting and grading quizzes, exams, and essay assignments as well as lecturing on selected topics.
Introduction to Theater (Theater Department, Spring 2013, Instructor: David Gorshein)
• Survey course on the principles and major components of live theatrical performance
• Course covers major theatrical works and scholarship from around the globe, including texts from
Constantin Stanislavski, Henrik Ibsen, and Bertolt Brecht
• This course fulfills the arts and humanities general education requirement.
• Generally comprised of 180 students
• Course meets for four hours of lecture provided by the instructor
• I gave two lectures that provided overviews of contemporary Latina/o and Chicana/o Theater in
the U.S.
• I co-wrote three quizzes on early Medieval theater (Hrosvitha’s Dulcitius), Modern theater
(Ibsen’s A Doll’s House) and Renaissance Theater (Marlowe’s Doctor Faustus)
Contemporary Chicano Theater: Chicano Theater since 1980 (Theater Department / César E. Chávez
Department of Chicana/o Studies: Winter 2013, Instructor: Jose Luis Valenzuela)
• Cross-listed upper-division survey course on the historical, political and theatrical events from
1980 to the present that contributed to the contemporary Chicana/o theater movement
• Course critically reviews varied Chicano theater forms such as comedy, magical realism, and
performance art
• Generally comprised of 50 students
• Course fulfills a requirement for the Chicana/o Studies and Theater Studies majors
• Course meets for a three-hour lecture by one instructor
• I lectured on Teatro de las Chicanas and the role of women in the Chicana/o theater movement
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Beginning of Chicano Theater Movement (Theater Department / César E. Chávez Department of
Chicana/o Studies: Fall 2012, Instructor: Jose Luis Valenzuela)
• Cross-listed upper-division survey course on the historical and political and theatrical events from
1965 to 1980 that resulted in the emergence of the Chicana/o theater movement
• Course analyzes plays and critical essays from noted Latina/o authors like Yolanda BroylesGonzalez, Luis Valdez, and Jorge Huerta
• Typically comprised of 50 students
• Course fulfills a requirement for the Chicana/o Studies and Theater Studies majors
• Course meets for a three-hour lecture by one instructor
• I lectured on theories of transculturation in Culture Clash’s A Bowl of Beings
Approaches to Interpretation of Theater and Performance (Theater Department, Winter 2012, Instructor:
Nicole Eschen)
• Lower-division course on methods and interpretation of theater and performance
• Course covers dramatic texts, theoretical essays, and filmed performance, including texts from
bell hooks, Judith Butler, Suzan-Lori Parks, Tony Kushner, and Cherríe Moraga.
• Generally comprised of 68 freshman students
• Course fulfills a requirement for Theater Studies majors
• Course meets for a three-hour lecture by one instructor
• I delivered a guest lecture on theories of ghosting in Cherríe Moraga’s Giving Up The Ghost
• I co-wrote two quizzes on African-American theater, focusing on Hansberry’s A Raisin in the Sun
and Norris’s Clybourne Park
4
Summarized Student Evaluations
Instructor Rating Average Scores
[Scale: 9 = very high, 1= very low]
Questions for Student Rating
The instructor was concerned about student learning
Class presentations were well-prepared and organized
Students felt welcome in seeking help
The instructor had good communication skills
You have learned something you consider valuable
Your overall rating of the instructor
Your overall rating of the course
English
100W
(2013)
8.58
7.95
8.58
8.53
8.11
8.37
8.16
English
100W
(2015)
TBA
TBA
TBA
TBA
TBA
TBA
TBA
Teaching Assistant Rating Average Scores
[Scale: 9 = very high, 1= very low]
Questions for Student Rating
The T.A. was knowledgeable about the material
The T.A. was concerned about student learning
Section presentations were well-prepared and
organized
The T.A. expanded on course ideas
Students felt welcome in seeking help
The T.A. had good communication skills
Value of the sections justified the time and effort
Your overall rating of the T.A.
Theater 10
Theater
M103D
(2012)
7.48
7.22
7.60
Theater 11
(2013)
7.51
7.29
7.40
Theater
M103G
(2013)
8.24
8.00
8.24
7.56
7.49
7.61
7.68
7.14
7.85
8.10
7.95
8.12
7.78
7.16
7.36
7.57
7.50
7.41
8
8.17
8.20
7.57
8.13
(2012)
8.17
8.17
8.19
5
Summarized Written Student Evaluations (Abridged)
Intersectionality in Chicana/o Literature and Culture (English 100W, Summer 2015)
“She is clear, I like how she engages on conversations and the videos she shows. Very effective, both
verbal and visual. I like how she break the class into section and in each section she goes over different
material. Good pacing she gives enough time to go over and discuss material. She provides rubric and
samples. I feel she grades fair”
“The clarity of teaching is great, easy to understand. The teaching style is highly effective. The course
organization & structure are well put together. The pacing is great, I do not feel overwhelmed with
material. Yes, all are great. I love that you go the extra mile and provide feedback to improve my work. I
have a good teacher-student relationship with you. You always make yourself available.”
“The instructor does a great job making sure we understand the material being taught. Uses various
teaching styles to make sure students all understand. Instructor provides a clear structure and is always
very organized. We are always on track with the material being lectured on. Does a great job of grading,
provides clear feedback on what we need to work on. Very approachable and encourages students to keep
working hard. Encourages all students to participate in class discussion without making students feel out
of place. Being able to meet with her during office hours has been very helpful as well as the peer editing
we’ve been doing in class.”
“She is very clear. She is an effective instructor, I’ve learned a lot. The course is organized. The pace is
good, although the readings are dense.”
Performance in Chicana/o Literature and Culture (English 100W, Summer 2013)
“Professor Martinez-Vu is overwhelmingly concerned with her students' academic success, therefore I
highly recommend her to anyone taking an English class. She is attentive, caring, and most importantly,
extremely knowledgeable in her field. She comes to every class session enthusiastic to teach and enhance
our minds with valuable information.”
“The teacher was extremely engaging and helpful. She was a expert on the topics we discussed and made
the lectures fun. Her addition of class visitors added to my critical thinking and broadened my knowledge
of certain topics. Overall great instructor.”
“Some strengths of the course were the helpful writing instruction we received and our class discussions.
The in-class writing workshops and office hours with the professor helped me improve my writing
significantly. Also, our class discussions were stimulating and validated people's personal experiences
within the context of the course material. The instructor also taught with materials other than lectures and
PowerPoint by bringing in documentaries and other films. This gave the class a more in-depth experience
with the course material. An area of the course which could use improvement would be stating more clear
instructions for what is expected on essays assigned.”
“She is an awesome professor, she really care about the students. She is there to help and answer all of
our questions even if it was not related to the class, for example grad school.”
“Professor Martinez-Vu has always answered any questions or concerns regarding the class. Excellent
communication and very approachable.”
Introduction to Theater (Theater 10, Spring 2013, Instructor: David Gorshein)
“She was a very good TA. She took the time to help me outside of class so that I could do better on my
essays. She was very approachable and nice.”
“Generally concerned about students grade/ learning course material.”
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“Essays were graded harshly.”
“Seems so sweet, caring and so nice. Love her energy and knowledge of course material.”
Contemporary Chicano Theater: Chicano Theater since 1980 (Theater M103G: Winter 2013)
“Yvette is an amazing TA. She is so friendly, approachable and available to meet and help students. I
really appreciate her pushing me and helping me with the class. She is also very intelligent and
knowledgeable.”
“Yvette maintains an approachable and knowledgeable manner about the coursework. She makes it easy
to ask questions and seek help.”
“Yvette—so on top of her stuff + quick to respond. I want to hire her to be my TA forever.”
“One of the best TA’s I’ve had at UCLA. She is extremely helpful and makes herself available to students
if they need extra help.”
“TA’s for contemporary Chicano Theater were very knowledgeable on the subject matter. Yvette
maintained open channels at all times and very dialogical in terms of class discussion. The only
weaknesses: not enough of these types of classes and TA’s.”
Beginning of Chicano Theater Movement (Theater M103D, Fall 2012)
“Yvette was great. Very friendly, knows the material, and always available for office hours. 10/10!”
“Yvette was very helpful in guiding students through any questions they were not familiar with. She is
knowledgeable about Chicano movement in and outside of theater.”
“Yvette was wonderful as a TA. She was helpful and inviting, and encouraging of students. She genuinely
wanted us to succeed and helped guide our interpretations of the plays. Any school would be lucky to
have her!”
“Yvette made me really comfortable asking for help outside of class. I appreciate her grading style and
her expectations of what she wanted for class assignments were very clear.”
Approaches to Interpretation of Theater and Performance (Theater 11, Winter 2012)
“Yvette was really the only reason I kept coming to this class. She is brilliant, well-spoken, and very
helpful. She was a better teacher in her e-mails, office hours and one class [guest lecture] than the
professor was all quarter. I love her!”
“Yvette is a very good TA. I felt welcome seeking help outside of class and she kindly answered my
questions. She is always prepared to talk about ideas discussed in class. I enjoyed this class very much.”
“The teaching assistant was very knowledgeable of the subject and brought her own experience and
outside knowledge to the topic in order to expand on ideas. She was very approachable and helpful if
students had questions. I would recommend her as an assistant for more classes and would love to have
her again.”
“Yvette is one of the best TA’s I’ve ever had. She genuinely cares about her students and is extremely
knowledgeable about her subject area. Five stars.”
“I thought Yvette was very intelligent on the material. I felt that when asking her a question I knew I
would get a great response. She was a very resourceful TA. I could not see any weaknesses with her as a
TA.”
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Appendices Attached
Syllabus for Advanced English Composition
Performance in Chicana/o Literature and Culture
Instructor: Yvette Martínez-Vu
Email: yvettemtz3@gmail.com
Class Location: Public Affairs 1323
Class Meeting Time: T-F 9-11am
Office: Northern Lights Café
Office Hours: Tu/Th 1-2 or by appt.
COURSE DESCRIPTION
This course will prepare you to brainstorm, write and revise papers at an upper-division university level.
Through the implementation of process-based writing tools and strategies, this course will help you
develop critical thinking and analytical writing skills essential for academic success. We will be in
conversation with Chicana/o Studies 148, which will focus on concepts of diversity, race, conflicts, and
coalitions. We, however, will be looking at literary and cultural representations of race, gender, and
sexuality since the Chicana/o Movement (post-1960s) through a performative and intersectional approach.
In this course, we will focus on two primary concepts: performance and intersectionality. This means we
will be analyzing literature from a variety of genres (novels, poetry, plays, etc). We will also be reviewing
works from authors who stress multiple forms of identification. Overall, this course asks that you engage
in discussions with a shared understanding that there are myriad forms of knowledge production and
transmission.
Goals:
• To learn critical thinking and analytical writing skills that will enable students to approach
academic and literary readings effectively
• To sharpen writing skills in areas of organization, coherence, support, style, and mechanics
• To form strong written arguments through an effective use of evidence (proper examples and
sources) and analysis (both literary and visual)
TEXTS
Required (UCLA Textbook Store):
• Trimble, John R. Writing with Style: Conversations on the Art of Writing. Second Edition. 2000.
• Anaya, Rudolfo. Bless Me, Ultima. Anniversary Edition. 1999.
• All other texts will be made available online and as a course reader.
POLICIES
Participation: Your active and prepared participation in both the classroom and office hours is essential to
make this course useful for you. In class, come prepared having done the readings with points, questions,
or concerns. Visiting me during office hours is another great way to participate in the course.
Attendance: Attendance is very important; absences will only be excused with a doctor’s note or prior
clearance from the instructor. An attendance sheet will be passed around at the beginning of each class; it
is your responsibility to make sure you sign in. If you fail or forget to sign in you will not be given credit
for attendance. It is also important that you make it to class on time!
Quizzes: There will be three in-class pop quizzes this term focusing on the readings for the day. Popquizzes will be offered without warning during the first ten minutes of class. Each quiz will consist of 3-5
short-answer or short-essay questions.
8
Office Hours: Though not required, I encourage all of you to come see me at office hours to speak with
me about your goals for the course, preparing for writing assignments, and any other concerns you may
have regarding the class. At office hours (and not via email), I can help you brainstorm, outline, and
revise drafts of papers. Keep in mind that attending office hours will also count towards your participation
grade.
Writing Assignments: This class requires three 5-page papers where you will discuss how the concepts
from the readings can be applied to a literary text from the syllabus. All papers should be submitted via
Turnitin. Papers must be submitted in MLA or Chicago style format, which should be double-spaced,
with 12-point Times New Roman font and 1-inch margins. All late work will be docked one-third of a
grade per day. Anything more than three days late will not be accepted.
Emails: I do not look at full drafts of assignments via email. I will also not accept emails about paper
assignments after 5pm on the day before they are due. For any other email inquiries, please allow up to 48
hours for me to get back to you.
Presentations: All students are required to give two presentations. The first will be a short presentation on
the topic of discussion for that day. The second will be a presentation on a topic of your choice. Students
will sign up for presentations on the first day of class.
Talking Points: Every week, students must submit a single page full of bulleted talking points with topics,
questions, or quotes from the class reading for that week.
Grading:
Attendance, Quizzes, and Participation: 20%
Talking Points (5) and Presentations (2): 20%
Paper 1: 20%
Paper 2: 20%
Paper 3: 20%
Academic Conduct: In this course we will touch on sensitive issues and seek to acknowledge and
negotiate difference. While active participation in class discussion is welcomed, students must follow
UCLA’s Student Conduct Code. Similarly, plagiarism—defined as using another’s work as your own—is
completely unacceptable and can be grounds for university expulsion. Make sure your work is your own
and cite all sources when you borrow ideas.
If you wish to request an accommodation due to a suspected or documented disability, please inform your
instructor and contact the Office for Students with Disabilities as soon as possible at A255 Murphy Hall,
(310) 825-1501, (310) 206-6083 (telephone device for the deaf). Website: http://www.osd.ucla.edu
WEEK 1: IDENTIFICATION
Monday 8/5
Discuss: Introduction to the Course; what is a Chicana/o? performance? intersectionality?
Introduction to Messy Writing: Freewriting
Tuesday 8/6
Discuss: Reading Strategies
Reading Due: Trimble, Chapter 1, “Thinking Well” (3-13); Rodolfo Acuña’s “Deconstruction of the
Term Chicano” (338-42)
Paper 1 prompt handed in class
9
Wednesday 8/7
Reading Due: Jose Muñoz, “Introduction” (1-34) in Disidentifications; Rudolfo Anaya’s Bless Me Ultima
(1-50)
Thursday 8/8
Reading Due: Rudolfo Anaya’s Bless Me Ultima (51-105)
Presentation(s) by:
Friday 8/9
Discuss: Prewriting Strategies
Reading Due: Trimble, Chapter 2, “Getting Launched” (13-24); Rudolfo Anaya’s Bless Me Ultima (106142)
TALKING POINTS DUE
WEEK 2: LANGUAGE
Monday 8/12
Reading Due: Trimble, Chapter 3, “Openers” (25-31); Rudolfo Anaya’s Bless Me Ultima (143-262)
Presentation(s) by:
Tuesday 8/13
Discuss: Introductions and Thesis Statements
Reading Due: Trimble, Chapter 4, “Middles” (32-48)
BRING 2 COPIES OF PAPER 1 INTRODUCTION FOR PEER REVIEW
Wednesday 8/14
Reading Due: Jennifer DeVere Brody’s “Hyphen-Nations” (85-88); “The Homeland, Aztlan” (23-35)
from Gloria Anzaldua’s Borderlands/ La Frontera; “My Lucy Friend Who Smells Like Corn” (3-5),
“Eleven” (6-9), and “Mericans” (17-20) from Sandra Cisneros’ Woman Hollering Creek
TALKING POINTS DUE
Thursday 8/15
Writing Day (no class)
Meet instructor for office hours by appointment
Friday 8/16
Reading Due: “La conciencia de la mestiza” (99-120) from Anzaldua’s Borderlands/ La Frontera;
Trimble, Chapter 5, “Closers” (49-52) and Chapter 9, “How to Write a Critical Analysis” (94-8);
“Woman Hollering Creek” (44-56) and “Little Miracles, Kept Promises” (116-29) from Sandra Cisneros’
Woman Hollering Creek
Guest Lecturer: TBA
PAPER 1 DUE IN MLA FORMAT
WEEK 3: FEMINISM
Monday 8/19
Library Workshop
Discuss: Endnote and Zotero
Meet at front steps of Powell Library by 9:25am
Tuesday 8/20
10
Reading Due: Trimble, Chapter 6, “Diction” (53-63); “La Chicana” (32-4) and “Chicana Feminism” (527) from Alma Garcia’s Chicana Feminist Thought: The Basic Historical Writings
Paper 2 prompt handed in class
Wednesday 8/21
Discuss: Constructing Paragraphs, Transitions and Topic Sentences
Reading Due: “The Drag Act” from Judith Butler’s Gender Trouble (72-77)
Thursday 8/22
Reading Due: Trimble, Chapter 7, “Readability” (64-81)
Presentation(s) by:
Friday 8/23
Discuss: mid-term evaluations
Reading Due: “La conciencia de la mestiza” (270-4) and “The Last Generation” (290-1) from Alma
Garcia’s Chicana Feminist Thought: The Basic Historical Writings
Guest Lecturer:
TALKING POINTS DUE
WEEK 4: QUEERNESS
Monday 8/26
Discuss: Freewriting and Thought-pieces
Reading Due: “Loving Homegrrrl” (6-8) and “Childhood Dreams” (19-22) from Tragic Bitches: An
Experiment in Queer Xicana & Xicano Performance Poetry by Adelina Anthony, Dino Foxx, and
Lorenzo Herrera y Lozano
Presentation(s) by:
Tuesday 8/27
Reading Due: Trimble, Chapter 10, “Revising” (99) and Chapter 11, “Proofreading” (100-1)
Discuss: Revision Strategies and Backwards Outlining
BRING 2 COPIES OF A DRAFT OF PAPER 2 (AT LEAST TWO PAGES REQUIRED)
Wednesday 8/28
Reading Due: “All in the Family” (40-1) and “Releasing the X” (67) from Tragic Bitches by Adelina
Anthony, Dino Foxx, and Lorenzo Herrera y Lozano
TALKING POINTS DUE
Thursday 8/29
Writing Day (no class)
Meet instructor for office hours by appointment
Friday 8/30
Reading Due: Excerpt from Jose Muñoz’s Disidentifications
Guest Lecturer: TBA
PAPER 2 DUE IN CHICAGO STYLE
WEEK 5: PERFORMANCE
Monday 9/2
Labor Day!
Tuesday 9/3
11
Reading Due: Culture Clash’s “A Bowl of Beings” (57-106); Trimble, Chapter 8, “Superstitions” (82-93)
Paper 3 prompt handed in class
Wednesday 9/4
Reading Due: Cherrie Moraga’s “Heroes and Saints” (87-149)
Guest Lecturer: TBA
Thursday 9/5
Reading Due: Trimble, Chapter 14, “Abbreviations” (149-150) and Chapter 15, “Tips on Usage” (151-9)
Presentation(s) by:
Friday 9/6
Reading Due: Maria Teresa Marrero’s "Out of the Fringe? Out of the Closet: Latina/Latino Theatre and
Performance in the 1990s” (131-53)
TALKING POINTS DUE
WEEK 6: CONCLUSIONS
Monday 9/9
View Culture Clash’s “A Bowl of Beings” video
Guest Lecturer: TBA
Tuesday 9/10
Discuss: “Bowl of Beings” video and Editing Strategies
BRING A DRAFT OF PAPER 3
Wednesday 9/11
Final Presentations
Thursday 9/12
Final Presentations
Friday 9/13
Discuss: Evaluations and Course Wrap-Up
PAPER 3 DUE IN EITHER MLA FORMAT OR CHICAGO STYLE
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Bibliography
Acuña, Rodolfo. "Deconstruction of the Term Chicano." Occupied America : A History of Chicanos. New
York: Harper & Row, 1988. Print.
Anaya, Rudolfo A. Bless Me, Ultima : A Novel. Berkeley, Calif.: Quinto Sol Publications, 1972. Print.
Anthony, Adelina Foxx Dino Herrera y Lozano Lorenzo. Tragic Bitches : An Experiment in Queer
Xicana & Xicano Performance Poetry. 2013. Print.
Anzaldúa, Gloria. Borderlands, La Frontera : The New Mestiza. San Francisco: Aunt Lute, 1987. Print.
Brody, Jennifer DeVere. Punctuation : Art, Politics, and Play. Durham [N.C.]: Duke University Press,
2008. Print.
Butler, Judith. "The Drag Act." Gender Trouble : Feminism and the Subversion of Identity. New York:
Routledge, 1990. Print.
Cisneros, Sandra. Woman Hollering Creek, and Other Stories. New York: Random House, 1991. Print.
Culture Clash, Esparza Katz Productions Wnet Kcet Nlcc Educational Media.Culture Clash's Bowl of
Beings. Distributed by NLCC Educational Media, Los Angeles, CA, 1997.
García, Alma M. Chicana Feminist Thought : The Basic Historical Writings. New York: Routledge, 1997.
Print.
Marrero, Maria Teresa. "Out of the Fringe? Out of the Closet: Latina/Latino Theatre and Performance in
the 1990s." TDR: The Drama Review 44.3 (2000): 131-53. Print.
Montoya, Richard Salinas Ricardo Siguenza Herbert Culture Clash. "A Bowl of Beings." Culture Clash :
Life, Death, and Revolutionary Comedy. New York: Theatre Communications Group, 1998. Print.
Moraga, Cherríe. "Heroes and Saints." Heroes and Saints & Other Plays. Albuquerque: West End Press,
1994. Print.
Munoz, Jose Esteban. Disidentifications : Queers of Color and the Performance of Politics. Minneapolis:
University of Minnesota Press, 1999. Print.
Trimble, John R. Writing with Style : Conversations on the Art of Writing. Englewood Cliffs, N.J.:
Prentice-Hall, 1975. Print.
13
Syllabus for Beginnings of Chicano Theater Movement
Contemporary Chicano Theater M103D
Professor Jose Luis Valenzuela
Office: 2335 Macgowan
Office Hours: By appointment only
Fall 2012
Thurs: 9-11:50 a.m.
MacGowan 1330
TA: Yvette Martinez-Vu
Office: 1319 Macgowan
Email: yvettemtz3@ucla.edu
Office Hours: Thursdays 12-2PM
Course Description:
In this course, we will define the historical and political events, as well as the theatrical traditions and
precedents, which encouraged the Chicano theatre movement. Extensive reading of plays and critical
essays is required. A weekly 2-page response paper of the assigned readings is due at the start of each
class. No late papers will be accepted.
During the course there will be a WRITTEN 1 ½ HOUR MID-TERM (BLUE BOOK REQUIRED) and
a 5 – 10 minute PERFORMANCE either a monologue or scene from one of the plays discussed in class
and a 5 PAGE PAPER due for the FINAL.
Research papers can be proposed to raise the final course grade. If you decide to write a paper, instructor
must approve topic by the end of the 8th week of the quarter.
All of the additional essays are on the class webpage via TFT’s intranet. The link for the website should
appear on your MYUCLA page. Should you have difficulties logging in, please email the TA.
If accessing this site from home, you may need to first set up a proxy server, please visit this site for
instructions: http://www.bol.ucla.edu/services/proxy/
Possible academic misconduct (e.g. cheating or plagiarism) will be reported to the Dean of Students
immediately.
REQUIRED TEXTS:
Broylez-Gonzalez, Yolanda, El Teatro Campesino (at bookstore)
Huerta, Jorge, Chicano Theatre: Themes and Forms (online)
Valdez, Luis, Early Works: Actos, Bernabe, Pensamiento Serpentino (online)
Valdez, Luis, Zoot Suit and Other Plays (optional, will be used in Winter quarter; at bookstore)
Week 0 (9/27): Introduction
Discuss: Broad influences contributing to the Chicano Theatre Movement: the 60’s Civil Rights
Movement, the Commedia dell’Arte tradition, Brecht’s model of the “learning play”, and Mexican
Popular Theatre.
View: “I Am Joaquin”
Assigned Readings:
-Introduction, The Commedia dell’Arte by Giacomo Oreglia, Methuen & Co., London, 1968, p. xi-xvi
-The San Francisco Mime Troupe: the first ten years, by R. G. Davis, Chapter 2, p.31-46
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-“Brecht and Chicano Theater” by Barclay Goldsmith
-Brecht on the Theater by Bertolt Brecht, p. 77-81
-Broyles, Chapter One, “El Teatro Campesino and the Mexican Popular Performance Tradition”, p. 1-77
Week 1 (10/4): The Farmworker’s Strike, Teatro Campesino and the Birth of the Actor
Discuss: The San Francisco Mime Troupe, Brecht’s alienation effect and Lehrstrucke, and Popular
Mexican Theatre
Assigned Readings:
-Huerta, Chap. 1, “In Fields and Factories: the Worker’s Struggle,” p. 1-27
-“Dramatic Principles of the Teatro Campesino” by Francisco Jimenez
-“Notes on Chicano Theatre” and “The Actos” (in Early Works, p. 6-13)
-Broyles, Chapter Two, “Theatre of the Sphere: Toward the Formulation of a Native Performance Theory
and Practice”, p. 79-127
-Las Dos Caras del Patroncito (in Early Works)
-La Quinta Temporada (in Early Works)
Week 2 (10/11): The Actor in the Fields
Discuss: Broyles, Las Dos Cara del Patroncito and La Quinta Temporada
Assigned Readings:
-Huerta, Chap. 2, “The Search for Identity: What is a Chicano?” p. 60-68; Chap. 3, “The Chicano in War,
At Home and Abroad,” p. 91-97; and Chap. 4, “Back to the Barrio: Local Government and Education,” p.
129-134.
-No Saco Nada de la Escuela (in Early Works)
-Soldado Razo (in Early Works)
-Los Vendidos (in Early Works)
Week 3 (10/18): The Actor in the Urban Barrio
Discuss: No Saco Nada de la Escuela, Soldado Razo and Los Vendidos
View: “Net: El Teatro Campesino” and “Los Vendidos”
Assigned Readings:
-“Approaching Quetzalcoatl, the Evolution of El Teatro Campesino” by Francoise Kourilsky
-Huerta, Chap. 6, “The Chicano and his Cosmos: Reaching for the Stars,” p. 187-199 and Chap. 3, p. 97103.
-The Dark Root of a Scream by Luis Valdez (revised version from West Coast Plays 19/20)
-Bernabe by Luis Valdez (in Early Works)
Week 4 (10/25): The Mito: Bringing the Spiritual Past into the Present
Discuss: The Dark Root of a Scream and Bernabe
View: El Corrido by El Teatro Campesino
Assigned Readings:
-Guadalupe and La Victima (in Necessary Theatre)
Week 5 (11/1): Teatro de la Esperanza and Collective Creation of Full-Length Plays
1 1/2 HOUR MIDTERM EXAM – BRING BLUE BOOKS!!
Discuss: Teatro de la Esperanza’s collective creations, Guadalupe and La Victima
Assigned Readings:
-Huerta, Chap. 2, p. 49-60 and Chap. 3, p. 103-118
-Vietnam Campesino (in Early Works)
-Manolo by Ruben Sierra
Week 6 (11/8): Chicanos in Viet Nam
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Discuss: Vietnam Campesino and Manolo
Assigned Readings:
-Estela Portillo: Interview
-Huerta, Chap. 5, “Justice: On the Streets and in the Courts,” p. 155-167
-Rancho Hollywood by Carlos Morton
-The Shrunken Head of Poncho Villa by Luis Valdez
Week 7 (11/15): Early Chicano Satire
Discuss: Rancho Hollywood and The Shrunken Head of Pancho Villa
Assigned Readings:
-The Day of the Swallows by Estela Portillo
-The Many Deaths of Danny Rosales by Carlos Morton
-Broyles, Chapter Three, “Toward a Re-Vision of Chicano/a Theatre History: The Roles of Women in El
Teatro Campesino,” p. 129-163
-“The Female Subject in Chicano Theatre: Sexuality, ‘Race’, and Class” by Yvonne Yarbro-Berjarano
(optional reading) – “Seduced and Abandoned: Chicanas & Lesbians in Representation” pg 92-96 by
Sue-Ellen Case
NO CLASS ON NOVEMBER 22 * HAPPY THANKSGIVING*
Week 9 (11/29): The Contribution of Women in Early Chicano Theatre and New Theatrical Forms:
Poetic and Docudrama
Discuss: Broyles, The Day of the Swallows and The Many Deaths of Danny Rosales
Assigned Readings:
-Zoot Suit (in Zoot Suit and Other Plays)
-“In Search of the Authentic Pachuco: An Interpretive Essay,” by Arturo Madrid-Barela
-“Zoot Suit and the Pachuco Phenomenon: An Interview with Luis Valdez” by Roberta Orona-Cordova
-Huerta, Chap. 5, p. 174-186 and Afterword, “The Many Stages of the Revolution,” p. 215-221
-Broyles, Chapter Four, “El Teatro Campesino: From Alternative Theatre to Mainstream,” p. 165-239
Week 10 (12/6): Zoot Suit and The Emergence of Mainstream Chicano Theatre
View: Zoot Suit
Discuss: Zoot Suit and the politics of mainstream theatre aesthetics
Finals Week, TUESDAY (12/11): Final
Student Performances; Final Papers Due
Grading
Final grades for this class will be based on the following:
Attendance
25%
Response Papers
25%
Midterm
25%
Final
25%
Attendance
Attendance is very important in this class; absences will only be excused with a doctor’s note or prior
clearance from the Professor or TA. An attendance sheet will be passed around during each class; it is
your responsibility to make sure you sign in. If you fail to sign in you will not be given credit for
attendance. It is also important that you are on time for this class. Weekly response papers will be
collected at the beginning of class and will not be accepted after that.
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Response Papers
Each week a 2 page response paper (hard-copy) based on your response to the week’s readings will be
due at the START of each class, papers will NOT be accepted via email or through other means. Papers
must be in MLA format, typed, doubled spaced, 12 pt font with 1-inch margins. NO LATE PAPERS
WILL BE ACCEPTED. Please plan to print your papers the night before class; failure to print paper
will not be a valid excuse.
Response papers should be a personal and critical response to that week’s reading. IT SHOULD NOT BE
A SUMMARY OF THE READING. Assume your reader is well versed in the assigned reading.
Although a personal response, specific examples/evidence of your argument should be cited in every
paper.
Plagiarism
Defined as using another’s work as your own, plagiarism is completely unacceptable and can be grounds
for university expulsion. Make sure your work is your own and cite all sources when you borrow ideas.
Extra Credit Opportunities
You may do up to 2 extra credit response papers. Throughout the quarter you will be given information
on theatre productions (UCLA productions and outside performances) that you may attend for extra credit.
Response papers on your reaction to the performance may only be turned on the Thursday after the
performance ends. In addition, a 5-page research paper may be proposed to raise your final grade. If you
decide to write a paper, your TA must approve the topic by the end of the 8th week of the quarter.
Safe Space
In this course we will touch on sensitive issues and seek to acknowledge and negotiate difference. Your
active and passionate participation in class discussion is welcomed and vital for the overall quality of the
course. However, please bear in mind that we will under NO circumstances tolerate hateful language,
feedback, or behavior initiated in bad faith, including acts of racism, homophobia, sexism and class
elitism.
If you wish to request an accommodation due to a suspected or documented disability, please inform
your instructor and contact the Office for Students with Disabilities as soon aspossible at A255 Murphy
Hall, (310) 825-1501, (310) 206-6083(telephone device for the deaf). Website: http://www.osd.ucla.edu
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Syllabus for Introduction to Theater
UCLA Spring 2013
Tuesday & Thursday, 3:30-5:20pm, Broad 2160E
Instructor:
Dr. David Gorshein
gorshein@ucla.edu
office: 3344 Macgowan, Tuesday, 2-3pm or by appt.
TAs:
Tony Fitzgerald, fitzone@ucla.edu
office: 1319 Macgowan, Thursday 1-2pm
Yvette Martinez-Vu, yvettemtz3@ucla.edu
office: 1319 Macgowan, Thursday 2:30-3:30pm
Course description: This course explores the principles and components of live
theatrical performance, including the collaborative dynamics between director, playwright,
actor, and audience. The course covers major theatrical works from around the globe, exploring
how theater is informed by and reflects its cultural and historical contexts.
Course content:
The course consists of lectures, discussions, and participation, reading
assignments, media presentations, and attendance at a theatrical event. Students are graded
on participation, pop quizzes, four two-page papers, a midterm exam and final exam. Students
are expected to attend at least one theatrical production in addition to our own trip to the
Geffen Playhouse on June 2. Off-campus productions require approval of the instructor or TA.
Course goals: Students will develop an awareness and understanding of significant
theatrical performances from different countries, as well as a critical vocabulary to articulate
appreciation for the live event.
Course objectives:
To determine what “theater,” “drama,” and “performance” have meant
at different times in history and what these terms mean now
To gain a fundamental understanding of how each theatrical constituent (performer, director, designer,
playwright, stage manager, etc.) contributes to the cohesion of a theatrical event
To understand theater and performance studies as an interdisciplinary approach
To understand the ephemeral and unique nature of a live event in a shared time and space
To understand the role of the audience in the reception of the live event
Grading:
Attendance, Participation, Quizzes
Paper 1, Paper 2, Paper 3, Paper 4
Midterm Exam (in-class)
Final Exam
25%
25%
25%
25%
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Theater 10: Introduction to Theater
UCLA Spring 2013
Tuesday & Thursday, 3:30-5:20pm, Broad 2160E
Texts:
Theatre: The Lively Art (2012), Eighth edition, by Edwin Wilson & Alvin Goldfarb
The textbook is permanently on reserve at the Arts Library (Pub Affairs Bldg.).
Additional materials, including plays and articles, will be posted on the
TFT intranet course website.
Policies:
To request an accommodation due to a suspected or documented disability,
please inform the instructor or contact the Office for Students with Disabilities,
A-255 Murphy Hall, (310) 825 1501.
•
Lecture slides will not be posted online. Students should take their own notes in class and when
preparing for class.
•
Prompt attendance and active participation are required at all class meetings.
•
Please do not use mobile devices and do not text and do not web surf during class. Screens
distract the other students and the instructors.
•
Class, in part or whole, may not be recorded without permission of the instructor.
•
Students must complete all assigned work before class.
•
In case of illness, a doctor’s note must indicate the period of time covered by the illness.
•
All assignments and quizzes must be completed as scheduled. No make up quizzes will be
administered; no extensions will be granted. No expcetions.
•
Students are expected to treat each other, the instructor, TAs, and guest with respect.
•
Eating, sleeping, and unnecessary talking will not be permitted.
•
Suspicion of plagiarism will be handled according to University policy. More information
regarding academic integrity may be accessed at the Office of the Dean of Student’s website,
http://www.studentgroups.ucla.edu/dos/students/integrity
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Theater 10: Introduction to Theater
UCLA Spring 2013
Tuesday & Thursday, 3:30-5:20pm, Broad 2160E
Productions by the UCLA Department of Theater
http://www.tft.ucla.edu/theaterseason
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Theater 10: Introduction to Theater
UCLA Spring 2013
Tuesday & Thursday, 3:30-5:20pm, Broad 2160E
Course calendar
Week 1
Week 2
Tuesday, April 2
Thursday, April 4
Introduction to the course
Theater, performance and the “live” event
Theater: the Art Form & the Audience
Read textbook Chapters 1 & 2
(5-19, 23-42)
Tuesday, April 9
Thursday, April 11
The performer(s)
Read textbook Chapter 5 (97-116)
Paper # 1 due in class & via Turnitin
Read Stanislavski’s “Direction and Acting”
Week 3
Week 4
Week 5
Watch in class The Stanislavski Century
Instructor at conference in NY
Tuesday, April 16
Thursday, April 18
The playwright
Read textbook Chapter 3 (47-71)
The director and the producer
Read textbook Chapter 6 (119-133)
Read Ibsen’s play A Doll House
Read reviews: Mabou Mines’ Dollhouse
Tuesday, April 23
Thursday, April 25
Paper # 2 due in class & via Turnitin
Dramatic genres
Read textbook Chapter 4 (75-91)
The designer(s)
Read textbook Chapters 8 & 9
(157-185, 189-203)
Beyond Realism
Read textbook Chapter 14 (327-361)
Guest: Scott Cronick, costume designer,
Conan on TBS
Read Susan-Lori Parks’
365 Days/365 Plays
Tuesday, April 30
Thursday, May 2
Read Kushner’s play Angels in America: Part
1 (Millenium Approaches)
Midterm Exam
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Week 6
Week 7
Tuesday, May 7
Thursday, May 9
Musical Theater
Read Scott Miller’s “Overture”
Greek, Roman & Medieval theaters
Read textbook Chapter 10 (209-235)
Watch selections posted online
Read Hrotsvit, Dulcitius
Tuesday, May 14
Thursday, May 16
Paper # 3 due in class & via Turnitin
Rennaisance Theaters
Read textbook Chapter 12 (265-296)
Read the play Medea by Euripides
Read Racine’s introduction to Phèdre
Week 8
Tuesday, May 21
Thursday, May 23
Read “Documentary Histories” by
Postlewait
Read Marlowe’s play Doctor Faustus
Guest Lecture
Week 9
Tuesday, May 28
Thursday, May 30
Paper # 4 due in class & via Turnitin
Read textbook Chapter 15 (365-398)
Read Brecht, “Theatre for Pleasure or
Theatre for Instruction”
Guest Lecture
Guest Lecture
Sunday, June 2, 7pm
Yes, Prime Minister
By Antony Jay & Jonathan Lynn
@ the Geffen Playhouse
10886 Le Conte Avenue, LA 90024
Tuesday, June 4
Thursday, June 6
Read Kritzer’s “Enough!” Women Playwrights
Confront the Israeli-Palestinian Conflict”
Final Exam
Read Brecht, “The Street Scene: A Basic
Model for an Epic Theatre”
Week 10
Discuss Geffen Playhouse production