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University M icrdfilm s International 300 N / E E B HOAD, ANN ARBOR, Ml 48100 18 BEDFORD ROW, LONDON WC1R 4 L J , t NOLAND 8008791
V e r d u g o -P e r e z , S h ir l e y K r u l l
A CREATIVE APPROACH TO THE TEACHING OF SPANISH DRAMA FOR ADVANCED SPANISH CLASSES
The Ohio State University Ph.D. 1979
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University Microfilms intemarionai 30C \ ; = = = sr) AMN AR30P VIi JS'06 312: 761-4700 A CREATIVE APPROACH TO THE TEACHING OF SPANISH
DRAMA FOR ADVANCED SPANISH CLASSES
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Philosophy in the Graduate
School of The Ohio State University
By
Shirley Krull Verdugo-Perez, B.A., M.A.
* * * * *
The Ohio State University
1979
Reading Committee: Approved by
Leonard O. Andrews
John Belland
Margarita Levisi Co-Advisers College of Education ACKNOWLEDGMENTS
The statement, "No man can stand alone, nor can he achieve by himself," is significant and expressive for the student engaged in advanced graduate study. The many difficulties and challenges of my graduate career have been overcome with the help and assistance of many dedicated and sincere people.
Of those dedicated people mentioned above, my husband Manuel is responsible for encouraging me to
"broaden my horizons" as a career woman as well as wife and mother. Without his love and sacrifices this study would have been greatly impeded. To my beautiful daughter
Gala, thank you for helping me with the household chores and babysitting with her younger sister Mila so that
Mom could study. To my adorable daughter Mila, thank you for adding another dimension of love to my life.
To my handsome son Jay, thank you for completing my circle of happiness by being mother to three wonderful children.
But most of all, this research is dedicated to my mother and father, Victoria and Stanley Krull. I dedicate this degree to my deceased father who has always been the motivating factor in my life, financially and emotionally, and who instilled in me the quest for knowledge and to
always achieve in all of my endeavors. His spirit lives
with me forever and I share with him the joy of this
fulfillment. To my mother for all of her support
throughout my life, for her babysitting way beyond the
call of duty and for always being there when I needed
her, I am deeply grateful. Her love and intense interest
in my life made this goal a reality.
I would also like to express sincere gratitude
to Leonard 0. Andrews, my major adviser for being more
than the dedicated educator. I thank him for being the
understanding friend who stood by me when the going got
rough, for having the most important influence on my
academic career, and for believing in me and telling me so when times were so difficult. I want him to know
that without him, this dream would not come true. I would also like to thank John Belland, a minor area adviser and member of the reading committee for his encouragement and cogent suggestions and for the unselfish giving of his time. Appreciation is also expressed to Margarita Levisi, a member of the reading committee, for her suggestions and comments on the manuscript. Her expert advice and personal touch inspired me throughout this study.
iii I am grateful also to the high school teachers and students who served as participants during the develop ment of this study. Needless to say, the study would not have been possible without their participation and cooperation.
iv VITA
July 26, 1939. . . Born--Chicago, Illinois
1959-1960 ...... University of Madrid, Madrid, Spain
1957-1961 .... B.A., Clarke College, Dubuque, Iowa
1963 ...... M.A., University of Wisconsin, Madison, Wisconsin
1963-1964 ...... UNESCO Scholarship: The University of Poitiers, Poitiers, France
1965 ...... Fulbright Fellowship: La Universidad de los Andes, Bogota, Colombia
1966 ...... NDEA French Institute Grant: The University of Alaska, Fairbanks, Alaska
1964-1967 ...... Teacher of Spanish and French: Kelly High School, Chicago, Illinois
196 7 ...... Teacher of Spanish: Language Day House, Chicago Board of Education, University of Illinois at Chicago Circle, Chicago, Illinois
1967-1969...... Instructor of Spanish: University of Illinois at Chicago Circle, Chicago, Illinois
1969-197 0 ...... Teaching Associate in Foreign Language Education, The Ohio State University, Columbus, Ohio
1970-1975 ...... Instructor of Spanish and Foreign Language Methodology, Supervisor of Student Teachers, University of Illinois at Chicago Circle, Chicago, Illinois
v 197 3-1974...... Lecturer of Foreign Language Methodology, St. Xavier College, Chicago, Illinois
1977-1978...... Bilingual Teacher, Chicago Board of Education, Chicago, Illinois
PUBLICATIONS
"Semana Santa en Sevilla," Hispania, September, 1972.
"La Mujer Moderna," and "La Emigracion Sigue," Sol Y Sombra (by Paul Pimsleur), (Harcourt Brace Jovanovich, Inc., 1972) .
"Mexico-Ciudad Fascinadora," Hispania, December, 1972.
"Taxco-Ciudad Monumental," Hispania, December, 1972.
FIELDS OF STUDY
Major Field: Foreign Language Education
Professors Edward Allen, Frank Otto, and Paul Pimsleur
Studies in Teacher Education
Professors Leonard 0. Andrews, Donald Cottrell, and Herbert Coon
Studies in Audio-Visual Communications
Professors Keith Tyler and S. C. Eboch
vi TABLE OF CONTENTS
Page
ACKNOWLEDGMENTS...... ii
VITA ...... V
LIST OF TABLES ...... x
Chapter
I. INTRODUCTION...... 1
The Importance of Drama in the Foreign Language Classroom...... 1 Nature of the Problem ...... 5 Statement of the Problem...... 7 Objectives of the S t u d y ...... 8 Synopsis of the Methodology ...... 9 Limitations ...... 9 Basic Assumptions...... 10 Definition of T e r m s ...... 11 Organization of the Study ...... 12
II. REVIEW OF THE LITERATURE...... 17
Review of the Role of Literature in Foreign Language Education ...... 17 Review of the Role of Drama in the Language Arts Curriculum...... 26 The Importance of Drama in the Foreign Language Program...... 34 S u m m a r y ...... 38 Conclusion...... 39
III. PROCEDURES...... 4 3
Pre-Active Phase...... 43 Description of Population ...... 44 Active Phase...... 46 Initial Contacts...... 46 Second Visit to Cooperating Teachers. . . 47
vii Chapter Page III. PROCEDURES
Third Visit to Cooperating Teachers .. . 48 Fourth Visit to Cooperating Teachers. . . 49 Fifth Visit to Cooperating Teachers .. . 49 Sixth Visit to Cooperating Teachers .. . 50 Seventh Visit to Cooperating Teachers . . 50 Post-Active Phase ...... 51 Evaluation Instrument ...... 51 Summary 5 2
IV. MATERIALS DEVELOPMENT 5 3
Defining the Instructional Problem...... 53 Guidelines for the Model Drama Unit .... 57 Selection of P l a y ...... 59 M a t e r i a l s ...... 60 Model Drama Unit 6 0 The Demonstration Unit...... 61 An Explanation of the Explicacion de Texto Approach...... 61 Explication de Texte ...... 64 Situation of the Text...... 68 Oral R e a d i n g ...... 69 Search for the Dominant Theme...... 69 Vocabulary Development ...... 70 Commentary on Structure...... 71 The Conclusion...... 72 Summary 8 5
V. ANALYSIS OF THE DEMONSTRATION UNIT IN USE .. . 87
Teacher Reactions ...... 87 Teacher A ...... 87 Teacher B ...... 90 Teacher C...... 91 Teacher D ...... 93 Summary of Teacher Reactions...... 94 Investigator's Observations of Teaching Procedures 9 5 S u m m a r y ...... 96 Students' Reactions 9 7 Students' Suggestions ...... 106 Summary of Students' Reactions...... 112 S u m m a r y ...... 112
viii Chapter Page
VI. SUMMARY AND CONCLUSIONS...... 113
Summary of the Study...... 113 Conclusions...... 116 Implications...... 119 Recommendations for Teaching...... 122 Recommendations forResearch ...... 124
SELECTED BIBLIOGRAPHY...... 127
APPENDIXES
A. V i s u a l s ...... 133
B. Model Drama Unit...... 167
C. Teacher Opinion Poll...... 366
D. Student Satisfaction Scale...... 369 LIST OF TABLES
Table Page
1 Teacher Opinion Poll on the Teaching of Spanish Drama at the Advanced High School Levels, Part I ...... 55
2 Teacher Opinion Poll on the Teaching of Spanish Drama at the Advanced High School Levels, Part I I ...... 56
3 Student Evaluation of the Methodology of the Drama Unit as an Efficient Technique. . . 98
4 Student Evaluation of the Methodology of the Drama Unit as an Effective Technique. . . 99
5 Student Evaluation of the Methodology of the Drama Unit as a Satisfactory Technique. . 100
6 Comparison of Rankand Composite Scores of Student Satisfaction Scale ...... 101
x CHAPTER I
INTRODUCTION
The Importance of Drama in the Foreign Language Classroom
The incorporation of drama in the foreign language
classroom provides a unique vehicle for teaching the
fundamental skills of listening, speaking, reading,
and writing. While the study of listening and
speaking skills often occupies the majority of class
time in beginning language courses, these are generally
felt to be skills wholly related to language and of
little or no concern in the study of literature.
The texts used in foreign language education continue to provide listening and speaking exercises throughout all levels of high school foreign language education, but the listening and speaking skills are separate exercises from the reading of literature or writing in the foreign language. Drama provides for the interpretation of all four skills because 1) drama is literature, 2) drama is meant to be spoken and listened
1 2
to, and 3) drama provides strong culturally related
stimuli for writing.
Cor emphasized the listening and speaking aspects
of drama when he said:
. . . the words of the playwright are destined for the voice of the actor and for the ears of the audience. The manner of expression will most likely differ from that of the strictly literary artist. The playwright may even deviate markedly from orthodox literary canons, because his basic obligation is not to make his language intelligible to the reader, but to the spectator and listener.
It would therefore seem that in teaching drama,
it is essential that the teacher consider the oral
aspects of the work, for "drama opens up to the inarticu
late and illiterate that engagement with experience 2 on which literature rests."
The two basic elements of drama are action and dialogue, and both have a place in the foreign language
learning experience. These elements may be introduced
into the classroom by means of learning activities that permit students to act out dramatized foreign language materials.
Huebener feels that
Probably nothing is superior to dramatization as an activity for practicing a foreign language. It is psychologically sound, for it connects the actor with the spoken word. The actor has to think in the foreign language; there is no intermediate stage of translation.-^ 3
Another virtue of drama is that it allows the
student to express his individuality in a learning
situation through identification with the medium. It
elicits a degree of student response that is unmatched
by other means of student involvement.
Furthermore, the use of drama as a teaching
technique brings to life something of the cultural context
of the foreign language. While many scholars would
contend that language and culture are inseparable, the
teaching of foreign cultural experience is often
neglected. In "Describing and Teaching the Sociocultural
Context of a Foreign Language and Literature," H. L.
Norstrand states:
The unique contribution of language teachers lies, of course, in developing the concepts descriptive of the foreign culture, by enabling the learner to combine "experience of" and "knowledge about" into an understanding of one way of life alien to his own. Enlightened language teaching today shows gratifying progress in all its component parts except one: the teaching of the foreign cultural context. We can teach the spoken language with increasing efficiency. . . The weakest aspect of our whole performance is the teaching of the foreign culture and society.4
The drama is a productive vehicle in the teaching of both language and cultural content. Its unique value lies in the fact that the two reinforce each other in the learning experience, partly by making students more 4
receptive to foreign expressions in an immediate context,
and partly by engaging their interest in the material
itself via a "vicarious experience." At its best, this
technique involves the student emotionally and brings
about an identification on his part with the dynamics
of the language. Ideally, this kind of involvement
should be an integral part of language teaching. After
having first comprehended the emotional values of the
language, students are better motivated to study grammar
and fundamentals. They will then more readily accept
foreign sounds and idioms, and will try to express
themselves with greater accuracy.
From this one can see that the experiencing of drama in the foreign language classroom is useful in achieving the general objectives of the foreign language program, namely:
1) Experiences in listening, speaking,
reading and writing the foreign language.
2) Experiences with the foreign culture.
Evidence of how the language reflects
what the culture accepts, admires, dislikes,
etc.
3) Creative experiences for individual students
and involvement in group activities with
the language. 5
4) Motivation to use the language and opportunity
to display increasing command of the
language.^
The relevancy of drama in the curriculum will be
described in detail in Chapter II.
Nature of the Problem
Despite the growing sophistication of methodology
and technology of the past decade, a serious lack exists
with regard to research in the teaching of literature
at the level of the classroom teacher. In the May,
1972 issue of Foreign Language Annals, George Santoni
states:
Looking first at the professional training of a foreign language teacher, we find that specific preparation to teach literature is virtually non-existent. Future teachers acquire a knowledge, a culture, a certain erudition which will often be transmitted to students as such. Why bother with pedagogy: is not the understanding of literature infused naturally? Professional training to teach literature remains casual at best, usually absorbed through osmosis. And programs such as student teaching rarely offer the opportunity to teach at levels where literature is introduced.6
The actual training of students to teach foreign
language literature has been the responsibility of the methods courses offered by teacher-training programs. 6
The element of time more than likely eliminates litera
ture teaching from these methods courses since focus is
placed on the fundamental skills of listening, speaking,
reading and writing per se. Even though instruction in
literature courses themselves influences teaching methods
by providing a teaching model, the question of how to
teach literature continues to be raised by experienced
as well as neophyte teachers.
Two articles are of practical value to the
teaching of Spanish literature. Holby, "Beginning
Literature in the Foreign Language Program," discusses
the question of when the student is ready to read
literature, then makes a number of very practical sug- 7 gestions. Cardenas, "Introduction to Literary Analysis:
Its Place in the High School Curriculum,11 discusses
selection and presentation of reading material, then
elaborates his technique by using the poem "Dedalo"
by Jaime Torres Bodet. He raises the question of how
to teach literature (advanced level high school Spanish
classes) at that age and intelligence level, maintain
interest and succeed in creating not only interest but 8 enthusiasm as well.
Four doctoral dissertations at The < State Univer
sity have made extensive contributions to the teaching of literature at the high school level. These include: 7
1) Geraldine O'Neill--"Teaching French Literature in
the Secondary School" (1968); 2) Genelle Morain--"Some
Implications of French Folk Literature for the Secondary
Language Curriculum" (1969); 3) June Gilliam--"Teaching
French Poetry in the American Secondary School" (196 9);
and 4) Donald Corbin— "A Taxonomy of the Teaching of
French Literature: Domains of Appreciation and
Cognition" (1972).
With the exception of Morain's study, all of the
above dissertations have dealt with practical suggestions on
how to teach French literature at the high school level.
Statement of the Problem
There is a dearth of literature and research
dealing specifically with the teaching of Spanish drama on the high school level. As a consequence the development
of both materials and procedure for introducing drama effectively must initially be done on the basis of the projection of objectives and the use of professional
judgment. The problem then of this study is: Is it feasible to use the teaching strategy called explicacion de texto as an approach to teaching Spanish drama at the high school level?
To organize the investigation answers to the following questions were sought:
1) Is the explicacidn de texto approach a
useful technique for teaching drama at
the high school level? 2) Is it feasible to utilize a model drama
unit with advanced high school Spanish
classes?
3) Do foreign language students respond
positively to the use of a model drama
unit?
Objectives of the Study
This study is intended as a source of reference from which, it is hoped, the teacher may select various ideas which may be of help in his particular teaching situation. The principal objectives of the study are listed below:
1) To investigate the merits of utilizing
a particular strategy for teaching Spanish
drama
2) To design a model drama unit for a particular
Spanish drama
3) To utilize a model drama unit with actual
high school classes
4) To evaluate students' satisfaction with a
model drama unit Synopsis of the Methodology
In order to obtain a reaction to the problem
areas perceived by the researcher in teaching Spanish
drama, an opinionnaire was sent to a sample of Chicago
high schools that offer Spanish at the advanced levels.
This information was utilized in developing a model
drama unit for teaching one specific drama. The teaching
strategy used for developing the model drama unit was 9 the explicaci6n de texto approach. Teachers were observed during the teaching of the unit and interviewed after
teaching the unit so that data could be gathered on whether
the approach was actually followed and whether teachers were satisfied with student learning. Students provided data on their satisfaction with the experience on an in strument designed for this study.
Limitations
The study is subject to the following limitations:
1) The study is limited to the teaching of one
specific Spanish drama, Historia de una
Escalera by Antonio Buero Vallejo.
2) The study is limited to the use of the
teaching materials developed specifically
for this model drama unit.
3) The demonstration aspect of the study is
limited to the teaching of the model drama
unit by four instructors of Spanish each 10
teaching two of their own advanced level
Spanish classes.
Although the study is limited to students in
advanced level Spanish classes, it is hoped that the
results will be generalizable for classes of other
languages and levels.
This study is not exhaustive of methodological
approaches to teaching drama in the foreign language edu
cation classroom but is limited to an adaptation of the
explicacidn de texto method.
Basic Assumptions
The study will be predicated on the following assumptions:
1) That the contemporary play "Historia de
una Escalera" by Buero Vallejo is approp
riate for high school students.
2) That the model drama unit can be employed
by Spanish foreign language teachers at the
high school level with a minimum of
instruction in methodology on the utiliza
tion of the explicacidn de texto approach.
3) That teacher respondents to the opinionnaire
and student participants were truthful in
their answers. 11
Definition of Terms
Certain terms used in this study are defined as follows:
Literature, as a special form of communication.
Perhaps "communion would be a better word to apply to imaginative literature. For in reading a poem or novel, we are preoccupied with the experience we are living through in the actual reading. We are alert to the very sound and rhythm of the words conjured up in ..10 our inner ear.
Drama, a literary composition in prose depicting life or character, by means of dialogue and action and designed for performance.^
Play, a dramatic composition or performance.
To be used interchangeably in this study to mean the same as drama. 12
Explicacion de texto (explication of text) is a methodology for the interpretation, analysis and 13 evaluation of a literary work in and for itself.
For the purpose of this study the explicacidn will consist of the following:
1) Localizaci6n (Situation of the text)
2) Lectura del texto (Oral reading of the text) 12
3) Comprension o determination del tema
(Establishment of the central theme of the text)
4) Desarrollo de Vocabulario (Vocabulary development)
5) Forma estructural (Commentary on structure)
6) Conclusion (Conclusion)
Advanced level refers to Spanish III, IV and V,
plateaus of "performance" based upon established levels
of linguistic competence.
Model Drama Unit in this study means a selection
of material and suggested activities built around a
central subject matter area and organized to lead to
the mastery of a definite major goal. Often referred
to here as instructional or demonstration unit.
Organization of the Study
Chapter I establishes that drama as a literary form has elements that not only utilize the fundamental skills of language learning but also provide students with the vicarious experience of the cultural context.
Chapter II establishes the basis for the teaching of literature in the foreign language program. This chapter also discusses the role of drama in English classes since there is a lack of literature pertaining 13
to the teaching of drama in foreign language education.
Inferences were drawn from the reviewed literature
to establish the importance of drama in the foreign
language education program.
Chapter III describes the research methodology
which was divided into three phases: (1) development
of instruments and selection of population; (2) obser
vation of teaching and student reactions; and (3) com
pilation and analysis of the data.
Chapter IV describes the results of the teacher
opinionnaire/ the selection of the play, guidelines
for developing the model drama unit, description of the
French version of the explicacion de texto approach and
how this method is used in the study with examples of
exercises from the model drama unit.
Chapter V describes the teachers' reactions and
observations made by the researcher in the demonstration
classes. The results of the Student Satisfaction Scale
and answers to the open-ended questions are given.
Chapter VI is organized by the objectives stated
in Chapter I demonstrating usefulness of the technique,
curriculum feasibility and students' positive responses.
A number of questions for further research was raised
and recommendations made for teaching Spanish drama in
the foreign language education classroom. 14
Appendix A contains the visuals that help to
depict plot development of the play "Historia de una
Escalera."
Appendix B contains the cutlural episodes and
grammatical exercises which comprise the text of the
model drama unit.
Appendix C contains the opinionnaire made up of
problems perceived by the investigator on the teaching
of Spanish drama. Teachers in various Chicago high
schools responded to the opinionnaire before the beginning of the study.
Appendix D contains a copy of the Student
Satisfaction Scale, a series of questions to determine the participating students' satisfaction with the model drama unit. NOTES FOR CHAPTER I
^L. W. Cor, "Phonic Aspects of Language in the Theater,” French Review, XXXVII (October, 1963), 31.
2 John Dixon, Growth through English (Reading, England: National Association for the Teaching of English, 1967), p. 356. 3 Theodore Huebener, Audio-Visual Techniques in Teaching Foreign Languages, rev. ed. (New York: New York University Press, 1967), p. 23 4 Howard Lee Nostrand, "Describing and Teaching the Sociocultural Context of a Foreign Language and Literature," Trends in Language Teaching, ed. Albert Valdman (New York: McGraw-Hill, 1966), p. 21. 5 Pat Castle, "Toward Excellence in Foreign Language Education," The Office of the Superintendent of Public Instruction State of Illinois (Springfield, Illinois: 1968), p. 101.
^George Santoni, "Methods of Teaching Literature," Foreign Language Annals, Vol. V, No. 4, May 1972, pp. 432-433. 7 Dorothy Holby, "Beginning Literature in the Foreign Language Program," Hispania, Vol. 51, No. 3, September, 1968, pp. 476-479.
Q Daniel Cardenas, "Introduction to Literary Analysis: Its Place in the High School Curriculum," Hispania, Vol. 51, No. 3, September 1968, pp. 395-401. q Pierre Clarac, L 'Enseignement du francais, (Paris: Presses Universitaires de France, 1964), pp. 101-102.
15 16
Louise M. Rosenblatt, "Literature--The Reader's Role," The English Journal, 49, May, 1960, p . 305.
^■'"Elder Olson, Tragedy and the Theory of Drama, (Detroit: Wayne State University Press, 1966), p . 7.
12Ibid., p. 7.
13 Walter Rollo Brown, How the French Boy Learns to Write, (Cambridge: Harvard University Press, 1927), pp. 119-120.
14 Marjorie M. Kupersmith, "History and Analysis of the Explication Francaise" (Ph.D. dissertation, Western Reserve University, 1959), p. 72. CHAPTER II
REVIEW OF THE LITERATURE
This chapter will examine the role of literature
in the foreign language program, the role of drama in the
language arts curriculum, and the importance of drama
in the foreign language program.
Review of the Role of Literature In Foreign Language Education
The question of whether literature should be
included in the modern foreign language curriculum must not be overlooked. Ned Davison of the University of
New Mexico in a controversial article concerning the
inadequacy of the North American student's readiness
for literature classes in the target language at the intermediate level states:
La insistencia en usar la lengua foranea como vehiculo en el pensar de la sala de clase y la comunicacidn de las visiones interiores y las percepciones es, probablemente, responsable, m3s que cualquier otra cosa, de la deficiente calidad intelectual de una buena parte de estudios hispanicos en los Estados Unidos de hoy.
17 18
Menoscaba la finalidad de tal estudio concentrando la atencion en la facilidad verbal en espanol en vez de la precision critica y la comprension literaria. Puede obtenerse un elevado grado de reaccion sensible ante una lengua extranjera y su literatura sin un dominio completo y activo de esa lengua, escrita y hablada. El cultivo de tal reaccion puede no ser ideal pero parece, sin embargo, un objetivq muy valioso y , suficientemente dificil de procurar.
Reactions to Davison's article were predictable, for they touched on a subject that will be debated as long as languages and literatures are wedded in the same high school and collegiate departments. Dwight Bollinger commented that the issue is not whether literature should be discussed in the target language, but how soon. The more we value literary discussion the more we must wish 2 that it be done well.
Another reactor felt that if the student desires to apply his acquired reading skill in the study of literature, he should definitely be trained in literary analysis as well as be exposed to the Hispanic literary heritage. In serious literature study language is used as a tool for the communication of ideas and insights concerning the analysis of the works being studied.
Moreover, well developed audio-lingual skills must be presupposed in such studies. The student then is free to develop another skill of quite a different nature, 19
i.e., the analytical skill. This skill and its training
are necessarily involved in plumbing the depths of style,
imagery, and structure. Since the natural goal of such
training and study is genuine appreciation of literature,
the student who is still wrestling with his own linguistic
difficulties will never really reach this goal. As an
unfortunate result, much fine literature would fall 3 victim to his misunderstanding and unappreciation.
Although all may not agree on the exact level at
which to introduce literature in the foreign language
classroom, a majority of foreign language educators have
expressed a positive feeling toward including literature
in the curriculum. One German scholar, Frank Ryder,
advocates that "room be given for the overt introduction of selected secondary material, preferably broad and
complete studies of individual works, studies which in
some way come to grips with the work as a totality."
He stresses the point that a "forte" of our American students, often remarked and sometimes chided by
Europeans, is the enthusiastic and unquestioning immediacy, perhaps egocentric, with which they approach any writer from Homer to Robbe-Grillet as if he wrote directly to or for them, or as if his works were accessible with little reference to differences of time or space. He considers our students more fortunate than 20 many a European youngster, who is so conscious of the distance in time which separates him from Homer or even
Goethe that he has secretly removed them from the pale 4 of his reality."
This same position is shared by the Northeast
Conference Reports which have shown concern for including literature in the foreign language curriculumsince
1954. The following is a long series ofReports of the Working Committees on this subject:
1954: "The Teaching of Literature"
1955 and 1956: "The Role of Literature in Language Teaching"
1957: "Materials and Methods for Teaching Literature in Secondary School in Preparation for Admission to College with Advanced Standing"
1958: "The Ghosts in the Language Classroom"
1959: "A Provisional Program to Implement the Report of Committee I: A Six-Year Sequence from Grade Nine through the Second Year of College"
1963: "Reading for Meaning"
1964: "Foreign Languages in the Secondary School" "Foreign Languages in Colleges and Universities"
1965: "From School to College: The Problem of Continuity"
1966: "Wider Uses for Foreign Languages"
1967: "The Teaching of Reading" "Times and Places for Literature" 21
The 1963 Northeast Conference Report states:
One of the goals of foreign language teaching in our schools and colleges is to develop the ability to read good books in the foreign language with maximum direct association, that is, with minimum intervention of English . . . but there is something more. . . . In addition to reading with full comprehension and maximum direct association at every step of the long process, the student must gradually come to appreciate the subtler element of style . . . the tone, the color, the rhythm. He must become aware of the literary trends or movements, historical significance, and cultural uniqueness. . . . The justification for training to read foreign literature rests on more than the acquisition of great ideas, for a great idea is by its very nature likely to be panhuman and can be translated into any language to whose culture it is or can become relevant. It is the manner of communication of ideas, great or small, that defies trans lation and becomes the final objective in reading for meaning.5
The 1967 Report provides much food for thought on the subject of literary education, and deserves to be used as the basis for further inquiry that will eventually lead to practical application. In the report on the
"Times and Places for Literature" the committee states that one reason for the failure of literature courses is a ". . . failure to recognize that a literary work is capable of many levels of treatment from acquaintance through assimilation. . . .
The committee is quick to point out that "if a command of the foreign language (in the case of the 22
modern foreign languages, this entails both oral and
written skills) is not achieved, the study of a foreign
literature becomes trivial, unrewarding, and devoid of
humanistic content.It insists that literature should
not be attempted in the foreign language classroom
until the student feels "at home" with the nonliterary
experiences.
We believe that past confusion has led to lack of interest in and distaste for foreign literatures among many students for the following specific reasons: . . . Failure to require of students functional control of the language before they enter literature courses.8
And, if "to enjoy it, one has to handle . . . the ordinary
non-literary language comfortably, one limitation is placed on us by the nature of the type of language used in our instructional materials because we are 9 teaching for goals other than the study of literature."
Thus the committee recommends that teachers refrain
from teaching literature until they feel that students are indeed ready to handle it.
This raises an interesting point, for the committee also states, when considering the question of where to begin the study of literature: 23
The principles and guidelines presented below are appropriate to all instructional levels, FLES to early undergraduate. The experience of literature does not begin with the first literary masterpiece read. . . . Admittedly literature at the FLES level is necessarily limited because of the children's minimal linguistic progress. Nevertheless, it must be pointed out that even at this level, it is possible to intro duce pupils to literature in oral forms, provided that the teacher has been trained to do so. . . . When literature has been properly introduced at this level, there is an opportunity to develop favorable attitudes and sensitivities towards literary pieces which will form the foundation for further acquaintance and discussion at higher levels.
In fact, the committee cites Bruner's support for this early introduction of literature:
A curriculum should involve the mastery of skills that in turn can lead to the mastery of still more powerful ones, the establishment of self-reward sequences. . . . But it is also the case that reading simpler poetry brings more complex poetry into reach, or that reading a poem once makes a second reading more rewarding.H
The committee reports imply that the teaching of literary texts be reserved for that time when the student is capable of handling them intellectually, psychologically, and linguistically. Yet at other times they suggest the introduction of literary texts wherever necessary, as long as the nature of the literary text or the linguistic experience is not violated. While 24 the committee does not consider the question of the affective domain in the teaching of literature or of the particular stylistic or linguistic devices which are necessary for an understanding of literature, it does state that these are areas which may, and in fact should, be integrated into the course of study at a relatively early stage.
In the 1968 publication of "Toward Excellence in Foreign Language Education" published by the Office of the Superintendent of Public Instruction--State of
Illinois, claims that answers in the affirmative to the fol lowing questions indicated an excellent foreign language program (these questions apply to the advanced high school levels).
1) Is the emphasis placed on reading well- known contemporary authors of clearly established reputation? 2) Does the reading consist of novels, short stories, plays accompanied by discussions in the foreign language of the material read? 3) Does reading, which is very important at the advanced levels, provide many and varied opportunities for the acquisition of cultural information and insight? 4) At the more advanced levels is time devoted to a discussion on literary style and form of the material read?^^ 25
In the 1967 Northeast Conference on the Times
and Places for Literature, no one literary genre was
given precedence over the other. Only one statement
expressed a preference for a preferable progression 13 in reading different literary genres.
The 1955 Northeast Conference on Culture, Literature,
and Articulation in Language Teaching recommended for
the teaching of Spanish Literature at High School Level
III five novels and five plays--Comedia y Drama edited by Alvarez Quintero consisting of four short plays in prose and Sueno de una noche de agosto--a humorous treatment of a prose play with the theme,
Can the Spanish woman be modern? In Level IV nine 14 Spanish plays were recommended and five Spanish novels.
The prosperity of publishing houses and the abundance of beautifully designed paperbacks of readings for the secondary schools are evidence that, foreign literatures continue to be an important part of the curriculum. Nearly always these paperbacks contain plays by Spanish, Cuban, Mexican, Puerto Rican and
South American playwrights ranging from the classics to the contemporary. The plays range from the short one-act plays to the longer contemporary modern drama. The latest offerings are from The Center for Curriculum
Development, Inc., with a list of nine contemporary plays including supplementary tapes for each individual student. 26
From the previous studies and reports, one can
see that the experts do agree almost overwhelmingly
that literature has its place in the foreign language
program. In discussing the legitimate short-range and
long-range objectives of today's modern language course,
Nelson Brooks says:
When focus is shifted from the foreground to points at a greater distance, the long range objectives appear in short outline. One of these is the promontory, literature, the art of words, which looms so large in the academic world within which the learnings we are discussing take place.^
Since the journals, the textbooks of methodology,
and the researchers into classroom practice have had
little to say on the importance of one specific genre, namely the drama, in the field of foreign language education, the researcher will examine the importance of drama in the language arts curriculum.
Review of the Role of Drama in the Language Arts Curriculum
To me it seems as if when God conceived the world, that was Poetry; He formed it, and that was Sculpture; He colored it, and that was painting; He peopled it with living beings, and that was grand, divine, eternal Drama.16 27
Cushman may be overemphasizing the role of drama but scholars believe that drama should be used as a medium for aiding the integration of the child as indicated by D'Amico:
The dramatic experience and not the exhibition is important. The play is chosen to develop the student, the student is not chosen for the play. We must seek plays that fit the person or personal problems we deal with.17
Seeley adds to this idea by seeing the drama as a closer medium to naive people because in drama events happen more rapidly than they do in real life, and the dialogue is restricted to what will carry forward the plot. He also adds that drama brings to the audience dialogue between people functioning in roles appropriate to their culture; this experience is provided directly as opposed to the other literary genres poetry, short story or novel.
The drama is the most thrilling form of literature because, when we see a play or visualize it as we read it, we lose our selves in the experience of others, and we sorrow and rejoice in their defeats or triumphs because the characters have become living human beings to us. The fiction writer can use descriptive passages and philosophical discussion to present his characters, but the dramatist is dependent for both character portrayal and plot development solely upon dialogue con densed into swiftly culminating action. 28
The writer agrees with Moffett and Seeley that drama
helps to direct itself to the adolescent as well as adult
audience. He sees drama as the most accessible form of
literature for young and uneducated people. It is made
up of action? and the verbal action is of a sort we all
practice all the time. A kindergarten child or an older
illiterate can soliloquize and converse, verbalize to
himself and vocalize to others. No written symbols are
required. Drama is primitive: not only does it hit
us at the level of sensation, affect, and conditioned
response, but it seems in all cultures to be virtually
the first, if not the first, verbal art to come into being, because it is oral and behavioral and functional, 19 evolving directly out of real-life activities.
Eastman, identifying drama as basic to all
literary forms, also illuminates its power by emphasizing
its scope and depth:
Drama is larger than literary— and earlier. It is mime and talk as well as script. It opens to the inarticulate and illiterate that engagement with experience on which literature rests. It permits them, and people in general, to discover their private human potentialities, to participate in and share the experience of the group, to make experience public.
Drama is primal. There is the actuality— people, voices, gesture, movement. Next, the physical presentation, the acting it out. And then, the literary imitation, 29
the script. Drama is the matrix, the primal ocean in which the other literary forms float--monologue and dialogue, exposition, narration, description, argument, lyric, oration, epigram, apothegm. Drama is the source from which, by temporal or philosophical abstraction, other literary forms flow: from its conflict and dialogue develop argument and discourse.
Drama liberates. It releases its practitioner from the inhibitions of self-consciousness. As it is play, make-believe rather than believe, it permits the individual to try on an attitude or to model an emotion without paying actuality's price. It releases its practitioner too from the explicit inter pretive restraints more common in other forms of literature. The actor may and must find within himself what it is to be jealous, envious, distraught, ambitious. Finally, as the practitioner becomes creator, drama opens to him the discovery of something approaching the totality of himself. The many voices of his play and the many emotions— conflicting, harmonizing, commenting--are all his, spectroscopic fragmentations of a self which willy-nilly speaks in all he writes and which, discovered and released, can speak hereafter in his writing with new richness and vitality.20
A course that cannot justify itself in the light of the general objectives of education has no place in
the school curriculum. Likewise if the inclusion of drama
in the literature program cannot prove its worth, it has no place in the course of study. Obviously, the inclusion of drama depends upon whether it answers some need, guides some tendency or disposition, or develops and establishes some aptitude or talent. 30
Drama is in close harmony with social studies since it deals with the people, customs, habits of all civilizations; and recreates the present and past history in form, color, motion, sound, and action, so that it becomes living experience to the child. Drama has aims in common with the arts of music and the dance because it trains the auditory and kinesthetic senses through tone and movement.21
The application of drama within the classroom, particularly in the United States, has not yet achieved widespread acceptance, partly because of educators' ignorance concerning the relationship between drama and the educational process. The question still arises as to what the distinctive contributions are that drama offers to children which justify its inclusion in the curriculum. In reply to this, Philip Coggin in Uses of Drama says:
Drama is "the doing of life." Real life experiments may be fatal, costly, or beyond our reach. In drama the whole of life can be lived with all its excitement and none of its danger. Whatever the social cir cumstances there can be total living, and since drama is also unity in variety, it is a great integrating force. It helps the personality to self-realization by educating the emotions, stimulating the intellect, and co-ordinating movement and gesture to the wishes of the mind and spirit. A fully developed human being is, by definition, a full member of society, and the communal character of drama encourages the full development of the social group. A community spirit founded on principles of truth and sincerity could go far beyond parochial interests to embrace eventually the whole community of mankind.22 31
All special applications of drama in the classroom
are important because they provide multiple ways for
the teacher and the student to become more involved
in the learning process. Iverson, speaking of these
benefits, says:
He (the student) can extend his life space in a hundred different roles. He can achieve an emotional release from the experimentation, sensing the power of the spoken word to stir, to calm, to anger, to mollify. He can be swept by the unpredictable dialogue into trying to find language suited to the feeling context which has that very moment arisen. He can lend tonal vestments to word and utterance in a driving desire to get attuned to the nuances of the relationship being projected. He can, in short, rise to a new perspective on the ways language both facilitates and denies human commonality.22
Duke states that our basic task in education is to
discover appropriate strategies that take individual differences into consideration but that do so in such a way as to foster the development of the individual. Drama with its emphasis on personal involvement and attention
to the experiential backgrounds of the participants, offers individuals a wide range of opportunities for dis covering and achieving their aspirations. The child profits from confrontations with practical and social problems as well as with personal issues. Drama provides the student with opportunities to learn through doing and to enjoy and know what it feels like to use the creative part of himself.^ 32
From the preceding review, it appears evident that drama provides a wealth of experiences for the emotional development of the adolescent. The following studies focus on drama as a vehicle in also developing the verbal skills. For example, Tucker conducted a study concerning the use of drama in primary reading readiness.
She showed that drama has an influence on developing the verbal skills of reading readiness beyond that of maturation and normal schooling. Specific abilities 2 5 such as listening and vocabulary were developed.
Another study conducted at Illinois State
University by Carlton and Moore showed how drama could 2 6 be successfully utilized in elementary reading.
Eloise Hayes, Professor of Education at the
University of Hawaii, has developed and tested some drama techniques in her language program with Hawaiian children whose progress in standard English was hampered by 27 their use of "pigeon." The most extensive U.S. study in drama which can be directly related to language arts grew out of the work of one of the educational laboratories set up by the federal government in the late sixties.
The Aesthetic Education Program CEMREL, Inc., has developed an extensive drama program. The Theatre Games
File contains a wealth of research-supported ideas for 2 8 inexperienced and experienced teachers. 33
Reports in professional journals and text books
from both Canada and England also support the contention
that drama should form an important part of the language
learning program. The educational drama materials
from England are more extensive and deal with drama
as a subject and as a technique. The work of Dorothy
Heathcote of the Institute of Education at the University
of Newcastle is outstanding. Her writings and films
provide excellent stimulation and encouragement to
classroom teachers. The Dartmouth Seminar Papers produced
by the National Council of Teachers of English, which
report on the English drama scene are invaluable. An
extensive survey of drama in England conducted by
Her Majesty's Government in 1967 is also exceedingly
helpful. It is systematically organized to show not
only what is being done in drama, but how it relates to
all aspects of education. It contains loosely documented but specific references to the value of drama. There
is also a wide variety of English textbooks which deal 29 with drama.
These and many other studies conducted in the
United States and abroad support the contention that drama has a positive effect on language learning. 34
The Importance of Drama In the Foreign Language Program
Like all subjects offered in the school, drama
can claim a legitimate place in the curriculum only if
it meets the needs of the students. A summary of the
literature states that a well-planned and well-taught
secondary school drama program can satisfy the students'
need to:
1) Obtain skill in the use of oral language;
2) Develop a well-adjusted personality;
3) Learn to cooperate with others;
4) Develop a capacity for intellectual
recreation; and
5) Develop an appreciation of aesthetic and
cultural concepts.
One can see the value of employing drama in the foreign
language classroom as summarized in a synthesis of the
previous literature in the next two sections.
Drama Develops the Oral Skills
Skill in the use of oral language is gained through exercises in pronunciation and enunciation, voice develop ment, interpretative reading, and acting. These oral skills are crystallized in the performance of plays on stage or in the classroom. 35
Drama Develops the Personality
The most elusive goal in the educational objec
tives of the drama is personality development. For good or ill, every experience which a student has makes some impression upon him and affects the kind of individual he eventually becomes. One of the important and desirable traits of personality which drama seeks to develop in a student is his understanding of himself and of others. In his study of the basic psychological factors that motivate the characters in the plays with which he works, he will gain a better understanding of the people he knows. Because involvement in a play makes constructive use of a wide variety of talents, it offers every kind of student some challenge at which he can succeed. Each may therefore grow in his own self-esteem which is probably the most universal need of the adolescent. Self-confidence is the result of achievement alone. In finding his niche, the student begins to realize the value of his individual traits and the invaluable contribution which he can make to the whole group. A student whose ethnic or religious background sets him apart from the majority of his classmates may be called upon to act as a technical expert when a play requires the enactment of a special ritual or custom associated with his group. Often, for the first time# he begins to see his differences
as an asset and develops confidence in being himself.
Certainly, an understanding of himself and of others
contributes to the development of his personality.
Drama Involves Students in Group Activities
In acting out a play, the student learns through practical experience the importance of cooperating with a large group of individuals, each of whom has an assignment integral to the whole play. He observes and works with other students. This activity emphasizes the interrelation of the parts and the indispensibility of each to the whole, and illustrates the importance of obeying the established chain of command vital to any successful cooperative endeavor. He learns that, though everyone is equally important, all are not equal in abilities and responsibilities. He learns that democrat cooperation depends upon an organized plan, a division of responsibilities, and a respect for authority, not upon every individual going his own way.^^
Drama Provides Intellectual Stimulation
By studying a play, a student acquires a capacity for intellectual recreation. Given the opportunity, the student discovers the excitement of intellectual 37
recreation in making an audience understand and believe
the character he is portraying. He finds further
stimulation reading and analyzing plays for their plot,
structure theme, characterizations, and emotional
content, as well as their literary values. Is not the
primary purpose of the school the training of the minds 31 of its students?
Drama Provides Experiences with Cultural Concepts
If the school is not actually obliged by its commitment to prepare the student for living to develop in him an understanding and an appreciation of cultural and aesthetic concepts, it should at least encourage this kind of learning. Cultural concepts grow through reading and producing plays wherein the student may dis cover the beauty of life, the lessons of history, and the problems of society. This is stimulating content 32 for both the instructor and the high school student.
Drama Develops an Appreciation of the Aesthetic
An introduction to an appreciation of aesthetics is another result of the study of drama. The student learns to enjoy the effectiveness of language which is well handled in the dialogue of good plays. Through the study of theme and character in dramatic literature 38 he begins to discern that which is universal and time- 33 less m human ideas and experiences.
Summary
The following are just a few substantial reasons drawn from previous research and scholarship for incorpora ting drama in the foreign language literature program:
1) Drama provides selective stimuli for
listening, speaking, reading and writing skills,
2) Drama is direct involvement with the dialogue.
3) Drama teaches the effectiveness of language;
the ability to interpret prose orally.
4) Drama exposes the student to the psychology,
language, and culture of other people.
5) Drama treats universal themes.
6 ) Drama can be read and analyzed in a limited
period of time (example of a 9-page one-act
play).
7) Drama is adaptable to various levels of
achievement and student interest.
8 ) Drama is a good medium for teaching literary
analysis to both the mature and adolescent
reader.
9) Drama is a good mirror of human behavior. 39
10) Drama deals with the individual in relation
to himself— his problems, desires, pre
judices, and fears.
11) Drama helps the reader to understand life
and its problems and how people react.
Conclusion
These few studies, reports, and textbooks lend
effective support to the contention that drama can be
an exciting and effective approach to language learning.
It is, therefore, the purpose of this writer to help classroom teachers use drama to increase the student's understanding of himself through dramatic sense awareness and movement experiences, his ability to communicate with his peers through role playing and characterization.
If the classroom teacher keeps these broad purposes in mind, the writer believes that the basic language skills of listening, speaking, reading, and writing may be more effectively and happily attained and used. NOTES FOR CHAPTER II
■'"Ned Davison, "Lengua o Literatura," Hispania, 49, May 1966, pp. 302-302.
2 Dwight Bolinger, "Literature Yes, But When," Hispania, 51, March 1968, pp. 118-119. 3 Richard Esler, "The Teaching of Literature: To Whom?," Hispania, 51, December 1968, pp. 847-848. 4 Frank G. Ryder, "Literature in High School-- A College Point of View," German Quarterly, 38, September 1965, p. 478. 5 Northeast Conference on the Teaching of Foreign Languages, Report of the Working Committee, Washington, D.C., 1963, pp. 23-24.
g Northeast Conference on the Teaching of Foreign Languages, Report of the Working Committee, Washington, 1967, p. 74.
2Ibid., P- 57.
^Ibid., P- 74.
9 Ibid., P- 75.
I O t , . , Ibid., P- 77. CD 1;LIbid. , P- •
If 12Pat Castle r Language Education," The Office of the Superintendent of Public Instruction State of Illinois, (Springfield: Illinois: 1968), p. 103.
40 41
^ Northeast Conference on the Teaching of Foreign Languages, Report of the Working Committee, Washington, D.C.: 1967, pp. 75-78.
14 Northeast Conference on the Teaching of Foreign Languages, Report of the Working Committee, Washington, D.C.: 1955, pp. 25-27.
15 Nelson Brooks, Language and Language Learning (New York: Harcourt, Brace and Company, Inc., 1960), p. 111.
^ E m m a Stebbins, Charlotte Cushman (New York: Houghton Mifflin Co., 1899) , p! T!
17 Quoted by Victor D'Amico in "Theater Art in Education," Progressive Education (1936), p. 50.
18 Katheryn Ommanney, The Stage and the School (New York: Harper Row and Co., 1932), p. 14.
19 James Moffett, Drama: What Is Happening (Urbana, Illinois: National Council of Teachers of English, 1967), p. 3.
20 Douglas Barnes, Drama in the English Classroom, (Urbana, Illinois: National Council of Teachers of English, 1968), p. 6 .
21 D'Amico, ^p. cit., p. 54.
22 Philip A. Coggin, The Uses of Drama (New York: George Brazillen, 1956), pp. 292-93.
2 3 William Iverson, "The Lively Arts of Language in the Elementary Schools," The Discovery of English (Urbana, Illinois: National Council of Teachers of English, 1971), pp. 81-96.
24 Charles R. Duke, Creative Dramatics and English Teaching (Urbana, Illinois! National Council of Teachers of English, 1975), p. 84. 42
25 Barbara McIntyre, Creative Drama in the Elementary School (Itasca, Illinois: F. E. Peacock Publishers, Inc., 1974), p. 4.
2 6 T, . , . Ibid., p . 4.
2^Ibid. , p. 5.
28Ibid.
29Ibid.
39Charlotte Kay Motter, Theatre in High School: Planning, Teaching, Directing (Englewood Cliffs, New Jersey: Prentice-Hall Inc., 1970), pp. 4-5.
2^Ibid., p . 4.
32Ibid., p. 5.
33 Ibid. CHAPTER III
PROCEDURES
This chapter describes the research methodology
involved in the study. The research was divided into
three phases: the pre-active which involved the distribution of the teacher opinionnaire and description of the population; the active phase which involved observations of the teachers during instruction of the unit, teacher interviews, and the administration of the
Student Satisfaction Scale; and the post-active phase which involved analysis of data from observations, interviews and the Student Satisfaction Scale. These phases will be described below in detail.
Pre-Active Phase
In order to conduct this study, opinionnaires
(Appendix C) were delivered personally to a sample of
30 teachers who teach advanced Spanish classes in
10 high schools in the Chicago area during the fall of
1973. Its primary purpose was to obtain the teachers' reactions to a series of realistic problems, as 43 44 perceived by the investigator, in teaching drama at the high school level. The results of the opinionnaire
•will be discussed in Chapter IV.
Description of Population
The subjects for this study were teachers and students in third and fourth level Spanish classes in four Chicago area high schools. Four teachers of advanced Spanish classes taught two classes each with a total of approximately 120 students in the eight classes involved in the study.
The four teachers involved in the study served as supervisory teachers for student teachers in foreign languages at the University of Illinois. These teachers were known to this researcher as she visited the Univer sity of Illinois student teachers at the supervisory teachers respective schools. The four teachers were selected because they were observed to meet the following criteria:
1 ) experience in teaching literature at
the advanced high school level;
2 ) interest in utilizing an explicacidn
de texto approach and audio-visual
equipment to teach one particular Spanish
drama; and 45
3) willingness to meet with the writer for
an orientation of the procedures to be
followed in the study. Also a willingness
to have his/her classes involved in the study
observed by the researcher from the beginning
to the end of the model drama unit.
The sample was thus one of convenience and did
not necessarily represent a random or representative
sample of the entire population of third and fourth
level Spanish classes. The subject high schools repre sented two city public high schools, one city parochial high school, and one suburban high school.
The suburban high school could be classified as upper middle class while the parochial high school is middle class. One of the city public high schools has
20% Spanish-speaking students or students with Spanish surnames (not necessarily Spanish-speaking). This school could be classified as lower middle class. The other city public high school would be considered middle class.
This writer had guaranteed the four cooperating teachers* and all of the students involved in the study anonymity. In this way the writer believed that the
* The term cooperating teacher is used to denote a teacher cooperating in the study. 46
teachers would feel completely at ease in their oral
comments and the students would be less threatened in
expressing their views in their written comments.
There are many aspects of a project of this nature
which are difficult to measure with an objective instru
ment. It was deemed necessary, therefore, that anecdotal
records be kept on the four teachers1 reactions that in
any way could be related to the teaching unit. The
teachers were not required to keep a log or to write
down their comments. The investigator recorded the oral
statements of each cooperating teacher during an inter
view. The log consisted of the teachers' comments on
the drama unit and are included in Chapter V under
Teacher Reactions.
Active Phase
The active phase began in the middle of March,
1974 and ended the beginning of May, 1974. Each coopera ting teacher was asked to utilize the model drama unit
(Appendix B) for Historia de una Escalera.
Initial Contacts
In the middle of March the researcher contacted the four cooperating teachers who had agreed to parti cipate in the study and visited them at their respective schools. The researcher explained that materials for
a model drama unit had been developed and were now
ready to be used and evaluated. Their cooperation was
solicited in helping with this endeavor. At this time
the researcher also contacted the teacher's immediate
supervisor for permission to go ahead with the project.
The meeting concluded with the understanding that the
investigator would contact each teacher by telephone to arrange for a session for the following week when the materials would be discussed and given to each teacher. A two-period conference (40 minutes each period) was agreed upon in order that the second visit might become an in-service education session consisting of an orientation and discussion meeting.
Second Visit to Cooperating Teachers
The second visits were made to the four cooperating teachers during the last week of March. A brief intro duction concerning the use of the methodology and the materials written for the drama unit were explained by the researcher. The investigator suggested to each cooperating teacher that he/she spend a sufficient amount of time acquainting himself/herself with the materials before utilizing them the following week. The researcher gave her telephone number to the teachers in case they might have questions about some particular aspect of the unit or methodology employed. 48
The researcher emphasized that the materials were
being used for the first time, and that the cooperating
teacher's assistance in evaluating them would be
appreciated. The researcher also asked the teachers'
permission to observe the classes once a week for the
next six weeks. These observations would be unannounced.
The researcher felt that if the teacher and students
were not expecting her on a certain day, then the teacher would not feel obligated to prepare a certain lesson
for the researcher's approval. The point was stressed
that the principal focus of the study was on evaluating
the drama unit materials.
Third Visit to Cooperating Teachers
The third visit to the cooperating schools occurred approximately one and a half weeks after the teachers and their classes had begun using the materials.
At this visit the researcher expressed the desire for flexibility on utilizing the materials according to the advanced levels of the classes involved. Because of the amount of material involved in the model drama unit, the investigator felt that some exercises would be eliminated due to the lack of time necessary to complete them.
The teachers were advised that all of the materials could be retained permanently for their professional 49 libraries and that the students could keep the typed scripts of the play. Only the completed Student
Satisfaction Scales were to be returned to the investi gator for evaluation purposes.
Fourth Visit to Cooperating Teachers
The fourth visit occurred during the second week of April. The cooperating teachers were encouraged to react to what had been taught in the first two weeks of the unit. The researcher asked the teachers to share with her any materials that they could on the students' progress in conjunction with the unit. The researcher also expressed an interest in seeing if the teachers had noted any improvements on their students' fundamental skills acquisition as a result of the unit. This was also the second visit by the researcher in sitting in on the classes being taught. Several minutes before the end of the class period was spent for possible student questions on the unit.
Fifth Visit to Cooperating Teachers
On the fifth visit, some schools were visited in the third week of April and other schools the last week of April. During this period the cooperating teachers shared with the researcher the written exercises that were completed by the students as part of the drama 50
unit's syllabus. The teachers had commented on how
well the students were doing on these exercises.
Sixth Visit to Cooperating Teachers
The sixth visit was made in the first week of
May. The cooperating teachers were reminded that
during the seventh visit, which was to be the last, the
researcher planned to administer the Student Satisfaction
Scale (Appendix D) after the completion of the unit.
Each cooperating teacher was also encouraged to be
ready to discuss his/her final reactions to the drama
unit materials during this final visit.
Seventh Visit to Cooperating Teachers
During the second week of May on the seventh and
last visit to the schools, the researcher spent an entire
period with the students in their respective classes.
The Student Satisfaction Scale was administered to the
students for their written comments. Toward the end of
the period the students asked questions about the materials and the project in general and were extremely
free with their comments. It was stressed that no
grade would be given to them on the basis of their
answers or comments on the Student Satisfaction Scale.
Another period was spent with each cooperating teacher
to share the information given by his/her students on
the Student Satisfaction Scale. 51
Post-Active Phase
Evaluation Instrument
An instrument had to be designed or selected for
use in gathering data relative to attaining students'
opinions of the model drama unit and the methodology
employed to teach it. One instrument was used, the
Student Satisfaction Scale. This instrument was con
structed by the investigator with advice and input from several members of the Faculty of Education at The Ohio
State University. The scale was designed to determine the extent to which students felt the methods employed in teaching the drama unit were efficient, effective, and satisfying. Items on the instrument consisted of statements describing a particular activity or technique in teaching the drama unit. Students were asked to respond relative to the desirability of incorporating the explicacion de texto approach used within the class room in the teaching of the drama unit. They were also requested to answer three open-ended questions about the drama unit, for example, what they liked most, what they liked least, and possible modifications of it.
Anonymity was stressed in an effort to obtain as much valid and meaningful feedback as possible. Reactions of the teachers to teaching the unit were also obtained. 52
Summary
The feasibility of employing the explicaci6n de texto approach in teaching the drama unit was determined by data from:
1) Regular once-a-week observations by
the researcher of the demonstration classes
being taught.
2) Informal once-a-week interviews with the
teachers involved in the study during
instruction of the unit.
3) Students' written response on a Student
Satisfaction Scale at the completion of
the unit.
The results of the Student Satisfaction Scale and of the teachers reactions will be considered in detail in
Chapter V. CHAPTER IV
MATERIALS DEVELOPMENT
This chapter will be divided into two sections.
The first section consists of the results of the
opinionnaire, guidelines for the model unit, criteria
for the selection of the play, and development of the
model drama unit. The second section describes an
explanation of the explicacion de texto approach as
utilized in this study.
Defining the Instructional Problem
To accomplish this phase of the materials develop ment, an opinionnaire concerned with teachers' reactions to the problems in teaching drama at the high school level, as perceived by the researcher, was formulated and refined. In the fall of 1973, a total of thirty opinionnaires was delivered to 30 teachers of advanced
Spanish classes at ten high schools in the Chicago area.
There was a 100% return on the instrument. It was hypothesized
53 54
that all of the teachers contacted responded due to the
fact that the investigator delivered and picked up the opinionnaires. The teachers were told that they should not write their names on the instrument and this may have added to the fact that 100% of the teachers contacted responded. A sample copy of the opinionnaire is presented in Appendix C.
Discussion
According to the opinionnaire, all 30 teachers tended to agree with all the items to a very significant extent. In the first section only seven points on the weighted total separate the first seven items by rank, and in the second section only eight points separate the first nine items by rank. Even the lowest weighted total in the first section was only 23 points lower and in the second section only 16 points lower than the top ranked item. Thus the differences between items are so slight as to be relatively insignificant.
The items which ranked 1, 2, 3, and 4 in Table 1 were: item 8 (juxtapose significant passages), item 10 (involve students in the play through questions that move from "what" to "why"), item 1 (give attention to the language itself in a play), and item 11 (help students become aware of their feelings as members of an audience. TABLE 1 TEACHER OPINION POLL ON THE TEACHING OF SPANISH DRAMA AT THE ADVANCED HIGH SCHOOL LEVELS—PART I (N-30)
Item Item Teacher Responses* No. In presenting a Spanish play to advanced level high school Weighted students the following guidelines may be used: 1 2 3 4 5 Total Rank 1 Give attention to the language Itself in a play 0 0 0 5 25 145 3 Reinforce certain items of vocabulary and certain points of 2 grammar and their significant role in the play 0 0 0 15 15 135 9 3 Keep background material to essentials 0 0 2 8 20 138 8 4 Focus on character 0 0 0 7 23 143 5 5 Relate the characters in a play to its dramatic Issues 0 0 0 8 22 142 6 6 Help students to visualize the staging and production of a play 0 1 1 15 13 130 10 Discuss the form of a play not only with the purpose of making 7 students follow the pattern of events, but also with the intention 0 0 3 19 8 125 12 of providing a greater understanding of character 8 Juxtapose significant passages 0 0 0 2 28 148 1 9 Concentrate on character in action 0 0 2 20 8 126 11 Involve students in the play through questions that move from 10 "what" to "why" 0 0 1 2 27 146 2 Help students become aware of their feelings as members of 11 an audience 0 1 0 6 24 144 4 12 Draw upon the experience students have had with TV and movies 0 0 1 7 22 141 7 Code: (1) Strongly disagree; (2) Disagree; (3) Undecided; (4) Agree; (5) Strongly agree TABLE 2 TEACHER OPINION POLL ON THE TEACHING OF SPANISH DRAMA AT THE ADVANCED HIGH SCHOOL LEVELS—PART II (N=30)
Item Item In presenting a Spanish play the high school teacher has Teacher Responses* No. difficulty: Weighted 1 2 3 4 5 Total Rank 1 Selecting a play that would Interest the 16-18 age group 0 0 0 4 25 145 4 2 Teaching vocabulary 0 0 0 6 24 144 5 3 Analyzing the cultural elements depicted in the drama 0 0 0 3 27 147 2 4 Preparing behavioral objectives 0 0 0 7 23 143 6 5 Depicting plot development 0 1 0 1 28 146 3 6 Preparing quizzes 0 0 0 8 22 142 7 7 Preparing tests 0 0 0 10 20 140 9 8 Preparing visuals 0 0 0 2 28 148 1 Using audio-visual equipment such as overhead projector, tape 9 recorder, etc. 0 0 0 18 12 132 12 10 Preparing homework assignments other than silent reading 0 0 2 6 20 138 10 11 Visualizing an actual stage production of the drama 0 0 1 7 22 141 8 12 Introducing background material 0 1 2 8 19 135 11
* Code: (I) Strongly disagree; (2) Disagree; (3) Undecided; (4) Agree; (5) Strongly agree 57
The items which ranked 1, 2, 3, and 4 in Table 2
consisted of item 8 (preparing visuals), item 3
(analyzing the cultural elements depicted in the drama),
item 5 (depicting plot development), and item 1
(selecting a play that would interest the 16-18 age
group). According to the opinionnaire, it was found
that the largest proportion of problems that teachers
encounter in presenting a Spanish play tend to cluster
in five major areas:
1 ) preparing visuals,
2 ) analyzing the cultural elements,
3) depicting plot development and
focusing on the characters,
4) teaching vocabulary and giving attention
to the language itself, and
5) involving the students themselves.
Tables 1 and 2 verify this statement.
Findings from the opinionnaire provided the guidelines for developing the materials comprising the entire drama unit.
Guidelines for the Model Drama Unit
As a result of the opinionnaire, a set of guide lines was established as a basis for the model drama unit. 58
1. Draw upon the experience students have had with T.V. and movies.
2. Help students to visualize the staging and production of the drama.
3. Give attention to the language itself in the play. Reinforce certain items of vocabulary and certain points of grammar and their significant role in the play.
4. Keep background material to essentials.
5. Focus on character.
6 . Relate the characters in the play to its dramatic issues.
7. Discuss the form of the play not only with the purpose of making students follow the pattern of events, but also with the intention of providing a greater under standing of character.
8 . Juxtapose significant passages.
9. Concentrate on character in action.
10. Involve students in the play through questions that move from "what" to "why".
11. Draw upon students' personal experience.
12. Help students become aware of their feelings as members of an audience.
As a result of the guidelines, a model drama unit was designed using an explicacidn de teagto approach which was an adaptation of the French explication de texte method. A description of this method is given later on in the chapter. 59
Selection of Play
An instructional model was set up for teaching one particular Spanish drama. The work selected was a three-act contemporary play titled Historia de una
Escalera by Antonio Buero Vallejo. The selection of this particular play was based upon the following criteria set up by the researcher,
1. The play chosen should take place in Spain or a Spanish-American country.
2. The plot should be simple, extremely realistic, with rapid and exciting action.
3. The vocabulary should be contemporary and within the linguistic range of students at the advanced high school level.
4. The play should be relevant to students of high school age.
5. The play should reflect the ethical and social values of a Spanish-speaking people.
6 . The play should involve problems encountered in real life.
7. The play should represent the reality of society with the purpose of improving one's role in society.
8 . The play should try to find a vital solution to man's problems in his struggle to achieve a particular ideal or goal. 60
Materials
An audio tape was made of the play in one of the
bilingual public schools of Chicago with Spanish
speaking teenagers "acting out" the various roles in
the play. The students were coached and directed by a
bilingual teacher who had nine years previous acting
experience in theater in Central America. This teacher
also had a total of 13 years experience teaching
elementary and secondary students both abroad and in
the United States. This tape was played as a role model
for the participating students to imitate when "acting out" the play in their classroom. Visuals consisting of 33 pictures constructed by the investigator were utilized to depict plot development (Appendix A ) . The visuals were also used as a motivation to increase students* oral skills.
Model Drama Unit
All of the materials to be used in teaching the drama unit, except the audio-visual equipment supplied by the schools, were prepared and furnished to the four teachers by the investigator. The materials
(Appendix B) consisted of: 61
1. Tape of the script of the play
2. Typed script of the play
3. Drama unit syllabus
4. Behavioral objectives
5. Background material in relation to the play and the author
6 . Stage setting diagram
7. Plot diagram
8 . Visuals to be used to demonstrate plot development
9. Vocabulary to be studied--unfamiliar vocabulary in the text as well as special terminology used in literary analysis
10. Homework assignments
11. Quizzes and tests (written)
12. Student Satisfaction Scale
The Demonstration Unit — An Explanation of the Explicacion de Texto Approach
Although the explicacion de texto is a valuable tool to the most skillful literary analyst, the method can be adapted for the use of literature students irrespective of their level of advancement. This method of studying literature is designed to enable one to penetrate the literary form in order to discern as clearly as possible the meaning of the passage under consideration and the motivating influences behind the 62
writing. The depth of penetration and ability to share
the emotions of the writer depend largely on the level
of maturity and the sensitivity of the student. It must be assumed that the depth and thoroughness of the explication will be somewhat limited in the high school
classes due to the lack of experience in dealing with
Spanish literature as well as the students' limited command of the language.
Textual analysis has been a central concern of the educational system in France in their study of literature. The French use a variety of selected approaches to textual analysis under the generic heading of explication. Brown describes the reading lesson in the earlier grades in France fall into two parts, namely, 'gaining a thorough understanding of the text that is to be read, and coming to an appreciation by reading it aloud. . . . The oral reading is the culmination of the exercises, but it is dependent for its efficacy upon the preliminary analysis and dis cussion of the text. . . . This discussion is based upon the conviction that a boy should never be required to read orally anything he does not fully understand."'*'
The reading lesson is assigned two days in advance of the discussion and at the time it is assigned the teacher gives several suggestions for preparing whatever is to 63
be read. He will point out some of the difficulties
which the students will be expected to solve and ask 2 about the meaning of new words.
On the day assigned for the reading of the lesson,
the first part of the lesson consists of an exacting
exchange of questions and answers on the most trouble
some parts of the text. This type of questioning and
explaining demands the finest use of observation and
reasoning powers. At first, it appears to be an overly
rigid ordeal, but the discriminating mind it develops enables the student not only to read well but to 3 express himself intelligently.
Though there is no definite routine which must be followed, the following may be discussed:
1. Synonyms
2. Spelling and pronunciation
3. Verse or sentence length
4. Grammatical constructions which are unusual or which may affect the oral reading
5. Sentence meaning
6 . The meaning of the entire passage
Often a student is asked to give in his own words the meaning of the passage before the oral reading. In this way he develops his speaking ability and has an opportunity to increase his working vocabulary. This is done also to enable the teacher to see how well the passage is 64
4 understood. After the class discussion which is designed to clarify the more obscure passages, it is worthwhile to have a second student give the meaning of the text.
"The one aim is to express an honest interpre tation," and after a thorough study of this kind, the student's reading should be accurate and natural sounding. The lesson is then concluded with the rereading of the text by the teacher.^
Explication de Texte
In the use of the explication de texte, Kuper- smith points out that it must begin with an expressive reading of the passage and that the entire success of the explication depends upon that first reading. "In the French lycee," she says that, "from the fourth level to that called the premiere superieure, the explications done in the classroom consist of question and answer discussions to analyze the given passage line by line.
This discussion comes out of a careful preparation outside of class by the students, who have a questionnaire to guide their thinking.^
Several precautions to point out are:
1. The analysis should not be limited to
"obscure or rare terms."
2. Nor should it be so comprehensive as to
include every word. For in either case, 65
the main idea may become lost.
3. The word should, also, be defined in relation
to context. Otherwise, the proper definition
is likely to be missed.
4. The main concern should be to understand
the text. The teacher himself should con
struct this questionnaire, for he alone
knows what the class needs and is capable
of doing.7
The questionnaire might deal with the study of
word derivation and idioms; the kinds of images employed;
the meaning of symbols and metaphors; historical setting;
the underlying philosophy or psychology contained in the
text; the kinds of argument employed; or the general
theme. However, as Brown says, "these are all subordi
nate to the one purpose of catching the full force of
the author's meaning. It is not exclusively historical, biographical, or critical; it combines the best part of all three.
Below are some examples which Kupersmith gives that will "orient the students' thinking:"
What do you think is the author's intention? What makes the interest of this passage? What strikes you at this particular point? Why does the author say this? Why is this comic? What is the significance of using for a poem a title like La Vache? . . . Where does the scene take place?y 66
During the class discussion every student should parti cipate with his attention fixed only on the text. At the conclusion of the discussion, the line by line analysis leads inductively to a conclusion as to the principal interest of the passage. Only then should notes be taken as the teacher writes a resume of the analysis on the board.^ The lesson is usually con cluded by an oral rereading of the text by a student.^
Kupersmith points out that Clarac, the expert on the explication de texte, feels that a line by line analysis of the text has been overworked and he emphasizes the need to preserve a sense of unity within the text 12 even during the explication.
What seems to be the basic element that appears in all the descriptions of the explication of text is:
1. The situation of the text in the whole work of the author, the book and chapter in which the passage is found. This situating of the text is often followed by general information about the author, his times, associations, etc.
2. An auditory experience of the text most often done viva voce by the teacher. The first reading must be expressive.
3. The establishment of the central point of the text or passage. The students indicate what is the principal point of interest of the selection 67
4. The study of the vocabulary or language in
detail.
5. The commentary on composition or structure,
the depth attained in the passage.
6 . A personal evaluation. The statement of the
impression left with the student.
Obviously the teacher and students using such a
method must be in command of a considerable equipment
of linguistic, historical and literary knowledge. The
French teacher of his own literature is so equipped,
and his students through years of observation and
eventually active practice become skillful in manipulating
this sophisticated instrument also.
Description of the explication as practiced in
France gives the impression of much more teacher per
formance than student participation. It is to reverse
this process that an adaptation of the technique of
analysis to the fundamental skills approach would take place in the American classroom.
Each of the sections of the explicacidn de texto approach is described below, to give an overview of the process, as used in this study, to develop the model drama unit (Appendix B ) . This process has basically been applied to the model drama unit by utilizing a series of exercises and questioning techniques to orient 68
the students thinking in order to develop the fundamental
skills in language learning through study of the drama.
In adapting this drama for classroom use,
Historia de una Escalera has been reworked into 26
episodes. The title for each episode was selected
according to the sequence of events. Each episode was
divided into two sections to aid the teacher, one dealing with the cultural aspects and the other dealing with
language development. Thus, the student develops culturally and linguistically in understanding the implications of Buero's play.
(1) Situation of the Text
The cultural topic of each episode served as the situations of the text and also provided background information for understanding the sequence of events which were to follow in the passage to be studied. The cultural episode was to be read by the teacher and/or students from the overhead projector. In this way listening, speaking and reading skills were utilized in studying the text. The page number and paragraph of the particular passage was to be given also. 69
(2) Oral Reading
The drama was recorded on tape by a group of
native Spanish-speaking students from a bilingual center
in Chicago. The drama was "acted out" by these students
under the direction of a native Spanish-speaking
teacher who had been an actor and director of Spanish
plays in Central America. This recording was to serve
as the model for the American students' reading of the
passage. In this way the students were encouraged to
imitate the correct pronunciation of the vocabulary
and to "put on the play" themselves by taking the parts
of the various characters in the play. The tape was to
be listened to as a whole and then individually,
section by section according to the passage being
studied. The drama begs to be dramatized. For
students in high school the call to active participation
by physical demonstration as well as by oralimitation
is evident. The teacher was also to serve as a role
model for the "acting out of the play."
(3) Search for the Dominant Theme
The dramatic presentation would be followed by oral response to specific questions to establish the central point of the passage. By a series of selected questions, the students indicate the principal 70
interest of the selection. The question response portion
of the lesson proceeds from concrete specific textual
references to more intellectually demanding ones and
eventually personalized questions. Here the questions
move from "what to why."
(4) Vocabulary Development
The language development for each episode contains
a list of vocabulary and idiomatic difficulties in
terms of contextual meaning. The vocabulary and idioms
are listed in the order in which they appear in the
particular passage.
Synonyms for the vocabulary and idioms are given
in the target language. Selection of material differs
from one episode to another to afford a greater variety of exercises in order to use the vocabulary in contextual meaningful sentences related to the theme of the passage. For example:
arrancar (partir - salir)
El entierro de Gregorio arranco a las 9:30 a.m., mientras que el funeral de D. Manuel partio a las 3:15 p.m. y dona Ascuncion no arranco ni partio, sino que ______. (sindnimo) 71
(5) Commentary on Structure
The commentary on composition or structure was
accomplished by a variety of exercises which focused on
the grammatical structure of the passage. For example,
one passage contained a series of exclamations so the
exercise would ask the students to put the dialogue
sentences into correct order by following the context of the passage. By an inductive method the students
could see that there was an inordinate number of exclamations in the passage.
i Sin insultar! (1) I Imb^cil! (2 ) IDejale, te digo! (3)
iMosquita muerta! (1) ICallate tul (2) I Rosal (3)
Another example would be questions which emphasize the order of events by juxtaposing the scene between Carmina and Fernando (parents) in the first act and a similar scene in the last act between Carmina and Fernando
(children). (6) The Conclusion
The conclusion is the student's answer to his
personal feelings about what he has read. The student
has a feeling of producing a valid statement of his
own reaction to the passage. He has some opportunity
to show what he has learned from the episode by using vocabulary and structures within his immediate grasp.
The planned exercises for each episode were organized for constant use of spoken Spanish in the classroom. Useful exploitations of the structures of the selected passages were to be rapidly performed to vary the activities of the exercises. For example:
Given three symbols of verbs of motion, students will fill in the blanks with the appropriate verb form with 100% accuracy.
(on the overhead projector)
lr venir subir ba jar
Generosa al entierro de su esposo. pasado
Carmina del entierro de su padre. futuro 7 Fernando la escalera cuando vio a Elvira.
(imperfecto) 73
Visuals were incorporated into the episodes as
a technique for understanding the development of the
plot, role playing, and developing spontaneous oral
response based on the students' personal reactions.
For the explication of each reading passage,
four teaching devices were specified for language
development:
1) The exposition of the selected passage:
The teacher would start off with a pivotal question on
the overhead projector as a guide for the selected
reading. Example: How do the friends and relatives
act in this scene?
2) Mechanics of reading: The students will listen to the tape and teacher and then "act out" the passage themselves.
3) Presentation of meaning - the exposition of the vocabulary and idiomatic expressions: Given four idiomatic expressions, student will write a complete
Spanish sentence for each.
mejoras con los ahos como el vino (cada ano te ves mejor)
4) Questions for information and enrichment:
These questions deal with steps 3, 4, and 5 of the explication. The questions move from "what to why" from textual to contextual questions. 74
Written exercises developed out of the aural-
oral work: These exercises went from controlled
exercises such as:
Mi hermano menor ______las cartas (recibe, corre, sienta).
to uncontrolled compositions:
cPor que llama el autor a esta obra Historia de una Escalera?
It is the writer's opinion that by utilizing
the explicacion de texto approach the linguistic and
cultural exploitation of the drama
1 ) serves to clarify its essential meaning;
2 ) reviews grammatical structures;
3) reinforces the active command of the
structure and vocabulary of the drama; and
4) provides for variety in the types of
exercises used in the foreign language
classrooms.
The following information serves as a resume or background for the teacher on the author's life, the play and what scholar-critics have written about both.
This information was given to the teachers in order to focus on the play in relation to Buero Vallejo's life 75
and his other works. Teachers were to use as much of
this information as they thought necessary for their
particular teaching situation.
Situation (Localizacion)
The drama Historia de una Escalera^ was written
in 1947 by the Spanish playwright Antonio Buero Vallejo.
It was one of his first dramatic works.
Historia de una Escalera depicts very realistically
the history of four families in Madrid dramatically
intertwined and tragically confused. Here we see the
four families at three successive times--1919, 1929,
and 1949 which correspond to three generations and to
the three acts of the play.
By August, 1947, he had written Historia de una
Escalera, his first play to be performed, and he had two
other plays in manuscript form. The first play was
En la Ardiente Oscuridad, written in one week in
August, 1946. Buero had hoped to write at least five
or six plays before launching his career as a playwright.
Towards the end of 194 8 this young man, completely unknown in literary circles except to a handful of
friends, submitted a play for the coveted "Lope de Vega'' prize, and won it in June, 1949, with Historia de una
Escalera. This victory carried with it a public 76
performance in the Teatro Espanol. The play was success
ful and established Buero's position. The wide acclaim
of Historia de una Escalera prompted him to submit also
in 1949 his one-act play Palabras en la Arena, which
was awarded the "Associacidn de los amigos de los
Quintero" prize. Thus, a novice in the theater and
an ex-political prisoner had won two literary awards
and made an impression upon the Madrid critics.
Historia de una Escalera (1947) and El concierto
de San Ovidio (1962) deal with this struggle to achieve
something worthwhile, that is, with man's struggle to overcome the limitations to his self-fulfillment, with his struggle against "the darkness" to gain "the light."
In Historia de una Escalera Urbano and Fernando, who wants to become an engineer, struggle to overcome the economic obstacles imposed by their environment. In
El concierto de San Ovidio, David, the beggar who dreams
(like Fernando and Urbano) of becoming a real musician, struggles to overcome the physical obstacle of his blindness and the social obstacles imposed by an ego tistic society. This theme of self-fulfillment can be seen in various plays of Buero Vallejo: In Hoy es fiesta
(1956), Silverio's failure to become an artist, and in
Las cartas boca abajo (1957), Juan's failure to win a
Catedra. In the latter tragedy of Buero Vallejo's we 77
have the same concern with the passage of time as it
seems to accentuate man's failures which we can see
in El terror inmovil (1954) and Historia de una
Escalera. In both plays is man's failure in the area of
personal relationships which causes failure in his
career. El terror inmovil is a "tragedia irrepresentable"
of grotesque tone. Historia de una Escalera is a
realistic tragedy written within a "forma cerrada"?
while El concierto de San Ovidio is a historical
tragedy which, because of its subject matter, requires
a "forma abierta." The stairway in Historia de una
Escalera with no exit at the top and with no horizon in
view is, like the small room in which Las cartas boca
abajo takes place, an oppressing, asphyxiating atmos phere. The anguish experienced by the tenants in
Historia de una Escalera at the passing of time is quite
similar to that felt by Juan in Las cartas boca abajo and also by Regino in El terror inmovil.
Oral Reading (Lectura)
The oral reading of the text should be an obser- vative reading with emphasis on key words and comprehen sion of the meaning of these words. To understand the text is to concentrate on the literal meaning of it.
In other words, it is to focus mainly on what the text 78
says without giving any reason or explanation of how
the author says it.
Orientation-Search for the Dominant Theme Comprension o Determinacion del Tema
Historia de una Escalera is the history of four
families. The stairway of an apartment building is the
background for a simple plot which reveals the demorali
zation, and even the tragic end of groups of people.
In this way the author presents the daily lives of a
cross-section of Madrid tenants who occupy adjacent
apartments.
The lives of these people, from grandparents
to parents to children, with all their domestic
problems aired within earshot of the neighbors, the
love affairs that develop in the course of time, the
quarrels and rivalries between families, the discussions
of labor unions and other matters can be natural to
any middle class in Spain or anywhere else.
These constitute the plot of Historia de una
Escalera.
Internal Structure (Forma Estructural)
All of the action takes place on the stairway and on the two landings visible to the spectator. The play is shown at three successive stages: 79
Urbano - Trini y Rosa
Fernando Act I 1919 HIJOS Cuatro Elvira Familias
Carmina - Pepe
Urbano - Carmina Act II 1929 PADRES< > Dos Fernando - Elvira Familias
Urbano - Carmina PADRES < Fernando - Elvira Act III 1949 > Dos Carmina Familias HIJOS < Fernando - Manolin
The stairway becomes a person in the drama as the play develops. As the years pass this stairway remains practically the same, "pobre y sucia," reminding the tenants of their hopes and failures, of the change lessness of their lives.
The first act ends with a conversation between
Fernando and Carmina about their dreams for the future.
At the end of the tragedy, Fernando, the son, in a conversation reminiscent of the earlier one of his father, also describes to Carmina, the daughter, his dreams for the future. Both dreams are the same. For this reason Historia de una Escalera is a tragedy written within a "forma cerrada." HISTORIES OF SEVERAL FAMILIES
ACTO I A PADRES IV III II I A SEGUNDO RELLANO
escalera HIJOS
caslfilllo flash Back PRIMER RELLANO
ACTO II: 10 anos despues PADRES IV III II SEGUNDO RELLANO
escalera HIJOS
casli illlo PRIMER RELLANO Flash Back
ACTO III: 20 anos despues PADRES IV III II SEGUNDO RELLANO
escalera HIJOS
caslmillo Flash Back PRIMER RELLANO 81
Distribution of Characters (Distribucion de los Personajes)
Cobrador de la Luz, Light meterman
IN APARTMENT I
Gregorio, retired streetcar conductor
Generosa, his wife; 55 years of age
Pepe, their son
Carmina, daughter; she loves Fernando (of Apartment IV),
but she marries Urbano (of Apartment III)
Joven (appears only in Act III)
IN APARTMENT II
Don Manuel, father, widower, businessman — well-dressed
Elvira, his daughter; wife of Fernando (in Acts II & III)
Fernandito (or Fernando, hijo)
Manolin Children of Elvira and Fernando
IN APARTMENT III
Juan, husband; Quixotic appearance — appears only in
Act II
Paca, wife, about 50 years; talkative
Urbano, their son; labor-conscious; marries Carmina
Trini, daughter
Rosa, another daughter; courted by Pepe, finally goes
to live with him, but he abandons her in Act III 82
IN APARTMENT III (cont.)
Carmina, hija, daughter of Urbano and Carmina (of
Apartment I; she is courted by Fernando, hijo)
IN APARTMENT IV
Dona Asuncion, widow; lives on pension
Fernando, son; lazy, reads much, writes poetry; courts
Rosa and Carmina; finally marries Elvira in Act II
Senor (appears only in Act III)
ESCENARIO
Un tramo de escalera con dos rellanos, en una casa modesta de vecindad. Los escalones de bajada hacia los pisos inferiores se encuentran en el primer termino izquierdo. La barandilla que los bordea es muy pobre, con el pasamanos de hierro, y tuerce para correr a lo largo de la escena limitando el primer rellano.
Cerca del lateral derecho arranca un tramo completo de unos diez escalones. La barandilla lo separa a su izquierdo del hueco de la escalera, y a su derecha hay una pared que rompe en angulo junto al primer peldano, formando en el primer termino derecho un entrante con una sucia ventana lateral. 83
Vocabulary Development (Desarrollo de Vocabulario)
Historia de una Escalera's style is vigorous;
its language is precise and even poetic in many instances;
yet it is generally simple and easy to understand. In
fact, there is a deliberate attempt to use as much
colloquial language as possible. Its dialogue is clear,
natural, brief and effective; it is an expression of
the intense feeling of the characters.
Buero Vallejo is a serious dramatist; he has not written comedy or works of sheer entertainment; this is not his forte. Although there are humorous touches in some of his plays, he is not yet at home with humor.
In all of his plays Buero Vallejo is ever conscious of a strong sense of the dramatic to heighten the action;
Buero is a man who loves tragedy. He declares that he loves tragedy "por lo que tiene de ennoblecedora y moralizante del hombre y del teatro." Coupled with this conviction is the author's belief that the theater is preeminently tragic. Historia de una Escalera is a
"comedia dramatica," but he is aware of its tragic elements, for to him "la vida entera y verdadera es siempre, a mi juicio, tragica." 84
Conclusion (Conclusion)
Historia de una Escalera, by Antonio Buero
Vallejo, offers an unusual combination of all the major
qualities of this Spanish dramatist. The plot is simple,
extremely realistic, with rapid and exciting action.
Its scene an apartment house, with the setting in the
stairway, is found anywhere in the world; and yet
Historia de una Escalera offers a beautiful description
of Spanish customs and manners and types in a big city,
Madrid, the capital of Spain.
This is the most realistic play of Buero's plays
and even here, the inner significance of the role of
the stairway is the core of the story. This stairway becomes a person in the drama. The stairs remain the
tenants of their hopes and their failures. The characters of the play will wither away as long as they remain living in this building. For this fateful stairway, like destiny, brings them only failure, disappointment, death. This continuous failure in living, symbolized by the fruitless struggle of three generations, finally breaks into a quarrel which offers no solution to their problem.
Arturo del Hoyo has aptly described this tragedy which spans thirty years, as the "dramatizaci6n del 85
hombre entero . . . de hombres completos, clavados en
su existencia," stressing the fact that Buero Vallejo presents "la totalidad" of their existence, rather
than a simple moment of it. The "sentido tragico" of
the tragedy thus comes from
la quietud . . . de la vida, la sehalada quietud de la escalera, la identidad de los tramos del existir, la filiacion del hombre, su ahijamiento, su anclaje en la existencia. . . . Pues la vida, si lo es, si es existencia, tiene echada su ancla en el puerto de lo tragico .... Y los hombres de Buero, porque lo son, estcin anclados en aquella escalera de casa de vecinos. . . .15
Summary
This chapter presented in the first section the results of the teacher opinionnaire, a set of guidelines for the model drama unit, criteria for the selection of the play, and the development of the model drama unit.
The second section described the explicacidn de texto approach and examples were given of how it was used in this study. NOTES FOR CHAPTER IV
^"Rollo Walter Brown, How the French Boy Learns to Write, p. 119.
2 t Loc. cit.
3Ibid., p. 119-120.
Loc. Clt.
5Ibid., p. 120-122.
^Kupersmith, Marjorie M., "History and Analysis of the Explication Francaise11 (Ph.D. dissertation, Western Reserve University, 1959), p. 72.
7Ibid., p. 76-77.
g Brown, op. cit., p. 12 3.
9 Kupersmith, 0£. cit., p. 77.
10Ibid., p. 77-78.
3^Ibid., p. 76.
33Ibid., p. 80.
33Antonio Buero Vallejo, Historia de una Escalera (New York: Charles Scribner's Sons, 1955).
14 Alfredo Carballo Picazo, "Explicacion de Textos Literarios Espanoles." Yelmo, Diciembre-Enero 1972-73, num. 9, p. 21.
^3Arturo del Hoyo, "Sobre Historia de una Escalera. Insula, No. 47, Nov. 15, 1949, p. 56. CHAPTER V
ANALYSIS OF THE DEMONSTRATION UNIT IN USE
By means of the case study technique, this
chapter presents subjective data on the reactions of
teachers and students to their experiences in using
the model drama unit. This approach was used to
report data that were considered difficult to measure
in an objective manner. The data were collected from
three sources: (1) the researcher's observations and
interviews with the teachers, (2) open discussions with
the students, and {3) the students' ratings on the
Student Satisfaction Scale. The cases are presented
in the order in which the researcher made her initial contacts with the teachers.
Teacher Reactions
Teacher A
This teacher kept an ongoing journal (although not required) filled with illustrations of individualized activities and of her students' progress. Her assessment
87 88 early in the project was,
It's starting to work, the students are putting on the play by themselves.
One of her most positive statements was that,
Students are able to manage things success fully in class.
Samples of student projects confirmed this conclusion.
The other summaries of utilizing the drama unit written in this teacher's journal indicated a strong effort to implement the unit with a very positive attitude.
The students did more work with the play because they had a variety of exercises to develop their skills in listening, speaking, reading, writing and culture. . . . also indicates an open approach. She felt that by being involved in this special project, she had gained a great deal from the materials provided as well as at the weekly meetings, by sharing and exchanging ideas.
I am very much interested in teaching drama and I am going to do more reading on my own and maybe take a course on contemporary literature this fall. . . . concluded this teacher.
My students have come up to me and told me that they have really enjoyed the last few months and hope that we will continue to enjoy reading literature this way. I feel that I have grown from the experiences of my students. We have compared their feelings with those of the characters in the play. Before using this drama unit, we merely read a play and answered the usual questions of who, where, what, and how. Now we are 89
able to analyze the play with more depth and enjoy it at the same time. We needed help in studying literature. The teaching of literature was never discussed in my methods class. I tried to avoid teaching it since I was not sure how I could motivate the students or keep their interest while analyzing the material. The courses I had while studying for my master’s degree did not help me with any practical suggestions on how to present the literature.
The overall impression received from this teacher's
comments and reactions was positive and that implemen
tation of the drama unit improved the classroom atmos
phere .
Some of her opinions were included in a summary
statement, and are partially quoted here.
The drama unit on Historia de una Escalera after it was established in my classes certainly had many advantages. The classes as a whole exhibited more mature concern for the material which they were studying. Students who were never too interested in studying literature became involved in this project. All of the exercises have been completed by every student. Some of the exercises seemed more successful than others--that was a personal opinion— but on the whole it worked well. There is so much material that more time must be spent to really implement this project.
Follow-up Note
Teacher A sent this note to the investigator upon completion of the drama unit. The note reads as follows:
This drama unit represents something that has been needed for years. It's clever, well-prepared, easy to use and a fun 90
learning experience for the students. This experience combines all audio-visual possi bilities, culture, good literature, feeling for human sensitivities and puts it into a workable unit for every teacher. This is what the profession needs as an incentive to make literature come alive, have purpose, and reflect the culture without minimizing or destroying it. It was a pleasure to work with this unit and your materials are fantastic. Thank you for giving me the opportunity of sharing these materials with my advanced level Spanish classes.
Teacher B
This teacher gives credit to the sessions of con
sultation with the researcher as having an impact on her
thinking about devising a model unit for teaching other
literary genres as well, such as poetry, short stories,
novels, etc. Clearly, it is seen from her reaction that
this teacher became deeply and successfully involved
in the project at a highly positive level. To indicate
her enthusiasm with the unit she said,
I am not always successful in having all of my students participate orally in class, but with this new method, especially employing the visuals, I found that the students were engaging in dialogue more readily.
Other conclusions which indicate teacher growth and com mitment may be indicated by the following quotes:
I now write behavioral objectives with great ease. I am more adept at including the teaching of culture in my lesson plans. I enjoy the interaction of having the students put on a play in class and derive benefit from the experience. 91
Students worked well together in groups without creating chaos. I have shared some of the techniques learned with other teachers in my department and they have been employing some of these methods in their own classes. The excellent material that I have received in the unit has fortified me and given me direction and insight into how to proceed. I am sure that next year will be smooth sailing. My problem has always been pacing my material not to go too slowly so as to bore my students nor to proceed too quickly so as to lose the students in the process. I didn't have that problem this time.
Teacher C
This teacher commented on many successful activities
taking place in her classroom while utilizing the drama
unit. Building on the model drama unit, students of
Teacher C developed exercises and materials which
extended the materials provided by the investigator.
The evaluation of this teacher also listed some of her problems, concerns and observations. Class time was
frequently interrupted because of all of the Spring activities taking place before and after the Easter holidays. She felt that she could have used more class time to cover all of the material. She found checking students' work a problem as she had difficulty finding the time. Class absenteeism posed some problems because some students took extra days off during the Easter vacation period to travel with their parents. 92
She expressed an appreciation of using the
eclectic approach in the drama unit since her background was teaching the traditional grammar-translation method
in the beginning of her teaching career and then
switching to the audio-lingual method later on. She especially enjoyed the culture exercises because of the
fact that she could use her shy Spanish-speaking students as resource persons and make them feel important when they commented on cultural aspects of their own countries. Great effort was made to focus on the writing exercises since this teacher felt that this was the most difficult skill for her own particular classes.
She was somewhat unsure of her ability to carry out the project at first but later became very enthusiastic. She was somewhat overwhelmed by the amount of material to be covered in the unit and quite surprised that she could be flexible and still complete the project. Great effort was made to implement many types of written activities with success as demonstrated by work created in her class and shared with the investigator.
She felt that the use of behavioral objectives gave more structure to her instruction and therefore more learning was accomplished as a result. 9 3
Teacher D
This teacher used a formal, teacher-structured
methodology. Some teacher comments which support this
statement are:
Exercise by exercise coverage. We read the play and analyzed it. Afterwards, I administered the tests. Unit was well covered. At the beginning of this project the results were not as good as I expected. However, as time passed, I began to see more improvement. I feel that the implementation of this method has helped most of my students but I will admit that I was skeptical to try it out at first.
This teacher sees learning as work, expressed a lack of comfort in working with someone else's materials, likes to have all pupils at the same place in texts, views classroom visitors as an intrusion, and commented that the most frequently used classroom tools were the who, where, what, why and how questions. A confession made by the teacher emphasized the fact that certain sections of the unit were difficult to follow, an example being the section on behavioral objectives, since the teacher had introduced them in class for the first time with this unit.
This teacher's comments did include positive and negative strands. As stated before, although some comments indicated rigidity, inflexibility and extremely traditional attitudes, great effort was made to appear 94
innovative on the surface. Many of the teacher's reactions made the question arise as to whether the projection of the teacher's attitude would affect the students' personal comments.
Summary of Teacher Reactions
An overall assessment of the reactions of the treatment teachers towards implementing the drama unit was seen as positive in varying degrees. Some negative comments have a valid basis, particularly in terms of a crucial need for more classroom time to cover the material in detail. All of the teachers were over whelmed by the amount of material included in the unit and expressed a genuine desire for more written materials using the explicacidn de texto approach to introduce other literary genres such as short stories, poetry, novels, etc. All of the teachers appeared, from both their statements in the interviews and their observations in their classes, to have made a genuine effort to successfully implement the methodology and activities of the drama unit. Their degree of success depended upon many variables including experience, attitude, frustration level, commitment, and personal involvement among others. Personal observation by the investigator would support the verbal comments of the 95
teachers in the conclusion that successful learning was
taking place in each of the eight classrooms and that
the cooperating teachers in general exhibited a positive
attitude towards the project.
Investigator's Observations of Teaching Procedures
This investigator observed the demonstration
classes once a week for five weeks. The classes were
always observed after the lesson began in order not to
interrupt the teacher or the class. Although all of
the classes were following the basic format of the model drama unit, Teacher A, B, and C's classes seemed to be more enthusiastic in responding to the materials than Teacher D's.
All of the classes observed were linguistically competent enough to handle the exercises in the model drama unit. The Spanish-speaking students were very proud of the fact that they were used as role models when the teacher "acted out" the play with them.
Teacher A and B appointed students to read the cultural episode. Teacher C and D read it themselves or asked for student volunteers.
Teacher A had a minor in drama in college and really enjoyed performing with the students after listening to the tape. Teacher C had the students 96
show this writer the booklets the students made about
the play as a final class project.
Before the end of the period, the students were
allowed to ask the researcher any questions pertaining
to the project or the unit. Teacher C and D's classes
were interested in finding out the length of time it
took to compose the materials, and if the materials
were going to be published in a textbook.
Teacher D's classes were interested in finding
out more about the Spanish culture. Do the teenagers
date? Do they have chaperones? What do they eat for
snacks? Do they watch a lot of television? etc.
Teacher D's classes were used to writing uncontrolled compositions so the writer noticed that on
several of her visits the students were writing material
that they had already mastered orally.
Summary
The researcher enjoyed visiting the classes because the students responded well to her visits and to the project in general. All of the teachers were extremely cooperative and willing to share their class time with the researcher. The observations were extremely helpful because they convinced this writer that the format set up for the model drama unit was being followed in the demonstration classes. 97
Students 1 Reactions
To obtain students' reactions to the use of the model drama unit, a Student Satisfaction Scale designed
for that purpose was used. The questionnaire focused
upon the cultural and linguistic aspects of their experience, and the value of the methodology used as an instructional technique. The three judgments requested on each item were: efficient, effective, and satisfactory.
Appendix D contains a copy of this scale. Tables 3 through 6 represent the composite responses of all of the participants without distinction because the principal objective in this case was to report overall participant satisfaction with various aspects of the drama unit.
Selected responses to the three open-ended questions on the Student Satisfaction Scale are also presented as part of this section. The researcher will add some of her impressions from her class observations when discussing the students' responses to the various items on the Student Satisfaction Scale.
An analysis of items in Tables 3, 4, and 5 indicates that participants were, in general, satisfied with the methodology used. The numerous positive written reactions to many aspects of the unit support this conclusion. The items which received the highest TABLE 3
STUDENT EVALUATION OF THE METHODOLOGY OF THE DRAMA UNIT AS AN EFFICIENT TECHNIQUE (N=120)
Inefficient - Efficient No. Item Weighted Rank 1 2 3 4 5 6 7 Total The extent to which the unit seemed to give Insight Into 1 human experiences such as those we encounter In growing up 0 0 0 5 25 60 30 715 9 or in adjusting to new situations. The extent to which the unit explored the universality or commonness of human drama, thu6 helping you to realize that 2 certain emotions and concerns are common to people of all 0 0 1 0 1 48 70 786 5 races and nations. The extent to which the unit pointed out that cultural dif 3 ferences may dictate one's actions or reactions. 0 0 0 3 20 34 63 757 8 The extent to which the unit helped you to become sympa 4 thetic to and understanding of the people and the culture 0 0 0 1 8 25 86 796 4 of Spain. The vocabulary used for literary analysis was appropriate 5 for your level of comprehension. 0 0 0 2 8 40 70 778 7 The extent to which the use of visual aids added to com 6 prehension of and interest in the drama. 0 0 0 0 7 20 93 806 1 The extent to which the background material added to com 7 prehension of and interest in the drama. 0 0 0 0 5 25 90 805 2 The extent to which the material in the unit logically prog^ 8 ressed from one scene to another. 0 0 2 7 9 14 88 779 6 The use of behavioral objectives as opposed to the non 9 existence of such objectives. 0 0 8 8 25 39 40 695 10 The extent to which you were able to coordinate listening, 10 speaking, reading, writing and thinking skills to ensure 0 0 0 1 10 19 90 798 3 maximum growth in the area of language learning. TABLE 4
STUDENT EVALUATION OF THE METHODOLOGY OF THE DRAMA UNIT AS AN EFFECTIVE TECHNIQUE (N=120)
Ineffective - Effective Weighted No. Item Rank 1 2 3 4 5 6 7 Total The extent to which the unit seemed to give insight into 1 human experiences such as those we encounter in growing up 0 0 2 6 28 9 75 749 9 or in adjusting to new situations. The extent to which the unit explored the universality or commonness of human drama, thus helping you to realize that 2 certain emotions and concerns are common to people of all 0 0 2 8 8 35 67 757 8 races and nations. The extent to which the unit pointed out that cultural dif 3 ferences may dictate one's actions or reactions. 0 0 0 2 6 40 72 782 5 The extent to which the unit helped you to become sympa 4 thetic to and understanding of the people and culture 0 0 0 Q 1 44 75 794 2 of Spain. The vocabulary used for literary analysis was appropriate 5 for your level of comprehension. 0 0 1 3 6 35 75 780 6 The extent to which the use of visual aids added to com 6 prehension of and interest in the drama. 0 0 0 0 0 22 98 818 1 The extent to which the background material added to com 7 prehension of and Interest in the drama. 0 0 0 0 10 30 80 790 3 The extent to which the material in the unit logically prog 8 ressed from one scene to another. 0 0 2 6 11 16 85 776 7 The use of behavioral objectives as opposed to the non 9 existence of such objectives. 0 0 6 10 20 36 48 710 10 The extent to which you were able to coordinate listening, 10 speaking, reading, writing and thinking skills to ensure 0 0 0 5 8 22 85 787 4 maximum growth in the area of language learning. TABLE 5
STUDENT EVALUATION OF THE METHODOLOGY OF THE DRAMA UNIT AS A SATISFACTORY TECHNIQUE (N=120)
Unsatisfactory - Satisfactory No. Item Weighted Rank 1 2 3 4 5 6 7 Total The extent to which the unit seemed to give insight into 1 human experiences such as those we encounter in growing up 0 0 1 3 14 42 60 757 9 or in adjusting to new situations. The extent to which the unit explored the universality or commonness of human drama, thus helping you to realize that 2 certain emotions and concerns are common to people of all 0 0 2 0 0 30 88 802 2 races and nations. The extent to which the unit pointed out that cultural dif 3 ferences may dictate one's actions or reactions. 0 0 1 3 11 29 76 776 8 The extent to which the unit helped you to become sympa 4 thetic to and understanding of the people and culture 0 0 0 1 6 32 81 793 4 of Spain. The vocabulary used for literary analysis was appropriate 5 for your level of comprehension. 0 0 2 2 5 38 73 778 7 The extent to which the use of visual aids added to com 6 prehension of and Interest in the drama. 0 0 0 0 2 15 103 821 1 The extent to which the background material added to com 7 prehension of and Interest in the drama. 0 0 0 0 8 28 84 796 3 The extent to which the material in the unit logically prog 8 ressed from one scene to another. 0 0 1 4 12 12 91 788 6 The use of behavioral objectives as opposed to the non 9 existence of such objectives. 0 0 5 8 18 39 50 721 10 The extent to which you were able to coordinate listening, 10 speaking, reading, writing and thinking skills to ensure 0 0 0 2 9 20 88 789 5 maximum growth in the area of language learning. TABLE 6 COMPARISON OF RANK AND COMPOSITE SCORES OF STUDENT SATISFACTION SCALE (N-120)
Rank Composite Scores Rank on No I ten Total Composite Total Efficient Effective Satisfying Composite Efficient Effective Satisfying Score Score The extent to which the unit seened to give Insight into human experi I ences such as those we encounter In growing up or In adjusting to new 9 9 9 713 749 757 2221 9 situations. The extent to which the unit explored the universality or commonness 2 of human drama, thus helping you to realize that certain emotions and 5 8 2 786 757 802 2345 5 concerns are coason to people of all races and nations. The extent to which the unit pointed out that cultural differences may 3 dictate one's actions or reactions. 8 5 8 757 782 776 2315 8 The extent to which the unit helped you to become sympathetic to and 4 understanding of the people and culture of Spain. 4 2 U 796 794 793 2383 3 The vocabulary used for literary analysis was appropriate for your S level of comprehension. 7 6 7 778 780 778 2336 7 The extent to which the use of visual aids added to comprehension of 6 and interest in the drama. 1 1 1 806 818 821 2445 1 The extent to which the background material added to comprehension of 7 and interest In the drama. 2 3 3 805 790 796 2391 2 The extent to which the material In the unit logically progressed from S one scene to another. 6 7 6 779 776 788 2343 6
9 The use of behavioral objectives as opposed to the non-existence of such objectives. 10 10 10 695 710 721 2126 10 The extent to which you were able to coordinate listening, speaklnR, 10 reading, writing and thinking skills to ensure maximum growth In the 3 It 5 798 787 789 2374 4 area of language learning. 101 102
total positive ratings from all three aspects combined
were numbers 6, 7, and 4 of the Student Satisfaction
Scale: Item 6 (the extent to which the use of visual
aids added to comprehension of and interest in the
drama); Item 7 (the extent to which the background
material added to comprehension of and interest in the
drama; and Item 4 (the extent to which the unit helped
you to become sympathetic to and understanding of the
people and the culture of Spain). The aspect of the drama unit receiving the most negative reaction and the
lowest combined weighted score was Item 9 (the use of behavioral objectives as opposed to the non-existence of such objectives). Table 3 indicates that Item 6 had top priority since it was ranked as number 1 as an efficient technique. The students reacted favorably to the visual aids because they were attractive and because they helped to depict the development of the plot. Other visuals were used such as cartoon characters for language comprehension exercises. The audio-tape recording of the play was included in this item and the tape was very popular with the students.
The cooperating teachers told the students before administering the Student Satisfaction Scale that
Item 6 meant audio-visual aids which included the audio-tape recording of the play. 103
In Table 3 Item 7 {the extent to which the
background material added to comprehension of and
interest in the drama) ranked number 2. The background
material about the author and the play itself was
adequate enough to add interest and not too much as to
be boring. Item 10 (the extent to which you were able
to coordinate listening, speaking, reading, writing
and thinking skills to ensure maximum growth in the area of language learning) ranked number 3.
All of the exercises in the drama unit (Appendix B) were geared toward an eclectic approach by coordinating the above mentioned skills to ensure maximum growth in the area of language learning.
Item 4 (the extent to which the unit helped you to become sympathetic to and understanding of the people and the culture of Spain) ranked number 4. In the
Chicago area a majority of the Spanish-speaking popula tion is Mexican, Puerto Rican and Cuban. Spaniards are in the minority and so this play has given the students an insight into Spain and its people. The students have learned that there is more to Spain than the bullfight and flamenco dancing.
Item 2 (the extent to which the unit explored the universality or commonness of human drama, thus helping you to realize that certain emotions and concerns 104
are common to people of all races and nations) ranked
number 5. During class discussions students were
role-playing and discussing their own families' failures
and so they could empathize with the characters in the
play since like the play their own households had
experienced disappointments.
Item 8 (the extent to which the material in the
unit logically progressed from one scene to another)
ranked number 6. Because of the spring vacation and
Easter holidays, several teachers had mentioned to the
investigator that some scenes were skimmed over in an
effort to complete the unit. Because of this, the
investigator feels that this item received a lower than
expected priority.
Item 5 (the vocabulary used for literary analysis
was appropriate for your level of comprehension) ranked
number 7. Advanced level classes using the unit com
prised third and fourth level classes. Some of the
students in the third level classes expressed difficulty with some of the literary terms.
Item 3 (the extent to which the unit pointed out
that cultural differences may dictate one's actions or reactions) ranked number 8. It is interesting to note
that the students ranked this item number 5 in effective ness and only number 8 for being efficient and satisfying. 105
Item 1 (the extent to which the unit seemed to give insight into human experiences such as those we encounter in growing up or in adjusting to new situations) ranked number 9. Part of this statement,
"that we encounter," may have affected the low number received on this item, due to the fact that many of the students had not experienced failure nor could they relate to most of the characters in the play even though they spoke of friends and family who did encounter problems in growing up.
Item 9 (the use of behavioral objectives as opposed to the non-existence of such objectives) ranked number 10. One of the teachers had not used behavioral objectives before and felt somewhat uncomfortable using them in the unit. The investigator assumed that this situation may have influenced the students to the extent of ranking this item with the lowest number.
It is interesting to note that the students ranked item 6 (visual aids) as number 1, item 9
(behavioral objective) as number 10, and item 1
(insight into human experiences) as number 9 on all three Tables 3, 4, and 5. Thus, the students were very consistent in ranking the items similarly in all three categories as being efficient, effective and satisfying. 106
Table 6 provides a comparison of rank and composite
scores for all three categories. All 120 students
responded on the Student Satisfaction Scale.
Students 1 Suggestions
Three open-ended questions at the end of the
Student Satisfaction Scale (Appendix D) were used to
obtain specific suggestions from the participating
students for improving the drama unit. The most fre quently occurring and constructive examples were pre sented below. After each statement, the number of individual student responses are recorded. The responses are a composite of the various comments made by the students in general. For Question l--what I liked most about the drama unit--of the 120 students, 20 did not respond, 100 responded. For Question 2--what I liked least about the drama unit— of the 120 students,
35 did not respond, 85 responded. Finally, for
Question 3--what suggestions do you have for improving the unit?--of the 120 students, 80 did not respond,
40 responded. 107
Question 1 : What I liked most about the drama unit (100 responses)
N o . of Students' Responses Responses
13 I particularly liked the idea of using visuals to understand the plot better. The visuals were very attractive and interesting.
12 Pictures give a clear idea of what is being taught. I liked the way you used cartoon characters from the newspapers to explain the plot. That was a very clever idea.
10 I thought the whole unit was quite effective, efficient and satisfying.
10 I especially liked the play that was selected. I could relate to the problems of some of the characters.
9 The cultural aspects gave me a good picture of middle class life in Spain.
9 The extra materials provided such as tape, background of the author, plot development, character description and vocabulary meanings helped me to understand and appreciate the play more.
8 Comparing life in Spain and life in the United States was interesting.
6 I liked the exercises that dealt with the culture of Spain. Before this unit, I didn't know too much about Spain; now I do.
5 Listening to the tape of the play was interesting because it was recorded by students who are teen-agers like me. 108
Question 1 (continued)
No. of Students’ Responses Responses ^
5 Although I was unfamiliar with the vocabulary, I was able to read it without looking up every other word.
4 The play was interesting, fast moving and different than anything else I have ever read.
3 I liked the written exercises that dealt with the culture of Spain.
3 Giving definitions of the unfamiliar vocabulary words in Spanish was a good idea.
2 Reading a foreign language can be difficult but this project helped to make it easier.
1 I enjoyed acting out the play in class. Too bad we couldn't put on this play in the school auditorium for the whole school. Too bad not everyone in our school knows Spanish. 109
Question 2 : What I liked least about the drama unit (85 responses)
No. of Students' Responses Responses ^
13 There's nothing I didn't like. I thought it was fantastic!
12 Too much material not enough time to do all of the exercises.
10 My script was difficult to read because it was so light. Some accents were missing.
8 This was the first time I heard about behavioral objectives. My teacher didn't spend too much time on these.
7 The story line although true to life depressed me. It was like watching a soap opera on television.
5 Some of the questions about the play seemed shallow and irrelevant.
5 Some of the vocabulary words were too difficult and even with the Spanish translations I had to look them up in the dictionary.
5 I thought we could have read the play faster but then some students were having trouble with the vocabulary.
5 Too many characters in the play. In the beginning I got confused about who belonged to what family in what apartment. After awhile I got the characters and their names straightened out. 110
Question 2 (continued)
N o . of Students' Responses Responses
We wrote several compositions and I find it difficult to write compositions. I prefer question and answer exercises but that's my own personal opinion.
I was confused at first about the characters and their relationship to each other. But then the outlines cleared that up.
The author Buero Vallejo seems pessimistic about life. I prefer optimistic writers like Blasco-Ibanez and Garcia Lorca.
The jump between acts was a little hard to understand and it might have been easier to understand if you had outlined the action (marriages and so forth).
I found the picture of the stairway exaspera ting. A description is plenty and then the imagination takes over from there.
The action in the play was a little slow at first, but picked up quickly later on. I l l
Question 3: What suggestions do you have for improving the unit? (40 responses)
N o . of Students' Responses Responses
11 It was a good unit and very enjoyable. I couldn't think of anything to improve it.
10 Eliminate the use of behavioral objectives. My teacher felt uncomfortable using them.
7 Keep up the good work!
5 Shorten the amount of time spent on it. Give shorter assignments.
4 We havebeen reading a lot of short stories in class. Make up another unit for the short story. Our teacher would appreciate it.
3 Reprint the play in smaller type. The space is unnecessarily large and wastes paper. 112
Summary of Students1 Reactions
Answers to the Student Satisfaction Scale verified the fact that the participating students rated the methods employed to teach the model drama unit as efficient, effective and satisfying.
By looking at the students' answers to the open-ended questions, one can see that the most frequently mentioned responses were directly related to the objectives of the study.
Summary
This chapter has presented the reactions of both the teachers and the students who have participated in this study. Both positive and negative aspects of the model drama unit were discussed. The chapter ended with a list of suggestions by the student participants for improving the unit. CHAPTER VI
SUMMARY AND CONCLUSIONS
Summary of the Study
The purposes of the present study were (1) to investigate the merits of utilizing a particular strategy for teaching Spanish drama; (2) to design a model drama unit for a particular Spanish drama; (3) to utilize a model drama unit with actual high school classes; and
(4) to evaluate students' satisfaction with the model drama unit.
The problem of this study was to investigate the feasibility of using the explicacion de texto approach for teaching a model drama unit at the high school level.
The fundamental skills--listening, speaking, reading, and writing— are taught in every advanced level foreign language classroom. The teaching of foreign literature also takes place at this level. Therefore, it seems reasonable to conclude that by using a strategy which incorporates the fundamental skills approach, more literature could be studied also.
113 114
Three questions served as the guidelines for
the present study. These questions are:
1) Is the explicacion de texto approach a useful
technique for teaching drama at the high
school level?
2) Is it feasible to utilize a model drama
unit with advanced high school Spanish classes?
3) Do foreign language students respond
positively to the use of the model drama unit?
From the review of literature it was concluded that although the experts in foreign language education question the level at which to introduce foreign literature, all agree that literature must be included in the foreign language classroom. Two significant considerations seem outstanding from that review of the literature: (a) drama provides a wealth of vicarious experiences for the adolescent; and (b) drama also develops the verbal skills.
The research process was divided into three phases: (1) the pre-active phase which involved the distribution of the teacher opinionnaire and selection of the population; (2) the active phase which involved observations of the teachers during instruction of the unit, teacher interviews, and the administration of the Student Satisfaction Scale; and (3) the post-active 115 phase which involved analysis of data from observations,
interviews and the Student Satisfaction Scale.
As a result of the data collected from the opinionnaire, a model drama unit was developed to teach
Historia de una Escalera to 120 students comprising eight advanced level Spanish classes.
The various French versions of textual analysis were examined. As a result, an adaptation of the French method was developed for advanced level Spanish classes.
This method called explicacidn de texto exploited the linguistic and cultural elements of the drama being studied. The exercises provided in the model drama unit served to clarify the essential meaning of the drama, and reinforced the active command of the Spanish language.
The teachers provided positive reactions to the method employed and the materials used. All the teachers expressed a desire to incorporate the teaching of more literature in their foreign language classes. The observations showed that the students were enjoying performing the play in class and were eager to learn more about the Spanish culture.
The Student Satisfaction Scale rated the method employed in teaching the drama as highly effective, efficient and satisfactory. 116
At the end of Chapter V, three open-ended questions were discussed: (1) What I liked most about the unit;
(2) What I liked least about the unit; and (3) Suggestions
for improving the unit. The most frequently mentioned responses were in agreement with the objectives of the study.
Conclusions
Based on the findings of the present study, the following conclusions may be drawn.
Is the explicacion de texto approach a useful technique for teaching drama at the high school level?
The usefulness of the explicacidn de texto approach as an instructional technique for teaching drama at the high school level was clearly established.
This conclusion is based upon the positive reactions of the teachers who used the technique, the students' positive rating on the Student Satisfaction
Scale, and personal observations made by the investi gator during the utilization of the technique. This technique appeared to be useful for providing a variety of experiences in which the students could utilize the fundamental skills of language learning and vicariously experience the cultural context of the play itself. 117
The explicacion de texto approach can be adapted to other literary works and to other genres. If one wishes to derive all that one can from the study of a particular work, one must be able to adapt his/her teaching to the situation at hand.
Is it feasible to utilize a model drama unit with advanced high school Spanish classes?
Direction, time, and cost do not present major problems for implementing a model drama unit, such as the present one, with advanced high school Spanish classes.
The prospective user of a model drama unit might prepare himself for implementing a unit by selecting a play which is appropriate for his particular class and teaching situation. By reading professional journals and textbooks dealing with the various versions of the explication method, the teacher can adapt the method to the linguistic competency of his students.
Additional training for the foreign language teacher does not seem to be essential.
In reference to the time factor, the greatest amount of time involved will be that of preparing the visuals and the cultural episodes. Making an audio tape of the play would not be difficult if one were in the environment of a native Spanish-speaking population.
In this way, native Spanish-speaking students of the 118
same educational level could be used as role models
under the direction of a Spanish-speaking teacher.
It was found in the present study that the materials
could be used over a six week period. The grammatical exercises involved would fit into the foreign language curriculum for advanced level Spanish classes because
they are basically the same types of exercises that are used in advanced level foreign language textbooks.
In terms of cost, the presentation of the drama unit involved very little investment in equipment and facilities. Most schools have at least one tape recorder and overhead projector.
Do foreign language students respond positively to the use of a model drama unit?
The foreign language students involved in the study responded positively to the use of a model drama unit developed for this study as evidenced by the response to "what I liked most about the drama unit."
A generally favorable attitude towards the oral readings and role playing situations among the student participants had been observed by this writer and their classroom teachers. The opportunity to express vocally their individual opinions and feelings for the drama being studied, encouraged the student oral participation in class knowing there were no right or wrong answers. Students expressed an interest in learning 119 about the Spanish culture. The exercises that showed similarities and differences between the two cultures were very popular with the students. The use of visuals rated high with the students because they helped them to understand the development of the plot.
The audio tape recording of the play was popular with the students because they enjoyed listening to native
Spanish-speaking students of their own age level per forming the play. The students in general responded favorably to the variety of grammatical exercises, oral and written, that were included in the unit.
Implications
Teacher-Researcher Cooperation
1. The researcher had supervised student teachers in the classes of the teachers who cooperated in this study. It is likely that one reason the researcher had no difficulty in finding cooperation from the teachers was that a continuing personal-professional relationship was already established between the researcher and the teachers.
2. Teachers cooperating in this study were able to use the model drama unit with a minimum of in-service instruction. 120
Curriculum Development
1. Teacher opinionnaire data provided effective
guidance for the development of the model drama unit.
Curriculum development efforts might well be facilitated by systematically seeking teacher opinion in advance.
2. The model drama unit fit well into the
Spanish III and IV curricula since there is an expectation that literature should be studied and since the activities of the unit were similar to the activities in the usual textbooks at these levels.
3. The model drama unit was easily adapted to four different teaching styles in four different school settings. Thus it seems likely that the model drama unit will be useful generally.
4. The structure of the explicacidn de texto method provided intellectual rigor in the study of the chosen play without apparently decreasing the enthusiasm of high school sophomores, juniors and seniors.
5. Having the researcher, who was a university- based teacher educator, pick out an appropriate play seemed to be valued by the teachers. Secondary teachers may well need university resource persons to assist in literary selection. 121
6 . Teachers and students were provided with
sociological and cultural summaries to support the
exercises in the unit. In this way drills and
dialogues could be full of cultural relevance extending
the meaning of the play. Some of the enthusiasm expressed could have resulted from the content reference of the exercises.
Oral Quality of Teaching Drama
1. Drama is dialogue and action. Students were most enthusiastic when they acted out the parts.
It seems likely that the involving nature of playing a role not only provided practice in listening and speaking but also provided a powerful cultural experience.
2. Listening to an audiotape of the drama performed by native speakers of the same age may have encouraged active student participation in acting out the play.
3. Explicaci6n de texto as a method emphasizes the skills of listening and speaking thus it seems singularly effective for teaching drama.
4. Since there are shorter and simpler plays, it is likely that explicacidn de texto would function well in earlier levels of Spanish including foreign language in the elementary school. 122
5. Dialogue is a part of novels and short stories thus it would seem plausible to bring the benefits of oral literary experience to other literary genres through explicacion de texto.
Recommendations for Teaching
Teacher-Researcher Cooperation
1. University student teacher supervisors cultivate extended professional relationships with teachers to assist teachers in curriculum development, selection of literary works, and alternative methods.
2. Short in-service instruction should be made available to teachers who are going to try out innovative curriculum materials.
Curriculum Development
1. Teachers should be consulted for their opinions and input in creating curricular materials.
2. Learning activities should be incorporated in advanced level foreign language textbooks and be implemented in teaching literature at these levels.
3. In-service and pre-service teachers should be taught how to construct unit materials for teaching literature at all levels of language learning. 123
4. The method of explicacion de texto should
be used to orient students to analytical thinking at
the high school level.
5. In-service workshops should be provided for
teachers to guide them in selecting appropriate literary
materials for their particular instructional levels.
6 . The study of drama should provide culturally
authentic images of practical themes of everyday living.
Oral Quality of Teaching Drama
1. Students should actively participate in
performing the literary work studied for a 'Vicarious
experience" of the literature chosen.
2. Native Spanish-speaking students of the same
age level should be used as models for accurate and
exciting renditions of a particular play.
3. The explicaci6n de texto method should be
utilized in beginning high school levels of language
learning since it focuses on the skills which are emphasized at these levels.
4. The explicacidn de texto method should be adapted for teaching shorter plays at the Foreign
Language Elementary School level. 124
5. Other literary genres should be taught in
the foreign language classroom since,like the drama, other genres also employ the use of dialogue.
Recommendations for Research
Teacher-Researcher Cooperation
1. Dynamics of student teacher supervisor/ cooperative teacher relationship studied included time to develop mutuality nature of interaction through frequency of contact.
2. The optimization of in-service instruction time and strategy in relation to the effective teaching of an innovative curriculum unit should be explored.
3. The most efficient time to introduce training in explicacidn de texto— pre-service vs. in-service--should be explored.
Curriculum Development
1. Curricular materials should be field tested in the classroom by foreign language teachers before being published.
2. Whether pre-service teachers trained in linguistic and cultural exercises will be able to develop such exercises in subsequent teaching should be explored. 125
3. Processes to facilitate the development of mini-course materials that might be packaged and shared between universities and high schools should be studied.
4. Experiments should be conducted to ascertain whether any one or several methods of literary analysis tend to improve student analytical skills more than the others.
5. An analysis is needed to develop a bibliog raphy of literary materials which emphasize various levels of language acquisition.
6 . Additional information should be sought about the changes in the attitude of adolescents towards people of other cultures as a result of studying drama in the foreign language classroom.
Oral Quality of Teaching Drama
1. Comparative studies are needed to determine the effectiveness of oral reading vs. oral performance of the drama as a worthwhile "vicarious experience."
2. More experimentation is needed to determine the effects of recordings of literary works recited by professionals (such as the work of The University of
Washington in Poetry and The University of Wisconsin 126
in Drama) on the learning of high school foreign
language students.
3. That research should be done in the skill
area of teaching language through literature. Although
the present study was concerned primarily with the
affective domain, the achievement of cognitive domain
objectives should be studied for possible improvement of language skills by using the explicacion de texto method.
4. Analysis is needed of foreign children literatures at the elementary school level. The question of when to begin the study of literature in the foreign language classroom needs further study.
5. Explorative research is needed in studying the impact of the oral quality of other literary genres such as novels and short stories.
In conclusion, if this dissertation succeeds
(1) in offering practical suggestions on one aspect of successfully teaching drama at the advanced high school level, and (2) in showing that it is worthwhile to stimulate classroom teachers' interest in including the drama in the foreign language literature program, then its purpose will have been achieved. SELECTED BIBLIOGRAPHY
Abel, Lionel. Metatheatre: A New View of Dramatic Form. New York: Hill and Wary, 1963.
Auburn, Mark S., and Burkinan, Katherine H. Drama through Performance. Boston: Houqhton Mifflin Company, 1977.
Barnes, Douglas. Drama in the English Classroom. Urbana, Illinois: National Council of Teachers of English, 1968.
Beloof, Robert. The Oral Study of Literature. New York: Random House, 1966.
Bolinger, Dwight. "Literature Yes, But When." Hispania 51 (March 1968), pp. 118-119.
Brooks, Nelson. Language and Language Learning. New York: Harcourt Brace and Company, 1960.
Brown, Walter Rollo. How the French Boy Learns to Write. Cambridge: Harvard University Press, 1927.
Butcher, Samuel. "The Dramatic Unities." Aristotles, Theory of Poetry and Fine Art. New York: Dover Publications, Inc., 1951.
Buero-Vallejo, Antonio. Historia de una Escalera. New York: Charles Scribner and Sons, 1955.
Carballo-Picazo, Alfredo. "Explicacidn de Textos Literarios Espanoles." Yelmo 9 (Diciembre-Enero 1972-73), pp. 20-21.
Cardenas, Daniel. "Introduction to Literary Analysis: It's Place in the High School Curriculum," Hispania 51 (September 1968), pp. 395-401.
Castle, Pat. "Toward Excellence in Foreign Language Education." The Office of the Superintendent of Public Instruction State of Illinois. Springfield, Illinois: 1968, p. 103. 127 128
Clarac, Pierre. L 'Enseignement du francais. Paris: Presses Universitaires de France, 1964.
Coggin, Philip A. The Uses of Drama. New York: George Brazillen, 1956.
Combs, James E., and Mansfield, Michael W. Drama in Life: The Uses of Communication in Society. New York: Hastings House, 1976.
Complo, Jannita Marie. Drama Kinetics in the Classroom. Boston: Plays, Inc~ 1974.
Cor, L. W. "Phonic Aspects of Language in the Theater," French Review, XXXVII (October, 1963), pp. 31-40.
Cortina, Jose Ramon. El Arte Dramatico de Antonio Buero Vallejo. Madrid, Spain: Editorial Gredos, S. A., 1969.
D'Amico, Victor. "Theater Art in Education." Progressive Education 7 (1936), pp. 50-54.
Davidson, Clifford. Drama and Art. Kalamazoo, Michigan: Western Michigan University Press, 1977.
Davison, Ned. "Lengua o Literatura." Hispania 49 (May 1966), pp. 118-119.
Dixon, John. Growth through English. Reading, England: National Association for the Teaching of English, 1967.
Duke, Charles R. Creative Dramatics and English Teaching. Urbana, Illinois: National Council of Teachers of English, 1975.
Ehrenpreis, Irvin. The Types Approach to Literature. New York: King's Crown Press, 1945.
Esler, Richard. "The Teaching of Literature: To Whom?" Hispania 51 (December 1968), pp. 847-848.
Fergusson, Francis. The Ideas of a Theater. Garden City, New Jersey! Doubleday and Company, Inc., 1953.
Fries, Charles. Teaching of English. Ann Arbor, Michigan: The George Wahr Publishing Company, 1949. 129
Geiger, Don. The Sound, Sense, and Performance of Literature-! Palo Alto, California: Scott Foresman and Company, 196 3.
Hill, Knox C. Interpreting Literature. Chicago, Illinois: The University of Chicago Press, 1966.
Hoebel, E. Adamson. "The Nature of Culture." Man, Culture and Society, ed. by H. L. Shapiro. New York: The Oxford University Press, 1956.
Hoetker, James. Theater Games: One Way into Drama. Urbana, Illinois: National Council of Teachers of English, 1975.
Holby, Dorothy. "Beginning Literature in the Foreign Language Program." Hispania 51 (September 1968), pp. 476-479.
Hoyo, Arturo del. "Sobre Historia de una Escalera." Insula 47 (Noviembre 1949), p. 56.
Huebener, Theodore. Audio-Visual Techniques in Teaching Foreign Languages, rev. ed. New York: New York University PressT 1967.
Iverson, William. "The Lively Arts of Language in the Elementary Schools." The Discovery of English. Urbana, Illinois: National Council of Teachers of English, 1971, pp. 81-96.
Jenkinson, Edward, and Daghlian, Philip. Teaching Literature in Grades Ten Through Twelve. Bloomington, Indiana: Indiana University Press, 1968.
Mabley, Edward Howe. Dramatic Construction. Philadelphia: Chilton Book Company, 19 72.
McIntyre, Barbara. Creative Drama in the Elementary School. Itasca, Illinois: F. E. Peacock Publishers, Inc., 1974. 1
Meade, Richard A., and Small, Robert C. Literature for Adolescents. Columbus, Ohio: Charles E. Merrill Publishing Company, 1973.
Mitchell, Jack N. Social Exchange, Dramaturgy, and Ethnomethodology: Toward a Paradigmatic Synthesis. New York: Elsevier Co., 1978. 130
Moffett, James. Drama; What is Happening. Urbana, Illinois; National Council of Teachers of English, 1967.
Motter, Charlotte Kay. Theatre in High School; Planning, Teaching, Directing^ Englewood Cliffs, New Jersey; Prentice-Hall Inc., 1970.
Northeast Conference on the Teaching of Foreign Languages. Report of the Working Committee. Washington, D.C., 1963, pp. 23-24.
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Oiler, John W. , and Gonzalez, Angel. Coloquios Culturales. Chicago, Illinois: Encyclopedia Britannica Educational Corporation, 1967.
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UNPUBLISHED MATERIALS
Boyd, Robert Milton. "An Analysis of Selected Approaches to the Teaching of Literature in the High School." Unpublished Ph.D. dissertation, The Ohio State University, 1963.
Cochran, William Dean. "Audio-Visual Aids in the Teaching of Literature." Unpublished Master's thesis, The Ohio State University, 1946.
Corbin, Donald Evans. "A Taxonomy of the Teaching of French Literature: Domains of Appreciation and Cognition." Unpublished Ph.D. dissertation, The Ohio State University, 1972.
Gilliam, June B. "Teaching French Poetry in the American Secondary School." Unpublished Ph.D. dissertation, The Ohio State University, 1969.
Kupersmith, Marjorie M. "History and Analysis of the Explication Francaise." Unpublished Ph.D. disser tation, Western Reserve University, 1959.
Morain, Genelle. "Some Implications of French Folk Literature for the Secondary Language Curriculum." Unpublished Ph.D. dissertation, The Ohio State University, 1969.
O'Neill, Geraldine O'Hara. "Teaching French Literature in the Secondary School." Unpublished Ph.D. dissertation, The Ohio State University, 1968.
Seely, Howard Francis. "A Statement of the Objectives of the High School and Literature Program and of General Means of Achieving the Objectives," Unpublished mimeographed paper, The Ohio State University, Summer, 1946. 132
Smith, E. W. "Audio-Visual Methods in the Teaching of Literature." Unpublished Ph.D. dissertation, The University of Michigan, Ann Arbor, 1954.
Thomas, Joseph. "The Nature and Effectiveness of Special Methods Courses in the Teaching of Modern Foreign Languages." Unpublished Ph.D. dissertation, The Ohio State University, 1952.
Wulftange, Katherine L. "An Experimental Study of Audience Response to the Oral Interpretation of Literature as Perceived through Different Media." Unpublished Ph.D. dissertation, The Ohio State University, 1962. APPENDIX A - VISUALS ANTONIO BUERO VALLEJO
At the outbreak of the Spanish Civil War in 1936 Buero Vallejo was a young art student at the Bscuela de Bellas Artes in Madrid. Not yet twenty, he enlisted in the Republican medical corps, and at the end of the war was imprisoned for six years, rfhen released in 1945, he temporarily resumed his painting career before turning to the theatre. Between 1946 and 1949 he wrote three full length 134 plays and a one act piece, liistoria de una Escalera was written in 1947. t
ANTONIO □B ISo 0 0 n BUERO VALLEIO B ■
e
! l!
MlSTOftlA de U NA E SCALE RA 135 SUFRF Y LLORA, todos y con todo* los personajes del drama La escalera e* muy pobre y esta socux •
El cotrador de la luz. suke por ella. •> A
Los vecinos salen a las puertaspara p agar el red bo de la Iu2 . Dona Asuncion no tiene dinero y el cobrador le amenaia con cortarle la corriente electrica. 5
Elvira kaUa a su p ad re D. Manuel para
Fernando es un mudiacho muy quapo, y tiene mudios proyectos. Qulere ser del ineante, intjeniero... No bace ma's cjoe leer y pensar. Siempre tumbado 141 pensando en sus proyectos. 8 Elvira, esta enamorada de Fernando, el liijo de dona Asuncion. 142 ■: I- ;!! S|i i ' !l!! lilI i1 0 0 / : ' i 1 ! i!1 ill! i i Fernando_j^L_£jicuentra con su amigo Urbano en la escalera y le invita a fumar un cigarro en el ” casiniHo". Ur La no le Labia sobre la importancia de unirse, sobre el sindicato. / Solidaridaol /* Fernando no cree en eso. FI cjuiere subir solo y emplaza a Urbano para deritro de 10 anos. JJ Antes de despedirse Urbano aconse^a a Fernando qve se buscjue una mujer para evitar el desalierito, y trata de descubrir el secreto amor de Fernando. £Se tratara de Trini, de Rosita, de Carmina...? 145 \z Fernando se encventra con Elvira en la escalera. Ella le pide c|ue le acompane a comprar un libro. Fernando se mega y ella le echa en cara su ordinariez y so poco aojraclecimlento por kaber patjado so padre la 146 cuenta de la luz.. bube Larmina la escalera y se encuentra con Fernando. Fernando le recuerda los clias |elices en <^ue los dos eran nifios y jucjaban a los novios. it Fernando s e sienta con Elvira ojuiere cazarle con su dinero. 148 Fernando le dice a Elvira que le ayude a salir de e&a pobrercu Estudiara mucho. Se hard delineante, lueojo arcjyitecto... S u s suenos lleojardn mas lejos. Sera incjeniero, puhlicara un lihro de poesias^cjanard mvcho dlnero y serdn |elices. 149 Fernando y Elvira se van a besar. pero Fernando da un cjolpe con el pie a la lechera. cjue se derrama. . 150 £3 £2 Han transcurrido lO an os.L a escalera sique sucia y pobre , la* puertas sin timbres, los cristate* de ventana sin lavar. D Q Presenciamos el entierro de uno de los v/ecmos desd e la v e n ta n a .. Todos piensan en la muerte, sobre todos los viejos. FIv/irct con so esposo Fernando van a dar el pesame a la {amilia del di|onto. No se deciden a entrar y discuten sobre la decision de cjanar mas dinero. 153 Fernando se enfada pero su esposa le eclia en cara sus anticjuos suenos de qrandeza. El le echa en cara UrLar.o se cjuecla solo con B arm ina en la escalera. y \e decla ra su amor. El promete sukir, perjeccionarse en la mecanica y cjanar mas dinero. Carmina, llorando, se rejocjia en los krazos de Urkano. 155 Elvira , llevando un nino de pecho en los brazos,sube con Fernando la escalera dispUestos |inalmerite a d ar el pe’sam e. Elvira no cjuiere entrar portjue esta celosa de darmina. Fernando abre la puerta tras la cual se encoentran abrazaolos Ca rmina y Urtano. Se saludan y miran a Fernanditoc|ue seojun Elvira tiene toda la cara de su padre. Pasaron 20anos.La escalera sique siendo Kill numilde autcjue nay alqo que disfrazcx la pobreza anterior, los cristales estah coloreados, nvevos numeros y timbres ele'ctricos. 24 @ 0 Elvira y Fernando llecjan a la puerta y abre Manolin. Manolm prequnta por los pasteles pues boy es su cumpleanos. Sus padres no los compraron ya c|ye estan moy caros, pero le tienen una sorpresa. 158 25 Manolm en *u enjado juma un ciojarro Jrente a Rosa y Trim. Ellas le reprendeh y le prometen comprarle pastel . El prefiere c^ue le regalen una ca^etilla de cicjarros. 159 26 1 Fernando, bijo,y Carmina, hi ja , estan enamorandose en la escalera sin saber 160 <^ue Manolm los observa. 21 Fernando y Carmina destubren a Manolin, y Fernando le da una bo|etada , mientras c^oe Manolm se defiende pateando las espinillas de su hermano, y promete contarselo todo a su padre. 161 2 8 ernomdo se rebela contra Ids estopidas probibiciones de su padre. El no tiene cjue ver nada con sus rencores y sus vie^os pre^uicios . 162 29 TamWn Urbomo reprocba a su hi]a Carmina, \f le prohibe ver mas a Fernando. 163 SfNDlCATOl Urbano y Fernando discoten sobre las relaciones amorosas de sus bijos. Probiben cjue se vean otra M e t. UrU no le ecba en cara so derrota. le dice que de spues de veinte anos todavi'a sique amarrado a esta escalera. Fernando le cohtesta cpje el tampoco lleojo muy lejos con el sindicato y la solidaridad. 164 3J Carmina a *u vei llama a Elvira zalamera y entrometida , mientras c^ue Elvira la llama moscjuita muerta . Se pelean tirdndose del pelo. 165 52 Fernando, el hi jo , esta Sentado en la e s c a le r a . C a rm in a , la hija , sale sin hacer ruido de Su casa. Amhos hablan sobre los viejos (jue estan sus padres y lo W pes Lrutalidad. Fernando cuenta a Carmina sus suenos de cjrandeza— Los padres contemplan la escena desde 166 a escalera . APPENDIX B - MODEL DPAMA UNIT * 167 168 TABLE OP CONTENTS EPISODIOS Page Acto Primero I. El cobrador...... 17 3 II. El sindicato...... 182 III. La escalera de Buero...... 191 IV. El chulo...... 198 / V. La jubilacion...... 204 VI. Fernando y Elvira...... 209 VII. El chisrae...... 214 i VIII. Recuerdos del pasado ...... 220 IX. Suenos Venideros...... 226 GENERAL REVIEW Acto Segundo I. El funeral...... 241 II. El pesame...... 250 III. El tenorio...... 256 IV. Urbano y Carmina...... 265 V. El capacho...... 272 VI. Paternalismo...... '...... 279 VII. El casaraiento...... 286 VIII. La familia...... 292 GENERAL REVIEW 169 Acto Tercero Page I. La escalera deldrama ...... 304 II. El cumpleanos...... 312 III. La protesta...... 317 IV. El tradicionalismo...... 322 V. El chivato...... 327 VI. La liberacion...... 331 VII. La maternidad...... 336 VIII. Los proyectos fallidos...... 341 / IX. Los jovenes...... 351 GENERAL REVIEW 170 APPENDIX OP COMMON LITERARY TERMS la accion - action el ambiente - background, atmosphere verosimil - convincing el argumento - plot el arte - art artistico - artistic el aspecto - aspect la astucia - astuteness astuto, -a - astute el asunto - matter, topic la base - basis de carne y hueso - true to life, convincing la claridad - clarity el color - color el colorido local - local color comico, -a - comic la complicacion - complication complicado, -a - complicated conmovedor, -ora - moving los conociraientos- knowledge (ofj, acquaintance with contar - to tell, recount, relate el contraste - contrast la cor;riente - trend, current la cntica - criticism el critico - critic el cuadro - picture el cuentista - short story writer el cuento - short story cursi - corny, in bad taste, tawdry desarrollar - to develop la descripcion - description el desenlace - denouement el detalle - detail divertido, -a - amusing el drama - drama dramatico, -a - dramatic el elemento - element el enredo - plot el entendimiento - understanding la escena - scene estetico, -a - esthetic la etapa - step, stage (of development) exage/ado - exaggerated la tecnica - technique falta de - lacking in, lack of el final - end el fondo - background la frase - sentence la ilusion - illusion la imagen - image, imagery, picture la imaginacion - imagination" impresionante - impressive la incertidumbre - suspense interpretar - interpret inverosimil - unconvincing, untrue to life la inverosimilitud - unnaturalness el, lector - reader lirico, -a - lyrical literario, -a - literary la literatura - literature la logica - logic l^gica^ -o - logical el matiz - shading, shades la metafora - me^taphor la interpretacion - interpretation la motivacion - motivation motivar - to motivate el rnotivo - motive narrar - to, tell (a story) la narracion - narrative la naturaleza - nature objetivo, -a - objective la verosirailitud - credibility objetividad - objectivity el parrafo - paragraph el personaje - character pesado, -a - heavy pintar - paint poetico, -a - poetic el principio - beginning la prosa - prose prosaicoj, -a - prosaic psicologia - psychology psicologico, -a - psychological el punto culminante - climax el realismo - realism realista - realist representar - to represent el regionalismo - regionalism la resistencia - restraint la riqueza - wealth, richness romantico, -a - romantic la sencillez - simplicity 172 sencillo, -a - simple la sentimentalidad - sentimentality la subjetividad - subjectivity el intere's - interest sutil - subtle la sutileza - subtlety el, tema - theme tipico, -a typical el/tipo - type tragico, -a - tragic la trama - plot triste - sad la unidad - unity el valor - value vivo, -a - alive, lively, vivid 173 EPISODIO I Acto Prirnero EL COBRADOR A. Background Information El simbolo tiene una importancia extraordinaria en las obras de Antonio Buero Vallejo, al extremo de que se encuentra en todas ellas, teniendo entre sus funciones principales, como bien expresa Ramon Cortina, "la de tangibilidad, corporeidad, a los conflictos y temas de las piezas."”' Entre estos simbolos es indiscutible que el mas importante es el de la luz, que como buen pintor lo utiliza el dramaturgo en diez de sus obras. Lo que se presenta en Historia de una escalera es el fracaso de unos personajes que, debido a su caracter abulico, son incapaces de luchar con la vida. El simbolo es utilizado ya por Buero desde el principio del drama para enfocar la atencion sobre esto. Asi en la descripcion de la escenografia con que se abre la obra aparece "una Q polvorienta bombilla enrejada." Y el primer personaje que se ve aparecer es el cobrador de la luz.^ Estos elementos simbolizan la "ceguera" de los vecinos de la casa que les irapide "ver" lo que tienen que hacer para triunfar en la vida. 174 Por esta epoca (1919) en Espana todavia la Compania Electrica tenia que usar el elemento humano "el cobrador," mas que el niecanico o el automatico, para cobrar los recibos de la luz. El trabajo era odioso, pues el cobrador se ve£a expuesto la mas de las veces a toda clase de insultos y vituperios. Un ejemplo de esa antigua costumbre lo da Buero en este primer episodio: ✓ "..^Buenos pajaros son todos ustedes! Esto se arreglaria...tirando a mas de cuatro por el hueco de la escalera... ;Cochinosl La accidn comienza en un trozo del antiguo Madrid que aun no alcazaba el millon de habitantes. El autor senala que los personages son pobres, ya que su modo de vestir no / / esta a tono con la epoca: "los vestidos tienen un vago aire c retrospectivo." Es esta la media clase expanola de principio de siglo, que se queja del aumento de la luz, de las pocas pesetas que les cuesta la corriente electrica del afan por aparecer lo que no se es, y la vergiienza de verse apuntado o senalado por todos los vecinos por haber sido objeto de raisericordia o piedad. Detalles todos que el autor nos da para que podamos ver a las claras el tipo de sociedad y el ambiente en que se situa su accion dramatical La capital de Espana (Madrid), un barrio de la clase media, en un edificio antiguo de apartamentos. Behavioral Objective: Given 4 themes, 95% of the students will write a complete Spanish sentence for each 175 of the following themes. a) Los simbolos t>) La luz ele'ctrica c) La ciudad de Madrid. d) La clase madia espanola Vocabulary (1 grasienta(aceitosa) (2 nudillos(dedos) (3 ardemanes(gestos) (4 qui cio(puerta) (5 tarifa(pago)(precio) (6 chupar(tragar) (7 rezongando(quejando) (8 aporrea(llama fuerte) (9 refunfunando(quejando) Idioms (1 Cada vez mas caro(sube el precio) (2 encogerse de hombros(accio^ de subir los hombros) (3 reirse por dentro(reirse interiormente) (4 buenos pajaros son todos ustedes!(que desvergonzados son ustedes) (5 se las da de golpe(todas juntas) (6 ensayando sonrisas(aparentar reirse) (7 cuanto lo siento(que lastima) (8 es una casualidad(es una coincidencia) (9 No faltaba mas(esta claro) 176 Tape recording Students will listen to the first selected passage on tape. The entire play was dramatically read and recorded by bilingual students in their teens. B. Exposition of the selected passage Teacher: Como represents Buero Vallejo el ambiente? Students: El espectador asiste, en este acto y en el siguiente, a la galvanizacion momentanea de tiempos que han pasado. Los vestidos tienen un vago aire retrospectivo. (nada mas levantarse el telon vemos cruzar y subir fatigosamente al COBRADOR DE LA LUZ, portando su grasienta carters. Se detiene unos segundos para respirar y llama despue's con los nuaillos en las cuatro puertas. Vuelve al I, donde le espera ya en el quicio la Sra. Generosa: una pobre mujer de unos cincuenta y cinco anos.^ C. Question Period (1) Cuantas ^puertas se presentan al espectador? iPara que? C2 )^Qu^ clase de personas viven en este apartamento? i.Por que? (3)cQue simbolos descubrimos? De que^sirven? D. Presentation of meaning Behavioral Objective: Given 5 idiomatic expressions, 90% of the students will write a short composition employing the 5 expressions with 100% accuracy. Cada vez mas caro! (sube el precio) elevar la tarifa {subir el precio) se encoge de hombros (accion de subir los hombros) ' r f / \ 'jCuanto lo siento (que lastima) iBuenos pajaros son todos ustedes! (que^listos son) E'. Exposition of the selected passage iConio describe Buero Vallejo a los personajes en torno al cobrador de la luz? Generosa: jDios mio! Gada vez mas caro! No se" como vamos a poder vivir. Paca; ;Ya» ya! (Al Cobrador)iEs que no saben hacer otra cosa que elevar la tarifa? ,'Menuda ladronera es la Corapania! Les debia dar vergiienza chuparnos la sangre de esa manera! (el Cobrador se encoge de hombros)! Y todavia se rie! Paca: Se rie por dentro.jBuenos pajaros son todos ustedes! Esto se arreglaria, como dice mi hi jo Urbano,tirando a mas de cuatro por el hueco de la escalera. Dona Asuncio'n: iCuanto lo siento! Me va a tener que perdonar! Como me ha cogido despues de la compra, y mi ✓ 7 hi jo no esta...? F. Question Period (1);Por que no van a poder seguir viviendo los vecinos? (2 )iComp chupa la sangre de los vecinos la Compania electri ca? (3)iCual es la reaccion de algunos de ellos? Por que? (4) «-Que^ excusas presentan algunos para no pagar? G. Presentation of meaning si no me abona (si no me paga) cortarle el flufdo (cortarle la luz) 178 jbasta de monsergas! (basta de quejas) abonarse a tanto alzado (pagar el precio corriente) H. Exposition of selected passage 'tComo se le ofrece al espectador la imagen del COBRADOR? Sf. Todos los meses es la misma historia. ,'Todos! Y yo no puedo venir a otra hora ni pagario de mi bolsillo. Con que si no me abona tendre/ que cortarle el fluido. jBasta de monsergas! Esto le pasa por querer gastar como ^ / una senora, en vez de abonarse a tanto alzado. Tendre que cortarle.® I. Question Period (1)cComo presenta Buero Vallejo al Cobrador? <;Cual es su servicio? (2)cComo estaban los vecinos?cPor que? (3)iCua 3. SUMMARY Behavioral Objective: Given 8 vocabulary items, 100% of the students will orally give Spanish synonyms to the words with 100% accuracy. (a) Meaning 1) Have students write out synonyms for the following words: ademan- tarifa- grasiento- abonar- aporrear- rezongar- refunfunar- galvanizar. 2) Pupils are to consult the list of selected idioms; original sentences are to be selected for oral presentation. 179 (b) Aural Comprehension (The teacher has four mimeographed statements which are read aloud; the student selects the * number corresponding to the correct statement. On the teacher's script, the asterisk points out the correct response.) (1) El Cobrador de la luz es un ladron. (2) Los vecinos son unos ladrones. *(3) La Compania Electrica es ina ladrona. (4) La luz electrica es la ladrona. (1) En el primer rellano hay dos puertas. (2) En el segundo rellano hay dos puertas. (3) En el primer rellano hay cuatro puertas. *(4) En el segundo rellano hay cuatro puertas (1) Paca no puede pagar la tarifa. *(2) Dona Asuncion no tiene para pagar el recibo de la luz, (3) Generosa no tiene dinero. (4) El Cobrador no cobra dinero. 1) El cobrador sube fatigosamente la escalera, (2) El cobrador se r/e con fuerza. (3) Los vecinos no insultan al Cobrador. (4) El cobrador paga de su bolsillo. (c) Aural Comprehension (The pupil has before him four statements in each item without seeing the fill-in question * that is read aloud by the teacher. After hearing the question read, the pupil checks the correct answer. The asterisk on the teacher's script points out the correct response.) Teacher: ♦Que'” es un Cobrador de Luz? (1) El que paga (2) El que abona (3) El que visita *(4) El que cobra ^Por donde sube el Cobrador de la Luz? (1) Por el ascensor *(2) Por la escalera (3) Por el elevador (4) Por el quicio / <^Por que no puedet pagar LoKa Asuncion? (1) Porque esta/ vieja / (2) Porque su hi jo no esta (3) Porque fue de compras (4) Porque gasta como una senora Que va a hacer el Cobrador si no pagan? (1) Volver a otra hora 181 (2) Abonarlo de su bolsillo *(3) Cortar el fluido (4) Pegarles (d) Discussion (1)^Como refleja Buero Vallejo el conflicto interno de Dona Asuncion? (2)<:Cuai es la importancia del ambiente? (3)cCuales son las dificultades con las que tropieza el Cobrador? (4) iPor que no puede pagar DfTa. Asuncion? (5)2Que'1’ contraste existe entre Dfia. Asuncion y Paca? (6 )/Expliquese el significado de la narracion por medio del dialogo! (7)2Cual es la importancia de los simbolos? (e) Visuals (1) Show visuals 1-2-3-4 (numbers). (2 ) Then show visuals without plot development. (3) Finally show them to evoke students personal description of the scene. 182 EPISODIO II EL SINDICATO A. Background Information Las nuevas ideas laborales que revolucionaron el principio de siglo llegan tambien al teatro social de Buero. Aparecen en labios de los jovenes personajes en Historia de una escalera. Las palabras "sindicato," "solidaridad,11 eran la comida de cada dia en las conversaciones de los espanoles. Las revolucionarias ideas laborales que impuso la Republica espanola fueron canbiadas mas tarde por el nuevo Gobierno de Franco. Las leyes laborales del Alzamiento Nacional son las que todavfa imperan en Espana. Hoy dfa los sindicatos son controlados por la Falange. El derecho a la huelga, por ejemplo, esta" definitivamente prohibido en Espana. No obstante, en 19t9 , la huelga todavia era uno de los recursos mas fuertes de los sindicatos. "Lesde la ultima huelga de matalurgicos la gente se sindica a toda prisa."^ El individualismo caracteristico del espanol se opone, por otra parte, a toda clase de asociacion o union. La solidaridad es un punto dificil de entender para muchos: "Y vost^tros os meteis en el sindicato porque no teneis arranque para subir solos, ""’O 183 Behavioral Objective: Given 4 themes, 95% of the students will write a complete Spanish sentence for each of the following themes with 95% accuracy. (a) El sindicato (c) La huelga (to) Solidaridad (d) El individualismo B. Language Development (When possible teacher will demonstrate by using gestures for the following vocabulary and idiomatic expressions.) (1) Meaning Behavioral Objective: Given orally 8 vocabulary items and idiomatic expressions, 85% of the students will demonstrate the correct gestures corresponding to the vocabulary items with 100% accuracy. (a) Vocabulary (1) huelga(paro)* (2) sindicato(union) (3) solidaridad(amistad)* (4) hortera(sirviente) (5) papanatas(tonto)* (6) musaranas(ilusiones) (7) urraca(usurero)* (8) gandul(vago) (9) eraplazo(cito) (10) sordidez(pobreza) (b) Idioms / (1) a toda prisa (rapidamente)* ✓ (2) te crees un marques (te crees gran cosa)* 184 (3 ) que los parta un rayo ^no me importan)* (4) no teneis arranque (no teneis iniciativa) (5 ) lo que te de'" la gana (lo que quieras) » (6 ) pensar en las musaranas (hacer castillos en el aire) (7 ) ahorrar como una arraca (guardar como un usurero)* (8 ) no tienes madera para (no estas hecho para) (2) Planned Reading Behavioral Objective: Given four idiomatic expressions, 95% of the students will write a complete Spanish sentence for each with 100% accuracy. (a) Presentation of meaning la ultima huelga de metalurgicas (el ultimo paro de los que trabajan el metal) la, gente se sindica a toda prisa (la gente se une rapidamente) ayuda mutua (solidaridad, amistad) no eres mas que un triste hortera (no eres mas que un pobre sirviente) Tape recording Students will first listen to the selected passage on tape. (b) Exposition of the selected passage iComo se presenta el sindicato? Urbano: Muchas cosas! Desde la ultima huelga de metalurgicos la gente se sindica a toda prisa. A ver cuando nos imitais los dependientes...Fernando, eres un desgraciado. Y lo peor es que no lo sabes. Los pobres diablos como nosotros nunca lograremos mejorar de vida sin la ayuda mutua. Y eso es el sindicato, ,Solidaridad! Esa es nuestra palabra. Y seria la yuya si te dieses cuenta de que no eres mas que un triste hortera.rlPero * '11 como te crees un marques!'' (c) Question Period (1)lPor que" la gente se sindica a toda prisa?c’Cual es la razon? (2) (3)<-En que condicion de vida estan Urbano Y Fernando? (d) Presentation of meaning Behavioral Objective: Given 4 idiomatic expressions, 90% of the students will write a short composition employing the 4 expressions with 100% accuracy. dejar toda esta sordidez (dejar toda esta pobreza) a lo,s demas que los parta un rayo (no me importan los demas) / / no teneis arranque para subir solos (no teneis iniciativa o corage...) ha* lo que te de la gana (haz lo que quieras) (e) Exposition of the selected passage Teacher :«lComo se presenta el individualismo? Fernando: No me creo nada. Solo quiero subir,eComprendes? Subir! Y dejar toda esta sordidez en que vivimos. Urbano: Y a los demas que los parta un rayo. FernandouQue^ tengo yo que ver con los demas? Nadie hace nada por nadie. Y vosotros os meteis en el sindicato ✓ porque no teneis arranque para subir solos. Pero ese no es camino para mi. Yo se^ que puedo subir y subire^solo. 186 Urbano: Se puede uno reir? Fernando: haz lo que te de^ la gana. Urbano: Escucha, papanatas. Para subir solo, como dices, tendrias que trabajar todos los dfas diez horas en la papelena; no podnas faltar nunca, como has hecho hoy... (f) Question Period (1)lQuien defiende el individualismo? Por que? / (2)]Quienes se meten en el sindicato? / C3)^Que necesita Fernando para subir solo en la vida? Cg) Presentation of meaning pensar en las musaranas (hacer castillos en el aire) ahorrar como una urraca (guardar como un usurero o tacano) / r no tienes tu madera para esa vida (no estas hecho para esa vida) (h) Exposition of selected passage Teacher:iQue^clase de porvenir se le presenta a Fernando? Urbano: Porque lo dice tu cara/simple! Y dejame continuar. No podrfas tumbarte a hacer versitos ni a pensar en las musaranas; buscarias trabajos particulares para redondear el presupuesto y te acostarias a las tres de la manana contento de ahorrar sueno y dinero. Porque tendrias que ahorrar, ahorrar como una urraca; quitandolo de la comida, del vestido, del tabaco... Y cuando llevases un monton de anos haciendo eso, y ensayando negocios y buscando caminos, acabarfas por verte solicitando cualquier miserable empleo para no morirte de hambre...No tienes tu madera para esa vida. 187 Fernando: Ya lo veremos. Desde manana mismo... (i) Question Period (1) IQue no podri^a hacer ya Fernando?c'Por que? 4 (2 ) cComo tendria que ahorrar para vivir? (3)tPorque< Fernando no tiene madera para esa clase de vida? (j) Presentation of meaning porque eres un gandul (porque eres un vago) te emplazo para dentro de diez anos (te doy un tiempo de 10 anos) (k) Exposition of selected passage IA quien pone Fernando por testigo? Urbano: Siempre es desde manana.^Por que"" no lo has hecho desde ayer, o desde hace un mes? Porque no puedes. Porque eres un sonador. ;Y un gandul! (Fernando le mira livido, conteniendose, y hace un movimiento para macharse.) iEspera, hombre! No te enfades. Todo esto te lo digo como un amigo. (Pausa) Fernando: (mas calmado y levemente despreciativo) *.*Sabes lo que te digo? Que el tiempo lo dira" todo. Y que to emplazo. (Urbano le mira). Si", te emplazo para dentro de ...diez anos, por ejemplo. Veremos para entonces quien ha llegado mas lejos; si tu con tu sindicato o yo con mis proyectos.1i* (1) Question Period (1)cPor que^ se enfada Fernando? (2)cQue^ clase de emplazo le hace Fernando a Urbano? 188 (3)iCuarles son los proyectos de Fernando? (3) Summary Behavioral Objective: Given 8 vocabulary items, 100% of the students will write Spanish synonyms to these words with 100% accuracy. (a) Meaning (1) Have students write out synonyms for the following words: huelga- sindicato- papanatas- solidaridad- musaranas- urraca- gandul- sordidez. (2) Pupils are to consult the list of selected idioms; original sentences are to be elected for oral presentation. (b) Aural Comprehension (The teacher has four mimeographed statements which are read aloud; the students selects the number corresponding to the correct statement. On the teacher's script, the asterisk points out the correct response.) *(1) Las leyes laborales prohiben la huelga en Espana. (2) El Gobierno esta/ a favor de las huelgas. (3) Fernando y Urbano se oponen a la huelga. (4) La huelga se opone a toda clase de union. (1) Huelga es sinonimo de individualismo. *(2) Sindicato es lo mismo que solidaridad. (3) Individualismo es sinonimo de solidaridad. (4) Hortera es lo mismo que marques. 189 *(1) Fernando quiere subir solo. (2) Urbana quiere subir solo. (3) Fernando y Urbano no tienen arranque. (4) Fernando difiende el sindicato. (1) Urbano es un sonador y un gandul. (2) Urbano no tiene madera para luchar con la vida. (3) Fernando trabaja para no morirse de hambre. *(4) Fernando es un sorTador y un gandul. (c) Aural Comprehension (The pupil has before him four statements in each item, without seeing the fill-in question that is read aloud by the teacher. After hearing the question read, the pupil checks the correct answer. The asterisk on the teacher's script points out the correct response.) ^.Que^ es el sindicato? ^1) FI derecho a huelga. (2) El individualismo. (3) Las leyes laborales. *(4) La ayuda mutua. 4Que plazo le da Fernando a Urbano? (1) Por un tiempo de cinco anos. (2) Por corto tiempo. *(3) Para dentro de diez anos. (4) Por un gran plazo de tiempo. 190 ifiue hacen Urbano y Fernando cuando hablan? (1) Se pasean en la escalera. (2) Se pelean (3) Estan sentados en la escalera. *(4) Fuman un cigarrillo. ^Uonde trabaja Fernando? (1) En una fabrica. (2) En una oficina. *(3) En una papeleria. (4) En el sindicato. (d) Discussion . . / ( 1) 2.Como viste Urbano? (2)cEn que^ se interesa Urbano? / . / / (3)c-Segun Urbano que es Fernando? (4)e-Son enemigos Urbano y Fernando? (5)t-A que^ tiene miedo Fernando? (e) Visuals (1) Show visuals 7, 8 , 9, 10. (2) Then show visuals without plot development. (3) Finally show them to evoke students personal description of the scene. 191 EPISODIC) III LA ESCALERA DE BUERO A. Background Information El simbolo principal de la pieza es la escalera, que representa la vida que los esta^derrontando a todos. Puede ✓ ✓ verse su caracter simbolico en estas palabras de Fernando a Urbano: f S f ^ "Ayer mismo/eramos tu y yo dos cnos que veniamos a fumar aqui, a escondidas, los primeros pitillos... iY hace ya diez anos! Hemos crecido sin darnos cuenta, subiendo y bajando la escalera, rodeado siempre de los padres, que no nos entienden; de vecinos que murmuran de nosotros y de quienes murmuramos... Buscando mil recursos y soportando humillaciones para poder pagar la casa, la luz... y las patatas. Y maffana, o dentro de diez afTos (jue pueden pasar como un dia, como han pasado estos ultimos .. .isena terrible seguir asi! Subiendo y bajando la escalera, una escalera que no conduce a ningun sitio..."1? The important role of time in this tragedy is emphasized by the setting, the stairway where the tenants meet. As the years pass this stairway remains practically the same, "pobre y sucia," reminding the tenants of their hopes and failures, of the changelessness of their lives. It symbolizes the "vida rutinaria y mediocre"^ which remains their fate. del Moyo has aptly described this tragedy, which spans thirty years, as the "dramatizacion del hombre entero... 192 de hombres completos, clavados en su existencia," stressing the fact that Buero presents "la totalidad" of their existence, rather than a simple moment of it. 4 The "sentido tragico" of the tragedy thus comes from la quietud...de la vida, la senalada quietud de la escalera, la identidad de los tramos del existir, la filiacion del hombre, su ahijaraiento, su anclaje en la existencia... Pues la vida, si lo es, si es existencia, tiejie echada su ancla en el puerto de lo tragico..^.Y los hombres de Buero, porque lo son, estan anclados en aquella escalera de casa de vecinos...17 En la Navidad del 71 esta escritora visito*' a Buero Vallejo en su antigua casa-apartamento del viejo Madrid. El barrio, los edificios, los escaleras, le trajeron a la ✓ mente las escenas de su drama. El edificio esta ya modernizado con ascensor y todo. Se quiso subir a pie, peldano tras peldano e ir recordando a Paca, a Urbano, a Fernando y Carmina...Buero vive todavia alii, anclado en esa escalera de casa de vecinos. La escalera es inmovil; es decir, las condiciones de la vida cambian poco o nada, pero se puede subir a bajar, tener exito o fracasar, segun la voluntad y el caracter del individuo. Y Buero Vallejo / tuvo exito y triunfo. Historia de una escalera, Premio Lope de Vega del Ayuntamiento de Madrid (1949), revelo^a un dramaturgo, el mas ambicioso de los actuales cultivadores del teatro en Espana. Behavioral Objective: Given 4 themes, 95% of the students will write a complete Spanish sentence for each of the following themes: 193 (a) S^robolo de la escalera (b) La escalera como personaje (c) La escalera de Buero (d) La tragedia de la vida B. Language Development (When possible, teacher will demonstrate by using gestures for the following vocabulary and idomatic expressions.) (1) Meaning Behavioral Objective: Given orally 8 vocabulary items and idiomatic expressions, Q5% of the students with 100^1 accuracy will demonstrate the correct gestures corresponding to at least 10 of the items. (a) Vocabulary (1) crio(nino) (2) pitillo(cigarro) (3) murmurar(hablar mal) (4) trampa(engano) (5) contador(marcador de luz) (6) aborrecer(odiar) (7) tramo(descanso) (8) peldano(parte de la escalera) (9) anclado(fijado) (10) soportar(aguantar) (*) Idioms (1) Ayer raismo(no hace raucho) (2) ^ramos dos cr!os(eramos dos ninos) 194 (3) fumar los primeros pitillos(fumar por vez primera cigarros) (4) vecinos que murmuran(vecinos que hablan mal) , (5) soportando humillaciones(aguantando humillaciones) (6 ) haciendo trarapas al contador(alterando el marcador de la luz) (7) aborreciendo el trabajo(odiando el trabajo) (2) Planned Reading Behavioral Objective: Given 4 idiomatic expressions, 95% of the students will write a complete Spanish sentence for each with 100% accuracy. (a) Presentation of meaning ayer mismo eramos tu y yo dos crios(no hace mucho tu y yo eramos dos ninos) fumar los primeros pitillos(fumar por vez primera cigarros) soportando humillaciones para poder pagar la casa (aguantando humillaciones para poder pagar la renta) haciendo trampas al contador(haciendo engano al marcador de la luz) Tape recording Students will listen first to the selected passage on tape. (b) Exposition of the selected passage £Cual es el s^mbolo de la escalera? Pernando: No es eso, Urbano. Es^que le tengo miedo al tiempo! Es lo que mas me hace sufrir. Ver como pasan los dfas, y los anos...sin que nada carabie.^, Ayer mismo eramos ttf y yo dos crios que veniamos a fumar aquf, a escondidas, los primeros pitillos..JY hace ya diez anos! Hemos crecido sin darnos cuenta, subiendo y 195 bajando la escalera, rodeados siempre de los padres, que no nos entienden; de vecinos que murrauran de nosotros y de quienes murmuramos... Buscando mil recursos y soportando humillaciones para poder pagar la casa, la luz... , y las patatas.(Pausa) Y manana, o deptro de diez anos que pueden pasar como, un dfa, como han pasado estos ifltimos.../seria terrible seguir asi! Subiendo y bajando la ^scalera, una escalera que no conduce a ningun sitio; haciendo trampas al con^ador, aborreciendo el trabajo..., perdiendo dia tras dia...(Pausa.) Por eso es preciso cortar por lo sano. (c) Question Period (1) (P^Que^ clase de problemas tienen Fernando y Urbano con sus padres y con los vecinos? (3 )iQue^clase de vida simboliza la escalera para ellos? ( c) Summary Behavioral Objective: Given 6 vocabulary items, 100% of the students will give orally Spanish synonyms to these words with 100% accuracy. (a) Meaning (1) Have students orally give synonyms for the following words: crio- pitillo-trampa-aborrecer- anclado- soportar. (2) Pupils are to consult the list of selected idioms; original sentences are to be elected for oral presentation. (b) Aural Comprehension (The pupil has before him four statements in each item. The pupil does not see the fill-in question that is read aloud by the teacher. After hearing the question read 196 twice, the pupil checks the correct answer. The asterisk on the teacher's script points out the correct response.) ^Donde trabaja Urbano? * / (1) en una papeleria (2) en una sastreria *(3) en una fabrica (4) no trabaja i_En que7^ trabaja Fernando? *( 1) en una papeleri^a (2 ) en una satreria (3) en una fabrica (4) no trabaja ^Que’’ necesita Fernando para tener exito, segun Urbano? ( 1) Trabajar *(2) Enamorarse (3) Viajar (4) Escribir Qu £ sfmbolo tiene la escalera aqui? (1) la escalera simboliza la casa (2 ) la escalera simboliza los sufrimientos (3 ) la escalera simboliza a los personajes *(4) la escalera simboliza la vida (d) Discussion (1)i.Por que^ escogicT el autor el simbolo de la escalera? ( 2 ) iQue clase de personas rodean a los jovenes del drama? (3)«Por que^ dice Fernando que la escalera no conduce a ningun sitio? 197 (4)*Qu/ hacen Urbano y Fernando raientras hablan? (5)«.Ha cambiado su modo de vivir desde hace diez anos? (d) Visuals # (1) Show visuals 1, 2, 3, 17, 23. (2) Than show visuals without plot development. (3) Finally show them to evoke students* personal description of the scene. 198 EPISODIO IV EL CHULO Teacher: El chulo es cierto individuo del pueblo bajo de Madrid que se distingue por cierta afectacio^ y guapeza en el trajo y en el modo de conducirse. El chulo era tambien el que asistiTa o ayudaba en el matadero al encierro de las reses majores, y el que en las fiestas de toros asistia a los lidiadores. En nuestro caso, el chulo es el que corrompe a las / mujeres y las lleva a la prostitucion. El chulo no presume de senorito, al contrario, lo desprecia. El chulo es el guapo, el bully, el pimp esencialmente. Es gente de actividad muy popular y baja. Idioms (1) anda para adentro(entra) (2) chulo indecente(mal joven) (3) lanzarlas a la vida(hacerles vivir una vida inmoral) (4.) me voy a liar a mamporros(voy a comenzar a dar golpes) Tape recording Students will first listen to the selected passage on tape. 199 Exposition of the selected passage Teacher: iQue^ clase de hombre es el chulo? Students: (Oral reading) Paca:/Anda para adentro! Y tu, chulo indecente! Si te vuelvo a ver con me nina te abro la cabeza de un sartenazo? /Como me llamo Paca! Pepe: Ya sera menos. Paca:/Aire! /Aire! A escupir a la calle! Urbano: No tengas prisa. Pepe: z'Muy bien! /Dos contra uno! Fernando: No, no, Pepe. (con sonrisa servil) Yo no intervengo; no es asunto mfo. Urbano: no. Es mfo. / Pepe: Bueno, suelta. *Que quieres? Urbano: PecjLr$q nada mas que si la tonta de mi hermana no te conoce, yo a{, Que si ella no quiere creer que has es^tado viviendo de la Luisa y de ^.a Pili despues de lanzarlas a la vida, yo se que se cierto. Y que como vuelva a verte con Rosa,;te juro por tu madre que te tiro por el hueco de la escalera! Puedes largarte. Pepe: Sera si quiero./Estos mocosos! (Alisandose la manga) jQue no levantan dos palmosdel suelo y quieren medirse con hombres! Si no mirara... / / Fernando: Dejalo, Pepe. No te...alteres. Mejor sera que te marches. P e p e : s{, seraf mejor. El mocoso indecente, que cree que me va a meter miedo a mi...Un dia me voy a liar a mamporros y le demostrare'' lo que es un h o m b r e . . . '9 (c) Question Period (1)^Por que no quiere Urbano que Pepe sea novio de Rosa? (2)^Como trata Paca a Pepe? (3) (a ) Vocabulary (1) peldanos(escalones) (2 ) lmpetu(fuerza) (3) largarte(marcharse o salir) (4) mocososCninos) (5) palmos(cuartas) (6) alteres(enfadar8e) (7) liar(armar) (8 ) mamporros(golpes o porrazos) 201 (b) Idioms (1) A escupir a la calle(fuera de aqu:0 (2) No es asunto mio(no me importa) (3) anda para adentro(entra en casa) (4) chulo indecente(joven mal portado) (5) lanzarlas a la vida(hacerlas vivir una vida inmoral) (6) no levantan dos palmos(no son sino unos ninos) (7) medirse con hombres(querer ser ya unos hombres) (8 ) liar a mamporros(dar golpes o armar una pelea) Meaning (1) Have students write out synonyms for the following words: mocosa-liar-impetu-mamporro-largarse- alterarse (2) Pupils are to consult the list of selected idioms; orginal sentences are to be elected for oral presentation. Aural Comprehension (The teacher reads aloud 4 statements in each item. The students select the number corresponding to the correct statement. On the teacher's script, the esteriak points out the correct response.) (1) Chulo es un tlftulo nobleo. *(2) El chulo es un tipo de tenorio. (3) El chulo lleva una vida ordenada. (4) Los chulos son hombres serios. 202 (1) Pepe ha vivido de su dinero. (2) Luisa y Pili haul vivido a costa de Pepe. *(3) Pepe ha vivido a costa de Luisa y Pili. € (4) Pepe ha lanzado a la vida a Rosa. (c) Aural Comprehension (The pupil has before him four statements in each item. The pupil does not see the fill-in question that is read aloud by the teacher. After hearing the question read, the pupil checks the correct answer. The asterisk on the teacher's script points out the correct response.) /Quien es Pepe? *(1) Un mocoso indecente. (2) Un hombre. (3) El esposo de Rosa. (4) El hermano de Luisa y Pili. tComo tratan Paca y Urbano a Pepe? (1) Muy bien (2) Se pelean (3) Lo tiran por el hueco de la escalera. *(4) Lo tiran a la calle. (d) L I 8cussion (1) EPISODIO V LA JUBILACION A. Background Information Como en nuestro pa/s, tambien en Espana, cuando se llega a tener una determinada edad los trabajadores dejan su trabajo recibiendo a cambio una pension para su sostenimiento economico. Este retiro del trabajo se la llama comunmente "la jubilacion." El dinero que se recibe se le llama "el retiro": "Y su le dieran un buen retiro... Pero es una miseria, hijo; una miseria." 22 Ordinariamente los trabajadores espanoles se jubilan entre los sesenta o sesenta y cinco anos de edad. ^ / Como en Espana no existe la union de trabajadores en los transportes publicos debido a que estos son propiedad del Gobierno, los jubilados reciben una pension o retiro insignificante. Behavioral Objective: Given 2 themes, 95% of the students will write a 100 word composition in Spanish for one of the following themes: (a)dPor que^ esta^ triste Gregorio? (b)tHay injusticia en la jubilacion? B. Language Development (When possible teacher will demonstrate by using gestures for the following vocabulary and idiomatic expressions). 205 1. Meaning Behavioral Objective: Given orally 5 vocabulary items and 5 idiomatic expressions, 85% of the students with 100% accuracy will orally present a dialogue utilizing at least 5 of the following items: (a) Vocabulary (1) aproveche(que le siente bien) (2) disgustado(enfadado) (3) retiro( jubilaciolri o pensio'n) (4) miseria(muy poco) (5) encarrilar(corregir o enderezar) (b) Idioms (1) no hay quien lo encarrile(nadie lo puede corregir) (2) un buen retiro(un buen dinero) (3) poner en la calle(sacarlo del trabajo) (4) dejar los huesos(matarse trabajando) (5) lo retiran por la edad(le quitan el trabajo por viejo) 2. Planned Heading Behavioral Objective: Given four idiomatic expressions, 95% of the students will write a complete Spanish sentence for each with 100% accuracy. (a) Presentation of meaning (1) no hay quien lo encarrile(nadie lo puede corregir) (2) si luego lo ponen en la calle(si despues lo sacan del trabajo) (3) como lo retiran por la edad(porque le quitan del trabajo por viejo) 206 (4 ) se deje los huesos conduciendo un tranvia(se mate trabajando manejando un tranvia) Tape recording Students will listen to the selected passage on tape. (b) Espositlon of the selected passage Te a c h e ril Es incompatible la edad con el trabajo? Fernando: Gracias, que aproveche. ^'Y el senor Gregorio? Generosa: Muy disgustado, hijo. Como lo retiran por la edad...Y es lo que el diceitl.De que'sirve que un hombre se deje los huesos conduciendo un tranvia durante cincuenta anos, si luego lo ponen en la calle? Y si le dieran un buen retiro...Pero es una miseria, hijo; una miseria. / Y a mi Pepe no hav c|uien lo encarrile! (Pausa) fQue vida! No se como vamos a salir adelante. 0 (c) Question Period . / / / (1)iDe que esta disgustado Gregorio?cPor que? . . / / (2)LCuales son las dos cosas que mas preocupan a Generosa? (5)^Es razonable la pension que recibe Gregorio en comparacion con sus anos de servicio en la Compania? 3. Summary Behavioral Objective: Given 5 vocabulary items, 10096 of the students will orally give Spanish synonyms to these words with 10096 accuracy. (a) Meaning (1) Have students write out synonyms for the following words: retiro-disgustado-miseria-encarrilar- aproveche. (2) Pupils are to consult the list of selected idioms; original sentences are to be elected for oral presentation. 207 (b) Aural Comprehension (The teacher has 4 mimiographed statements in each item which are read aloud; the students select the number corresponding to the correct statement. On the teacher's script, the asterisk points out the correct response.) (1) El retiro voluntario se llama jubilacion. (2) El retiro es una pension insignificante. (3) El retiro es de los trabajadores jubilados. *(4) El retiro por la edad se llama jubilacion. *(1) La pension que recibe Gregorio no es razonable. (2) La pension que recibe Gregorio es razonable. (3) Generosa no se queja de la pension de Gregorio. (4) Gregorio no se queja de su pension. (c) Aural Comprehension (The pupil has before him four statements in each item. The pupil does not see the fill-in question that is read aloud by the teacher. After hearing the question read, the pupil checks the correct answer. The asterisk on the teacher's script points out the correct response.) <1 Quien esta disgustado? (1) Urbano (2 ) Fernando *(3) Gregorio (4) Pepe 208 s / (d) Discussion (1)^Quien es el senor Gregorio? (2)iPor que^esta triste Gregorio? (3)^Es la jubilacion una cosa necesaria? (4)-Cuales son las dos preocupaciones de Generosa? (e) Visuals (1) Show visuals (2) Then show visuals without plot development. (3) Finally show them to evoke students' personal description of the scene. 209 EPISODIC) VI PERNANDO Y ELVIRA A. Background Information / El ultimo piso de una modesta casa de vecinos. Todos los principales personages viven ahf^, en cuatro viviendas distintas. En una vive dona Asuncion con su hijo Fernando, muchacho atractivo, sonador, que se siente desplazado en aquel ambiente de penuria. Fernando es joven, guapo, inteligente, poeta y esta enamorado de Carmina, otra vecina que le corresponde. En otro de los cuartos vive Don Manuel con su hija Elvira, la unica familia acomodada del piso. Elvira esta^ locamente enamorada de Fernando, y hace que su padre ayude a la familia de este y ofrezca empleo a Fernando. Urbano, amigo de Fernando, tambie'n esta'enamorado de Carmina. la hermana de Urbano, Rosa, esta enamorada de Pepe, "un granuja achulado." Fernando y Urbano hablan de sus proyectos; este/ cree que en la solidaridad de los sindicatos encontraran un buen porvenir; Fernando dice que / con sus propios esfuerzos llegara a rico. Pasa Pepe, y Urbano amenaza tirarlo por el hueco de la escalera. Fernando dice que Urbano habla mucho, pero no hace nada. A solas Fernando y Elvira, ella esta diBpuesta a declarar 210 / p A su amor..."Fernando, perdoname,/por Dios! Es que..."^1 Behavioral Objective: Given 3 themes, 95% of the students will orally give a 2-minute conversation in 4 Spanish for 1 of the following themes: (a) Contraste entre Fernando y Elvira (b) La verguenza del favor (c) La soberbia de clases sociales B . Language Development (When possible teacher will demonstrate by using gestures for the following vocabulary and idiomatic expressions.) Vocabulary (1)escoger(seleccionar) (2) procurar(tratar) (3) cotizar(valer) (4) ordinariez(vulgaridad) (5) reprimir(controlar) (6) alterado(nervioso-descontrolado) Idioms (1) no j>odras contar conmigo(no estes segura de que ire a buscar el libro contigo) (2) que caro te cotizas(actuas como si valieras mucho) (3) como te atreves a echarme en cara(como tienes el valor de reprocharme) Tape recording Students will listen to the selected passage on tape. Exposition of the selected passage Teacher:iQuien es el humillado? Students: (Oral reading) 211 Elvira:^Podrias acompanarme hoy a comprar un libro? Tengo que hacer un regalo y he pensado que tu me ayudarias muy bien a escoger. ✓ ✓ Fernando: No se si podre. ' ✓ ^ Elvira: Procuralo, por favor. Sin ti no sabre hacerlo. Y tengo que darlo manana. Fernando: A pesar de eso no puedo prometerte nada. Mejor dicho: casi seguro que no podras contar conmigo. Elvira:/Que caro te cotizas! Mirame un poco, por lo menos. No creo que cueste mucho trabajo mirarme... iEh? Fernando: Que? Elvira: Pero.^no me escuchabas? 0 es que no quieres enterarte de lo que te digo? Fernando: Defame en paz. Elvira:/Ah! Qup poco te cuesta humillar a los demas! Es muy facil...y muy cruel humillar a los demas! Te aprovechas de que te estiman demasiado para devolverte la humillacion...pero podrfa hacerse... Fernando:/Explica eso! / Elvira: Es muy facil presumij* y despreciar a quien nos quiere, a quien esta dispuesto, a ayudarnos...A quien nos ayuda ya...Es muy facil olvidar esas ayudas... Fernando:cComo te atreves a echarme en cara tu propia ordinariez? No puedo sufrirte!/Vete! / Elvira: Fernando, perdoname,/por Dios! Es que... Fernando:/Vete! «No puedo soportarte! No puedo resistir vuestros favores ni vuestra estupidez. /Vete! (Ella ha ido retrocediendo muy afectada. Se entra, llorosa y sin poder reprimir apenas sus nervios. Fernando, muy alterado tambien, saca un ^pigarillo. Al tiempo de tirar la cerilla:) ;Que verguenza! (c) Question Period (1)&Cuales son las relaciones entre Fernando y Elvira? (2)2.Que/ favor le echa en cara Elvira a Fernando? 212 (3KQuien salio mas humillado de los dos? (4) Behavioral Objective: Given 6 vocabulary items, 100!# of the students will write Spanish synonyms to these words with 100# accuracy. (a) Meaning (1) Have the students write out synonyms for the following words: alterado-soportar-ordinario- cotizar-escoger-procurar. (2) Pupils are to consult the list of selected idioms; original sentences are to be elected for oral presentation. (b) Aural Comprehension (The teacher has 4 items (4 statements each) aloud; the students select the number corresponding to the correct statements. On the teacher*s script, the asterisk points out the correct response.) ^Quien esta^ enamorado de Carmina? (1) Fernando (2) Urbano *(3) Fernando y Urbano (4) Nadie (1) A Urbano *(2) A Fernando (3) A Pepe 213 (4) A nadle (1) Elvira trata de ayudar a Fernando. *(2) Elvira trata de humillar a Fernando. (3) Fernando ama a Elvira. (4) Fernando perdona a Elvira. (1) Dos familias viven en el ultimo piso. (2) Solamente tree familias viven en el ultimo piso. *(3) Los principales personajes viven en cuatro viviendas distintas. (4) Todos los personages viven juntos. (d) Discussion (1)oComo trata don Manuel a Fernando? (2)cSe interesa Elvira en Fernando? (3) (4)cCual fue el motivo de esta entrevista? (e) Visuals (1) Show visuals 5f 6, 12. (2) Then show visuals without plot development. (3) Finally show them to evoke students’ personal description of the scene. 4 EPISODIC) VII EL CHISME A. Background Information Teacher: El hablar del projimo y^de los seme jantes o vecinos es el placer mas grato para toda persona. En las tertulias, en los^casinos, en el tranvia, en el metro, en el autobus, en la casa y enfrente de la television todos ejercitan en formas elocuentes el maravilloso arte de la palabra con el placer de la conversacion. Unamuno dijo en su Abel Sanchez que^el pecado capital o vicio capital de los espanoles es la "envidia." El chisme es el resulo tado lo'glco y natural de la envidia. Este chisspe es mas corriente en la sociedad media y mas bien baja, en donde a f^lta de medios de entretenimiento se comen al projimo con mil habladurias. En este sentido, las mujeres son las propagadoras y difundidoras de esta enfermedad social. Asi, cjiando Generosa reprende ^ Paca por sus palabras esta replica: "Y para que sirve la boca...pues para usarla." ^ Eticamente hablsuido el chisme es la murmuracion.. "es la sal de la vida1' como dice Paca Behavioral Objective: Given 3 themes, 95% of the students will write 3 complete Spanish sentences for each of the following themes: (a) Contraste entre Paca y Generosa. (b) El pecado de la murmuracion. (c) Motivo principal del chisme. 215 B . Language Development (When possible teacher will demonstrate by using gestures for the following vocabulary and idiomatic expressions.) 1 * Meaning; Behavioral Objective: Given orally 8 vocabulary items and 4 idiomatic expressions, 85% of the students with 100% accuracy will demonstrate the correct gestures corresponding to at least 4 items. (a) Vocabulary (1) murmurar(chismear) (2) provocar(insinuar) (3) descaradamente(sin verguenza) (4) censurar(reprobar) (5) sueldo(salario) (6) pescar(agarrar) (7) tactica(mana) (8) cuartos(dinero) (b) Idioms (1) sal de la vida(la gracia de vivir) (2) tragarse la lengua(callarse) (3) no da golpe(no hace nada bien) (4) se les va todo(lo gastan todo) 2 . Planned Reading Behavioral Objective: Given 4 idiomatic expressions, 95% of the students will write a complete Spanish sentence for each with 100% accuracy. 216 (a) Presentation of meaning (1) si es la sal de la vida(si es la gracia de vivir) (2 ) ya podia haberse tragado la lengua(ya podifa haberse callado) (3) un hijo que no da golpe(un hijo que no le sale nada bien) (4) se les va todo(lo gastan todo) Tape recording Students will listen to the selected passage on tape. (b) Exposition of the selected passage tQue^ nos descubre el chisme? Generosa:;El Sefior me perdone! Aun murmuro demasiado. Paca: - Si es la sal de la vida! A propo'sitio: sabe uste^L que don Manuel le ha pagado la luz a dona Asuncion? Generosa: Ya me lo ha dicho Trini. Paca: Vaya con £rini! i Ya podia haberse tragado la lengua! Y, para mi, que fue Elvirita quien se lo pidio^a su p a d r e . Generosa: No es la primera vez que les hacen favores de e s o s . ✓ ^ Paca: Pero quien lo provoco en realidad, fue dona A s u n c i o n . Genero sa :iElla? Paca:/Pues claro! "Lo siento, cobrador, no puedo ahora. /Buenos dfas, don Manuel! /Dios mfo, cobrador, sino puedo! Hola, Elvirita, /que' guapa estas!" A ver si no lo estaba pidiendo descaradamente! Generosa: Es usted muy mal pensada. Paca:«^Mal pensada? Generosa:/Pobre chico! JPor que? Paca: Porque no va nunca. Para m ( que ese lo que busca es pescar a Elvirita...y los cuartos de su padre. GenerosaicNo e e r a al reves? Paca:iQue va! Es que ese nino sabe mucha tactica, y se hace querer. 'Cpmo es tan guapo! Porque lo es; eso no hay que negarselo. ^ (c) Question Period (1)^De/ \ ‘ que* se arrepiente Generosa? (2)<^Cual es el pun to principal del chisme? (3KQue^ es lo que se propone Fernando segun Paca? 3. Summary Behavioral Objective: Given 6 vocabulary items, 100% of the students will orally give Spanish synonyms to these words with 100% accuracy. (a) Meaning (1) Have students give orally synonyms for the following words: murmurar-cuartos-pescar-sueldo- censurar-descaro. (2) Pupils are to consult the list of selected idioms; original sentences are to be elected for oral presentation. (b) Aural Comprehension (The pupil has before him A statements in each item. The pupil does not see the fill-in question that is read aloud by the teacher. After hearing the question read, the pupil checks the correct answer. The asterisk on the teacher's script points out the correct response.) 218 (1) El chisme es mas corriente en la alta sociedad. *(2) El chisme es mas corriente en la baja y media sociedad. (3) El chisme se da en todas las capas sociales. 1 (4) El chisme no se da en la sociedad. (1) Don Manuel es el motivo del chisme. *(2) Dona Asuncion es el motivo principal del chisme. (3) Fernando es el motivo del chisme. (4) Elvira es el centro del chisme. ICual es la causa del chisme? (1) El amor entre Elvira y Fernando. (2) La pobreza de dona Asuncion. (3) -El dinero de don Manuel. *(4) La cuenta de la luz. / / / tEn donde esta la atraccion de Fernando? (1) En ser muy listo. / (2) En usar tactica. *(3) En ser guapo. (4) En su personalidad. (d) Discussion y (1)cDe que hablan las dos mujeres? (2)LDe que vive dona Asuncion? (3)-iComo es Fernando, segun Paca? 219 (e) Visuals (1) Show visuals 6, 7. (2) Then show visuals without plot development. f (3) Finally show them to evoke students personal description of the scene. 220 EPIS0SI0 VIII RECUERDOS DEL PASADO A. Background Information La situacion de Historia de una escalera en Madrid / colabora, sin dida, en la concrecion de personages y acciones, pero no reduce a "madrilenismo" los eleraentos de caracterizacion. Los personajes pueden tranquilamente mudar de piso, cambiar de barrio y aun eraigrar al extranjero, que llevaran los dramas de su pasado consigo. Fernando y Carmina han arrastrado su desventura durante tantos anos, incapaces de felicidad, acogotados por la pobreza, sin embargo ahora, en el presente son felices, aunque hayan sido embargo ahora, en el presente son felices, aunque hayan sido infelices a causa de su caracter. El recuerdo de los momentos felices de la ninez les hace revivir sue esperanzas y sus ilusiones. Behavioral Objective: Given 4 themes, 95% of the students will write a 100-word composition in Spanish sentences on one of the following themes: / \ / ' (a) Union o relacion de la escalera con el pasado. (b) Las relaciones de los novios. (c) La necesidad de la mujer amorosa. (d) El amor y el dinero. 221 B. Language Development (When possible teacher will demonstrate by using gestures for the following vocabulary and idiomatic expressions.) 1 * Meaning Behavioral Objective: Given orally 5 vocabulary items and idiomatic expressions, 8596 of the students with 100% accuracy will demonstrate the correct gestures corresponding to at least 4 items. (a) Vocabulary (1) tutear(tratar de tu) (2) escalon(peldano o grada) (3) sordidez(miseria) (4) burla(risa) (5) detestar(odiar) (b) Idioms (1) entonces me tuteabas(antes me tratabas de tu) (2) te lo juro(te lo prometo) (3) me ahoga la ordinariez(me desespera la miseria) (4) cazarme con su dinero(atraparme con su dinero) (5) no la puedo ver(la detesto) 2. Planned Reading Behavioral Objective: Given 5 idiomatic expressions, 95% of the students will write a complete Spanish sentence for each with 100% accuracy. (a) Presentation of meaning cuando eramos chicos nos tuteabamos(cuando eramos ninos nos tratdLbamos mda familiarmente) te lo juro(te lo prometo) me ahoga la ordinariez(me molesta la mlseria o pobreza) cazarme con su dinero(agarrarme o atraparme con su dinero) no la puedo ver(la detesto o la odlo) Tape recording Students will listen to the selected passage on tape, (b) Exposition of the selected passage *Cuaies son las relaciones entre Fernando y Carmina? / S ' Fernando: Cuando eramos chicas nos tuteabamos.. «Tor que no me tuteas ahora? ^Ya no te aqerdas de aquel tiempo? Yo era tu nov^o y tu eras mi novia...^ Mi novia...Y nos sentabamos aqui, en ese escalon, cansados de jugar...a seguir jugando a los novios. ✓ Carmina: Callese. s ' Fernando: Entonces me tuteabas y...me querias. Carmina: Era una nina...Ya no me acuerdo. Fernando: Eras una mujercita precioBa Y sigues siendolo. Y no puedes haber olvidado. i?o no he olvidadol Carmina, aquel tiempo es el unico recuerdo maravilloso que conservo, en medio de la sordidez en que vivimos. Y quena decirte.. .que siempre ...has sido para mi lo que eras antes. Carmina:/No te buries de m{l Fernando: /Te lo juro! ✓ Carmina: Carmina: No puedo creerte. Fernando: lo, no. Te lo suplico. No te marches. Es preciso que me oigas...y que me creas. Yen 223 (la lleva al primer peldano.) Como entonces. Carmina:/Si nos ven! / z' Fernando:/Que nos imports! Carmina, por favor, creeme. No puedo vivir sin ti. Estoy desesperado. Me ahoga la ordinariez que nos rodea. Necesito que me quieras y que me consueles. Si no me ayudas, no podre" salir adelante. Carmina: <_Por que^ no se lo pides a Elvira? Fernando:;Me quieres! Lo sabfa! ;Tenias que quererme! /Carmina! /Mi Carmina! Carmina:/Y Elvira? Fernando:/La detesto! Quiere cazarme con su dinero. /No la puedo ver! Carmina: ;Yo tampoco! Fernando: Ahora tendrfa que preguntarte yoey Urbano? Carmina: iEs un buen chico! Yo estoy por el! (Fernando se enfurruha.) /Tonto! 2--5~ (c) Question Period (1)cQu^ hacian Fernando y Carmina cuando eran chicos? (2)iComo trataba a Fernando Carmina? (3)cFue todo el tiempo fiel Fernando a Carmina? (4)/Que' le pide Fernando a Carmina? Por que^? (5)dPor que se habla de Elvira y Urbano? 3. Summary Behavioral Objective: Given 5 vocabulary items, 100% of the students will orally give Spanish synonyms to these words with 100% accuracy. (a) Meaning (1) Have students give orally synonyms for the following words: tutear-peldano-sordidez-burla- detestar. 224 (2) Pupils are to consult the list of selected idioms. Original sentences are to be elected for oral presentation. (b) Aural Comprehension (The pupil has before him 4 statements in each item. The pupil does not see the fill-in question that is read aloud by the teacher. After hearing the question read, the pupil checks the correct answer. The asterisk on the teacher's script points out the correct response.) oCual fue para Fernando y Carmina su mejor recuerdo? *(1) la ninez (2) la juventud (3) la sordidez (4) la escalera cQue^ le pide Fernando a Carmina? (1) dinero (2) amor (3) consuelo *(4) amor y consuelo c.Por que no beso Fernando a Carmina? (1) Le ten£a miedo *(2) La respetaba por ser su novia (3) No la amaba mucho (4) Amaba a otras mujeres. 225 ^Por que motivo .Fernando habla de Urbano y Carmina de Elvira? (1) Para comenzar una pelea (2) Por amor *(3) Para dar celoB (4) Por ser amigos de ellos (d) Discussion (1)cComo fue la ninez de Fernando y Carmina? / \ 7 ^ (2) (5) c-Como quiere cazar Elvira a Fernando? (4)cQue^ nos indica el "tuteo" en unas relaciones? (e) Visuals (1) Show visuals 13, 14. (2) Then show visuals without plot development. (3) Finally show them to evoke students' personal description of the scene. 226 EPISODIC) IX SUENOS YENIDERQS A. Background Information Elvira esta^ enamorada de Fernando, suena con casarse con el. Pero Fernando quiere a Carmina, otra vecina que le corresponde...Los dos jovenes, como la lechera de la / fabula hacen maravillosos proyectoe para el futuro; son jovenes y estan dispuestos a conqulstar el mundo, al menos esto es lo que cree Fernando. Al final de este primer acto hay un incidente que simboliza los suenos rotos, no alcanzados, de Carmina y Fernando, cuando este derrama la leche; "Se inclina para besarla y da un golpe con el pie a la lechera, que se derrama estrepitosamente. Temblorosos se levantan los dos y miran, asombrados, la gran mancha blanca en el sueio."26 In Historia de una escalera we see man torn between his limitations and his dreams of self-fulfillment. Fernando, tenant of a modest "casa de vecindad," long to "subir," to rise above the sordidness of his environment. Fernando, a young clerk, dreams of a brilliant engineering career. His hopes for happiness are seen in his conversation with Carmina, a young girl who lives in the 227 same apartment house. Behavioral Objective: Given2 themes, 95# of the students w ill write 5 complete Spanish sentences for each of the following themes: (a) El ideal de Fernando. (b) Cosas que preocupan a Fernando. B . Language Development (When possible teacher w ill demonstrate by using gestures for the following vocabulary and idiomatic espressions.) Vocabulary (1) chismorreo(habladurfa) (2) broncas(peleas) (3) angustia(pena-preocupacion) (4) escaso(poco) (5) abochornar(avergonzar) (6) bofetada(palmada en la cara) (7) abrumar(rodear o asediar) (8) carino(amor) Idioms (1) voy a trabajar de firme(voy a trabajar fuertemente) (2) acabar con la angustia del dinero escaso(acabar con la pena del poco dinero) (3) favores que abochornan como una befetada(favores que averguenzan como una palmada en l a cara) (4) Nos abruman con su torpezay su carino servil (nos ahogan con su falta de tactoy su amor que e s c la v iz a ) Tape recording Students w ill listen to the selected passage on tape. (b) Exposition of the selected passage IQue^ problemas p reocupan a F e r n a n d o ? Fernando: "Carmina, desde manana voy a trabajar de firme por ti. Quiero salir de esta pobreza, de este sucio ambiente. Salir y sacarte a tf. Dejar para siempre los chismorreos, las broncas entre vecinos...Acabar con la angustia del dinero escaso, de los favores que abochornan como una bofetada, de los padres que nos abruman con gy torpeza y su carino servil, irracional • • • (c) Question Period (1)0Cua'ies son las relaciones entre Fernando y Carmina? (2;^Que piensa hacer Fernando? dPor que? 3. Summary Behavioral Objective: Given 8 vocabulary items, 100% of the students will orally give Spanish synonyms to these words with 100% accuracy. (a) Meaning (1) Have students orally give synonyms for the following words: chismorreo-bronca-angustia- escaso-abochornar-bofetada-abrumar-carino. (2) Pupils are to consult the list of selected idioms original sentences are to be elected for oral presentation. (b) Aural Comprehension Behavioral Objective: Given 2 themes, 95% of the students will write a complete Spanish sentence for each of the following themes: (a) Los suenos de Fernando (b) El sfmbolo de la lechera B. Language Development (When possible teacher will demonstrate by using gestures for the following, vocabulary and idiomatic espressions.) 1. Meaning Behavioral Objective: Given orally 8 vocabulary items and 3 idiomatic expressions, 85# of the students with 100# accuracy will demonstrate the correct gestures corresponding to at least 5 items. (a) Vocabulary (1) delineante(trazador) (2) aparejador(montador) (3) solicitado(requerido o pedido) (4) mujercita(esposa) (5) pisito(apartamiento) (6) lechera(jarra) (7) derrama(esparce o vierte) (8) estrepitosamente(ruidosamente) (b) Idioms (1) acabar con todo esto(finalizar con todo) (2) una cosa no es incompatible(una cosa no quita a l a otra) (3) se derrama estrepitosamente(se vierte con mucho ruido) 2. Planned Reading Behavioral Objective: Given 4 idiomatic expressions, 93# of the students will write a complete Spanish sentence for each with 100# accuracy. 230 (a) Presentation of meaning Sere^ un aparejador solicitado por todos(sereX un montador pedido por todos) Acabar con todo esto(terminar con todo esto) Una cosa no es incompatible con la otra(una cosa no quita a la otra) La lechera se derrama estrepitosamente(la jarra de la leche se cae) Tape recording Students will listen to the selected passage on tape. (b) Exposition of the selected passage oCual es el simbolo de la lechera? Fernando: "Si, acabar con todo esto. ;Ayudame tu! Escucha: voy a estudiar mucho,^sabes? Mucho. Primero me hare delineante. ;Eso es /acil! En un ano... Como para entonces ya ganare bastante, estudiare'" para aparejador. Tres anos. /Centro de cuatro afios sere un aparejador solicitado por todos los arquitpctos! Ganare' mucho dinero. Por entonces tu seras ya mi mujercita, y viviremos en otro barrio, en un pisito limjjio y tranquilo. Yo segaire estudiando. cQuien sabe? Puede que para entonces me haga ingeniero. Y como una cosa no es incompatible con la otra, publicare' un l^bro de poesias, un libro que tendril mucho exito... Carmina: /Que'"felices seremos! Fernando: /Carmina! (Se inclina para besarla y da un golpe con el pie a la lechera, que se derrama estrepitosamente. Temblorosos, se levantan los dos y miran asombrados la gran mancha blanca en el suelo.)28 (c) Question Period (1);.Co/mo termina esta entrevista? (2)cQue piensa ser Fernando? (3)<-Cual es el simbolo de la leche derramada? 231 3. S u m m a r y Behavioral Objective: Given 6 vocabulary items, 100% of the students will orally give Spanish synonyms t& these words with 100% accuracy. (a) Meaning ( 1) Have students orally give synonyms for the following words: estrepitosamente-piso-derrama- mujer-derrama-delineante. (2) Pupils are to consult the list of selected idioms; original sentences are to be selected for oral presentation. (b) Aural Comprehension END OP ACT I 232 GENERAL REVIEW A. El drama y el dramaturgo (1) Segun la vida de Buero, ique' sentimientos personales » motlvan este drama? (2) iExpl/quese la estructura artfstica de su narracion! (3)/Indfqu ese su efectismo dramatico! B . La accion/ (1),'Anal£ cese la expos!cion! ( 2 ) IEstudiese el desarrollo! (3)»Anotese el punto culminante! (4)c Como se desarrolla el desenlace? C. Los personajes (1;('Tracese/ \ / un retrato de los personajes! ( 2 Como se caracterizan desde el punto de vista del autor? (3)^ Como pone Urbano en tela de juicio los valores humanos de Fernando? L. El ambiente (l;^En que epoca ocurre la accion? (2)<^Por cuanto tiempo dura la ficcion narrativa? (3)-Como se nos presents el lugar? (4)cTocante a las costumbres tfpicas de la vida espanola, que finalidad persigue el autor? E. La estetlca (1; Senalense los recursos expresivos del lenguaje. (2) Analfcese el tono ironico y tragico. 233 ASPECTOS CULTURALES I. Professor: Sabemos que solamente a cuatro personajes de los 18 En Hlstorla de una escalera se , les da un tituio: -D p n Manuel, Dona Asuncion, Senor Juan y el Senor bien vqstido. Podriamos dlscutir el por que? Alumno A...porque son los unicos que se visten bien. Alumno B...porque son los que tienen algun dinero. Alumno C...porque son los unicos que tienen buen trabajo. Alumno D...porque aparentan tener algo. / Conclusion (El profesor escribe las respuestas en el proyector y concluye:) Muy bien. El vestir bien, el dinero, el trabajo y la apariencia externa nos da derecho a un mejor tratamiento y asi poder aparecer mas alto en la sociedad. II. Professor: / Alumno D...La esposa esta siempre sujeta a su esposo. C onclusion En efecto, la mujer en Espana todav^a no goza de la completa liberacion y se contents con ser madre y buena ama de casa. V. ProfesorStPueden ustedes ver algunos actos de ribeldfa juvenil tfpicos en cualquier epoca o pais? Alumno A...Los hijos fuman al ver frustrados s u b deseos. Alumno B...Los jovenes se aman en contra del deseo de sus padres. III. Prom the 4 English words that follow each Spanish 235 word, select the one that correctly translates the English. Then in the blank space at the left, write the letter (a, b, c,or d) which stands before the Spanish word that you selected. 1 . tarifa a. waist b. late c. price d. title 2. chupar a. scream b. chat c. rascal d. suck 3. urr a c a a. some b. magpie c. last d. use 4. sonr i s a a. deaf b. smile c. dre a m d. surprise 5. trampa a. trick b. tranquil c. treat d . elapse 6 . torpe a. dull b. wor k c. b r i n g d . take 7. igual a. like b. restless c. some d. alike 8. marnporros a. m i s t r e a t b. spot c. slap d. hand blow 9. v e r g u e n z a a. truly b. shame c. true d . truth 10. sueldo a. sweat b. gently c. wage d. dir t y IV. Read each statement below. If the statement is true according to the play, draw a circle around the V. If it is false, draw a circle around the P. 1. V P IY para que^ sirve la boca, digo yo? Pues para c o m e r . 2. V P Urbano aconseja a Fernando que deje los noviazgos y que se enamore de verdad. 3. V P Fernando necesita trabajar para evitar el desaliento. 4. V F Urbano y Fernando necesitan la ayuda mutua para mejorar de vida. 5. V F Dona Asuncion es la unica vecina que no puede pagar la cuenta de la luz. 236 ______7. A ver si me X usted dar un poco de sal(podra- pudo-podfa) / 8. Cuandp eramos chi cos nos X (tuteabas-tuteamos- tuteabamos) 9. Pues sacas a Fernando de la papeleri^a y le X (coloques-colocas-colocan) 10. X que no te hiciera caso(supones-suponen- suponte) In each sentence below, X stands for a missing word or phrase. From the column at the right, select the word or phrase which completes the sentence correctly. Then in the blank space at the left, write the letter (A, B, etc.) which stands before the word or phrase you s e l e c t e d . 1. pasamanos de X A. m e n t i r a /• 2. no hace mas que X B. cumplen f 3. se puso un pantalon de X C. espalda 4. promesas que luego no se X D. aifos 5. le palmotea la X E. cacharra 6. estaban jugando a los X F. ref r 7. r o n d a y a los X 0 . trei n t a 8. /Que se le olvida la X! H. casa 9. No te olrides pagar la X I. leer 1 0 .cSe puede uno X? J. luto X. hierro L. luz M. novios 237 III. From the 4 English words that follow each Spanish word, select the one that correctly translates the English. Then in the blank space at the left, write the letter (a, b, c.or d) which stands before the Spanish word that you selected. 1. tarifa a. waist b late p n ce d. title 2. chupar a. scream b chat rascal d. suck 3. u r r a c a a. some magp i e last d. use 4. sonrisa a. deaf b smile dre a m d. surprise 3. tram p a a. trick b tranquil treat d. elapse 6. torpe a. dull b work b r i n g d . take 7. igual a. like b restless some d. alike 8. manporros a. mistreat b Bpot slap d. hand blow 9. verguenza a. truly b shame true d . truth 10. sueldo a. sweat b gently wage d. d i r t y IV. Read each statement below. If the statement is true according to the play, draw a circle around the V. If it is false, draw a circle around the F. 1. V J IY para que^ sirve la boca, digo yo? Pues para c o m e r . 2. V F Urbano aconseja a Fernando que deje los noviazgos y que se enamore de verdad. 3. V F Fernando necesita trabajar para evitar el desaliento. 4. V F Urbano y Fernando necesitan la ayuda mutua para mejorar de vida. 3. V F Dona Asuncion es la unica vecina que no puede pagar la cuenta de la luz. 238 6. V F Historia de una escalera es la historia de tres familias de la clase media espaffola. 7. V F Buero Vallejo^fue siempre bien tratado por el Gobierno Espanol. 9 8. V F Gregorio es un personaje del que se habla en el Primer Acto pero que nunca sale a escena. 9. V F El primer acto del drama termina en forma desastrosa. / 10. V F Historia de una escalera es un drama tragico- realista. V. Una a los personajes que tienen una iTntima relacion en el drama. Subraye • 1 . Fernando y (Rosa, Paca, Carmina) 2. Pepe y (Luisa, Pili, Rosa) 3. D. Manuel y (Carmina, Elvira, Generosa) 4. Dona Asuncion y (Urbano, Gregorio, Fernando) 5. Urbano y (Generosa, Paca, Dona Asuncion) 6. Generosa y (Fernando, Urbano, Gregorio) / VI. Responds a la pregunta segun el cuadro que se le presente. #5 1.‘Para que habla Elvira a D. Manuel? #6 2 .iDe que^ murmuran las vecinas? / #7 3.^Cuales son los suenos de Fernando? #8 4.cDe quien eeta^ enamorada Elvira? #9 5. #10 6. #11 7.i. Que le propone Urbano a Fernando antes de despedirse? #12 S.cQue7 le echa en cara Elvira a Fernando? #13 9.dQue/ le recuerda Fernando a Carmina? #14 10.6 Que le dice Fernando a Carmina sobre Elvira? 2 39 C R U CIGRAMA / i 17 ZL 3.X. A 3 ' ? ...... - - - -k 6 S 20 ~s /O ' ll /S' !<■ /1 IX /-3 HORIZONTALES 1. Creencia 2. Hi jo de Generosa(invertido) 3. Hija de L. Manuel 4. de conserva 5. riija de Paca 6. Preposicion 7. Ir (presente-invertido) 8. Viuda del Apartamento ,4 9. Preposicio'n( contraccion) 10. Hija de Paca VERTICALES 11. Rico viudo 12. Saludo 1. Hijo de Dona Asuncion 13. Nombre de mujer 2. Expresion de aliento 4. Pronombr^ 7. Ver(preterito) 14. Pase de toro(invertido) 15. Artfculo neutro (invertido) 16. Nada(abreviacion) 17. Hermana de mi madre 13. Muerte , 19. Negacion 20. Muerte en la familia (invertido) 21. Esposo de mi hija (invertido) VERIICALES 240 22. Esposa de Juan 23. Tocar(presente) 24. Hi jo de Elvira y Fernando VI. Responda a la pregunta en espanol, segun la figura que se le presents. O . A 1. Question:cQue hace Fernando? Response: ______ 2. Question:cDonde estan Urbano y Fernando? Response: ______ 3. Question: cl Que le pasa al Cobrador de la luz? Response: ______ 4. Question : Response: ______ L±J 5. Question:^A donde va Fernando? Response: ______241 ACTO SEGUNDO EPISODIO I EL PUNERAL Teacher: En Historia de una escalera, al aspecto fisico de los vecinos de la casa indica como pasa el tiempo. El transcurrido entre el primero y el segundo acto se conoce por las canas de algunos y el cambio en los trajes de todos: "El tiempo tranBcurrido se advierte en los demas: Paca y Generosa han encanecido mucho...Todos siguen pobremente vestidos, aunque con trajes mas modernos."^^ El segundo acto se abre con una escena popular, tipicamente espanola: la de la familia y amigos regresando de un entierro y comentando el suceso. La division de clases sociales en Espana se puede apreciar todavia segun sea la clase de entierro. La muerte ha ido llevandose a los vecinos uno por un o : la madre de .Fernando, el padre de Carmina, el padre de Elvira...El autor ha sabido crear los tipos y la vida de las clases humildes de una manera real, sirviendose incluso del lenguaje popular, para presentar, con pocas lfneas, las caracteristicas esenciales de los personages. A e { es como hemos visto asomarse en nuestra escena anterior del primer acto al Cobrador de la luz, la 242 pesadilla del pobre; a Gregorio, jubilado conductor de tranvia que espera la muerte en la miseria; a Pepe, el sinverguenza egofsta que vive de las mujeres a Carmina, la muchacha decente y buena; a Elvira, la hija nimada y generosa; a Don Manuel, amable y bueno sin darse importancia; a dona Asuncion, que siempre quiere darse aires, y otros mas, todos dibujados con gran viveza. Gran acierto tambien es el de presentar los actos separados por diez afios, mostrando as£ la continuidad del ambiente pesado. (b) Exposition oi the selected passage Teacher :<■ Como es el ambiente que presents Buero? Students: (Oral Reading) Carmina: Ande, madre...Ande... Generosa: Ya llegan al portal...Casi no se le ve... Sr. Juan:jCo'mo sudaban! Se conoce que pesa mucho. Generosa: Solas, hija mia! jSolas! De'jeme mirar por su balco^n, Paca. ;Dejeme mirar I Paca: Sf, mujer. Trini :<-No entra, padre? / Sr. Juan: No, hija. ,;Para/que? Ya he visto arrancar muchos coches funebres en esta vida. Te acuerdas del de doHa Asuncion? Pue un entierro de primera, con caja de terciopelo... Trini: Dicen que lo pago/ don Manuel. Sr. Juan: Es muy posible. Aunque el entierro de don Manuel fue menos lujoso. Trini: Es que ese lo pagaron los hijos. / / Sr. Juan: Claro...Y ahora Gregorio. No se como ha ppdido durar esto6 diez anos. Desde la jubilacion no 243 levanto cabeza. A todos nos llegara la hora! Trini: (Padre, no diga eso! Sr. Juan: Si es la verdad,/hija! Y quiza^ muy pronto. Trini: No piense en esas cosas. Usted estef muy bien todav^a... Sr. Juan: No lo creas. Eso es por fuera. Por dentro...^ me duelen muchas cosas. Esto. Esto me matara. 30 Trini: No, padre. Eosita es buena... (c) Question Period / \ t S S ' (1)cQue simbolos descubrimos? cPara que sirven? (2)c‘Existe alguna nota de humor? (3) (d) Exposition of the selected passage Teacher: /Como reaccionan los familiares y amigos? / Sr. Juan:,’Ya no jugaremos mas a las cartas, viejo amigo! Trini: Vamos adentro, padre. Sr. Juan: Se quedan con el d£a y la noche...Con el dia y la noche. Con un hi jo que es un bandido... Trini: Padre, deje eso. Sr. Juan: Ya nos Hegara^ a todos. Paca:/Ea! No hay que llorar mas. Ahora a vivir. A salir adelante. Generosa: No tengo fuerzas... Paca:(Pues se inYentan! No faltaba mas. Generosa;/'Era tan bueno ,mi Gregorio! Paca: Todos nos tenemos que morir. Es ley de vida. Generosa: Mi Gregorio... Paca: Eala. Ahora barremos entre las dos la casa. Y mi Trini ira luego por la compra y hara'la comida. Me 244 oyes, Trini? Trini: s£, madre. / S Generosa: Yo me morire pronto tambien. Carmina:/Madre! / Paca:<“Quien piensa en morir? Generosa: Solo quisiera dejar a esta hija...con un hombre de bien...antes de morirme. Paca:/Mejor sin morirse! Generosa:iPara que^ ,.. Paca: Para tener nietos,/alma mia! /No le gustarfa tener nietos? Generosa:/Mi Gregorio!... Paca: Bueno. Se acabo. Vamos adentro. c'Pasas, Juan? / Sr. Juan: Luego entrare un ratito. /Lo dicho, Generosa! ;Y a tener animo! Generosa: Gracias.. ./Que va a ser de nosotros, Dios mio? / Y de esta nina? Ay, Paca! Que va a ser de mi Carmina? Carmina: No se apure, madre. Paca: Claro que no. Ya saldremos todos adelante. Nunca os faltarafn buenos amigos. Generosa: Todos sois muy buenos. Paca: iQue^ buenos ni que^.. .peinetas! .. .Me dan ganas de darle azotes como a un crfo (e) Question period (1)c'Quien acaba de morir? (2)cQuien trata de consolar a Juan? (3)^Que/no hara' ahora Juan con Gregorio? . . / / C4)cQue es la ley de vida, segun Paca? (5)clCual es el deseo de Generosa antes de morir? 245 (6)^Que diferencias notas entre un funeral americano y otro espanol? TEACHING VOCABULARY I. Tape recording Students will first listen to the selected passage on tape. II. Using Visuals Teacher: Responds a la pregunta segun el cuadro que se le presente: Cuadro # 18 and # 19 (1) Show visuals 18, 19. (2) Then show visuals without plot development. (3) Finally show them to evoke students' personal description of the scene. / / Teacher:cComo se presents la escalera despues de 10 anos? Class: (See visual # 18 and answer) Teacher:iQuienes sobre todo piensan mas en la muerte? Class: (See visual # 19 and answer) III. Vocabulary and Idioms (1) andar(caminar) (2) portal(entrada-salida) (3) se conoce(es claro-es evidente) (4) arrancar(partir-salir) (5) coches funebres(funerales) (6) entierro(funeral) (7) ;jubilacion(retiro-pension) (8) durar(vivir) (9) azote(paliza)(castigo) (10) peinetas(tonterfas) 246 (1 ) casi no se le ve(es diffcil verlo) (2 ) entierro de primera(funeral de primera claae) (3) no levanto" cabeza(no se sintio el mismo) (4) a todos nos llegara'la hora(todos tenemos que morir) (5) se quedan con el dfa y la noche(se quedan abandonedos y desamparados) (6) ya saldremos todos adelante(ya nos las arreglaremos) (7) que^ buenos ni que^ peinetas( que^ buenos ni que^ tonterfas) Given orally 8 sentences utilizing vocabulary words introduced in this episode, students will give orally synonyms or antonyms to these words with 95% accuracy. IV. Using known vocabulary Synonyms and antonyms out of context and in sentence context: / / Teacher: Un antonimo de caminar es parar. ^Cual es un sindnimo de caminar? Teacher: Un ^inonimo de durar es vivir. cCual es un antonimo de durar? / Teacher: El entierro de Gregorio arranco a las 9:30 a.m., mientras que el funeral de l)v Manuel par tip" a las 3:15 p.m. Y dofia Asuncion no arranco^ ni partio'. sino que ______. (sindnimo) Teacher: Los muertos tienen funerales, el funeral es un entierro. jEn donde llevan a los muertos? ✓ Student: En los coches funebres. Teacher: Partir es lo mismo que salir. Arrancar es lo mismo que partir. Luego salir es lo mismo que... Student: arrancar. / ^ Teacher: Jubilacion es lo mismo que pension. Pension es lo mismo que retiro. Luego el retiro es... ✓ 247 Student: jubilacion. / / Teacher: Student: Porque la gente no comprende que la es injusta. ( e W n i a o ) Teacher: Juan dijo que tuvo que dar un azote a eu hija. la madre no estuvo de acuerdo con lo de la paliza. / j La hija dijo despues que e l ______habia sido injusto. (sinonimo) V . Symbols Given 4 symbols representing verbs of motion, students will fill in the blanks with the appropriate verb form with 100% accuracy. & ir venir subir bajar Teacher: Generosa ------;> al entierro de su esposo. (pasado) Carmina ------del entierro de su padre. (futuro) Fernando la escalera cuando vio a Elvira, (imperfecto) Espero que hov conmigo al "casinillo." (pres, subj.) VI. Paraphrasing (Uso del por o para y de sinonimos) Given in writing 8 sentences stressing use of por or para and use of new vocabulary items, students will fill in the blanks with 95% accuracy. S'/ Teacher: El coche funebre partio en direcclon al cementerio. / Student: El coche funebre ______el cementerio. / Teacher: Los vecinos andaban a traves de la calle. Student: Los vecinos ______calle. / Teacher: A camblo del retiro, Gregorio recibio dinero. 248 ✓ Student: —— — — — . Gregorio recibio el dinero. Teacher: Salio de la casa con el fin de arreglar el funeral. Student:9 Salio'" de la casa ______arreglar el ______. Teacher: Esta entrada es cerrada ______un portero hacia la diez. Teacher: Los vecinos le oyen y bajan ______subir la leche. Teacher: En lo general los muertos se llevan al cementerio. Student: ______lo general los muertos se llevan al cementerio. Teacher: Durante el funeral se reza, que, ______lo bueno que es, aprovecha al difunto. VII. Review orally the synonyms Teacher will write the following passage on the overhead projector. Four or more students will go to the blackboard to supply the appropriate synonyms to the underlined words. Teacher: Ande. madre. Ya llegan al portal. Ya he visto arrancar muchos coches funebres en esta viaa. Aunque el antierro de D. Manuel fue menos lujoso. No se" como Cregorio ha podido durar estos diez afios. Desde la .jubilacion no levantd cabeza. Students: . madre. Ya llegan a la . Ya he visto muchos en esta vida. Aunque el de x>. Manuel fue menos lujoso. No seT c(^mo "i®orio ha podido ______estos diez anos. Desde la ______no levanto cabeza. VIII. SER vs. ESTAR Given orally 10 phrases from the text of the play, students will fill in the blanks with the appropriate form of ser or estar with 100% accuracy. Teacher Student Un entierro de primera (pasado) ______un entierro de primera. Muy posibleCpresent) ______muy posible. 249 Teacher Menos lujoso(pasado) ______menos lujoso. Verdad(presente) ______verdad. Muy bien(futuro) ______muy bien. Muy cansado(presente) ______muy cansado. De Madrid(imperfecto) ______de Madrid. Un hermano mayor(presente) ______un hermano mayor. Escribiendo mi testamento ______escribiendo (futuro)' mi testamento. Cerrada la puerta(imperfecto) ______cerrada la puerta. 250 EPISODIO II EL PESAME Teacher: La historia de la escalera sigue adelante / como la vida y la muerte. La muerte ha ido llevandose -w * a unos y la vida ha ido desenganando a otros marcandolos / con el sello de la decepcion y el dolor. Elvira, que / / perdio a su padre, consiguio casarse con Fernando, de quien tiene ya un hijo. Pero ninguno de los dos es feliz; aunque tarde, han descubierto la imposibilidad de la armonia entre ellos; Elvira, mimada, caprichosa, no soporta ver a su marido hecho un pobre hombre, un fracasado de sus propias ilusiones. Fernando, un joven empleado, suena con una brillante carrera de ingeniero. Su esperanza de felicidad la vimos / en su conversacion con Carmina, una muchacha que vive en el mismo edificio de apartamentos, al final del primer acto. Fernando, debido a su poca voluntad, nunca llego^a comenzar su carrera y, aunque todavfa ama a Carmina, se casa con Elvira, otra vecina, por el dinero de su padre. Al principio del segundo acto ambos se dirigen a dar / el pesame o condolencia al apartamento de Oenerosa. Elvira lleva en sus brazos a su hi jo, pero tanta es la tension que existe entre los dos exposos que la armonfa se 251 rompe inmediatamente. Vocabulary (1) pesame(condolencia) (2) hosca(enfadado) (3) suegro(padre de la esposa) (4) cuento(historia) (5) colocabas(dec£as o dabas) (6) mimado(mal criado) (7) caprichosa(antojadiza (deseosa) (b) Idioms (1) nino de pecho(nino que toma biberon) (2)ien que quedamos? (ique vamos a hacer?) (3) y no se te acaba la mujer(y no se te muere la mujer) (4) el senor contaba(el senior dependfa) 2. Planned Reading Behavioral Objective: Given 4 idiomatic expressions, 9 5 % o f the students will write a complete Spanish sentence for each with 10096 accuracy. (a) Presentation of meaning el senor contaba con el suegro(el senorito dependia de mi padre) ese era el cuento que colocabas a todas(esa era la historia que le decfas a todas) * / _ no eras mas que un nino mimado(no eras sino un nino malcriado) no te consiento que hables(no te permito que hables) Tape recording Students will first listen to the selected passage on tape. 252 (b) Exposition of the selected passage T e a c h e r :^Cua'l es el compromiso social? Students( Oral Reading) Fernando: Puedes salir. flo hay nadie. Elvira: /.En que quedamos? Es£o es vergonzoso. cles damos o no les damos el pesame? Fernando: Ahora no. En la calle lo decidiremos. / Elvira: ,'Lo decidiremos! Te,ndre que decidir yo, como siempre. Cuando tu te pone^s a decidir nunca hacemos nada. /Decidir! JHuando vas^a decidirte a ganar mas dinero? Ya ves que asi no podemos vivir. ,'Claro, el senor contaba con el suegro! Pues el suegro se ac^bo hi jo. Y no se te acaba la mujer, no se por que. Fernando:iElvira! Elvira: Si,/enfadate porque te dicen las ^verdad^ps! Eso sabra's hacer: enfadarte y nada mas. Tu ibas a ser aparejador, ingeniero, y hasta diputado. ;Je! Ese era el cuento que colocabas a todas. /Tonta de mi, que tambien te hice caso! Si hubiera sabido lo que me llevaba...Si hubiera sabido que no eras mas que un nifio mimado...La idiota de tu madre no supo hacer otra cosa que eso: mimarte. Fernando:iElvira, no te consiento que hables asi de mi madre! i Me entiendes? Elvira: (’Tu^ me has ensenado!/Tu eras el que hablaba mal de ella! Fernando: Siempre has sido una niffa caprichosa y sin educacion. Elvira: i Capr^hosa? jSolo tuve un capricho! /Uno solo! Y * ♦« (c) Question Period (1)<|Quien aparece cuando todos salen de la escena? (2)cComo se mantiene Elvira? (3)<-Quien decide entre Elvira y Fernando? (4) (5) Segun Fernando,tcomo es Elvira? 3. Summary Behavioral Objective: Given 7 vocabulary items, 100% of the students will write Spanish synonyms to these words with 100% accuracy. (1) Have students write out synonyms for the following words: pesame- hosca-suegro-cuento- mimado-caprichoso-colocar-crfo. (2) Pupils are to consult the list of selected idioms; original sentences are to be selected for oral presentation. (b) Aural Comprehension Given orally a series of 10 sentences students will write M for masculine and F for feminine, corresponding to the nouns used in each sentence with 100% accuracy. The teacher reads a series of sentences. The students write on their sheets if the nouns are masculine, a M, and an F for feminine. (1) E b compromiso social que nos gusta. (2) Les damos pesame cuando subamos. (3) Eso era______cuento de ninos. (4) Has sido nina malcriada. (3) Tuve____capricho en la vida. (6) funeral fue muy lujoso. (7) Ibas a ser buen ingeniero. (8) gente muy importante. (9) Eras____nino mimado. (10) No tienen educacion. Personal Pronouns (c) Given 10 written phrases, students will fill in the blanks with the appropriate personal pronouns with 100% accuracy. 254 / (1 <^En que quedamos?______/ (2 Tendre que decidir. / (3 CCuando vas a decidirte? (4 /No se por que! (3 ,'Ie hice caso! (6 ;Ven para aca! <7 Vamonos de paseo, / (8 /Decidan rapido! / (9 I A que hora come? (10 /Deja de llorar! Ob ect Pronouns (d Given 8 written sentences, students will fill in the blanks with the appropriate object pronouns with 100% accuracy. (1 Si hubiera sabido me llevaba(lo que-lo cual) (2 En la calle______decidiremos(le-lo) / (3 Enfadate porque______dicen las verdades(os -te) (4 Y no se______acaba la mujer(os— te) (5 No_____ permito que hables(le-te) (6 Al madruga. Dios le ayuda(que-cual) (7 Es de los______quieren irse. (cuales-que) (8 La familia no______decidio todo.(la-lo) (e Definitions Given orally 5 sentences describing one of the characters in the play, students will identify who is being described with 100% accuracy. ^ / Teacher: 1. Suena con una carrera de ingeniero. I Quien es? 2. Es el padre de mi esposa. dWuien es? 5. El sefior contpiba con el dinero del padre de su esposa. f 256 EPISODIO III EL TENOR10 Teacher: En este episodio el autor vuelve a detenerse a estudiar unos de los tipos mas caracteristicos de la literatura y del teatro espanol y mundial: el tipo del tenorio. Pepe es el personaje tfpico de los barrios bajos madrilefios. Es un bohemio, borracho, sinverguenza, mujeriego, tenorio, golfo, cobarde...la oveja negra de la familia. ^ / La gracia o el donaire del tenorio espanol esta en el piropo. El es el maestro en saber como tratar a las mujeres, aunque se aproveche de ellas a veces. Para este tipo de tenorio la mujer debe producir para la casa tanto como el hombre: "Ya te he dicho que la obligacion de traer dinero a casa es tan tuya como mia.M^ Given 3 themes, 95% of the students will write 5 complete Spanish sentences for one of the following themes: (a) Los vicios de Pepe (b) El tenorio como personaje universal (c) La mujer espanola y la americana 257 Vocabulary (1) conserva(mantenerse) (2) mocita(senorita) € (3) apafiar( arreglar o preparar) (4) puchero(comida) (5) pegas(mentiras) (6) lfos(problemas) (7) pich6n(querida nina) (8) golfo(vagabundo) (9) asco(repugnancia) (10) chulo(presumido) (11) piropo(cumplimiento) (12) granuja(canalla o sinverguenza) (13) duelo(funeral o entierro) (14) guinapo(basura) (15) rondas(cortejas) (16) soplan(quitan) (17) amargarnos(arruinarnos) (b) Idioms (1) venir a perderte por un guinapo(venir a arruinarte por una basura) (2) mosquita muerta(persona inofensiva) (3) que no se meta conmigo(que no me moleste) (4)/como te pones por un piropo!(como te enfadas por un cumplido) (5) dejate de romanticismos(deja de sonar) (6) poner el puchero sin tener cuartos(tener comida sin dinero) 258 (7) se conserva la mocita(la nina se mantiene o conserva bien) 2. Planned Reading Behavioral Objective: Given 4 idiomatic expressions, 95# of the students will write a complete Spanish sentence for each with 100% accuracy. (a) Presentation of meaning ;tu te crees,que se puede poner el puchero sin tener cuartos? 0.tu te crees que se puede preparar una comida sin tener dinero?) Mejoras con los anos como el vino(cada ano te ves mejor, como el vino, que cuanto mas viejo mas bueno) para acabar de amargarnos la vida(para terminar de arruinarnos la vida) en si rondas a Pulanita o te soplan a Kenganita(en si cortejas a una muchacha o te quitan a la otra) Tape recording Students will first listen to the selected passage on tape. (b) Exposition of the selected passage TeachericEn quexambiente se desenvuelve Pepe? Students: (Oral Reading) Pepe: "Se conserva, se conserva la mocita. Rosa:tA que/vienes? Pepe: A comer, princesa. / Rosa: A comer,^eh? Toda la noche emborrachandote con mujeres y a la hora de comer, a casita, a ver lo que la Rosa ha podido apanar por ahi. Pepe: No te enfades, gatita. Rosa: iSinverguenza! /Perdido! cY el dinero? Rosa:*Y te atreves?... « s Pepe: Bejate de romantic! smos,. Si me vienes con pegas y con ifos, me marchare. Ya lo sabes. Hola, Trini. Trini: Hola. Pepe: Estas cada d£a mas guapa...hejoras con los anos, como el vino. Trini: Si te has crefdo que soy tan tonta como Rosa, te equivocas. Pepe: No te pongas asf, pichon. Trini:^No te da verguenza haber estado haciendo el golfo mientras tu padre se moria? No te has dado cuenta de que tu madre y tu hermana estan ahjf, llorando todovia porque hoy le dan tierra? iY ahora que" van a hacer? Matarse a coser,iverdad? A ti no te importa nada. ;Puah! Me das asco. Pepe: Siempre estais pensando en el dinero. iLas mujeres no sablis mas que pedir dineroI Trini: Y tu no sabes mas que sacarselo a las mujeres. iPorque eres un chulo despreciable! ✓ / Pepe: Bueno, pichon, no te enfades. /Como te pones por un piropo! Urbano:»Ese piropo y otros muchos te los vas a tragar ahora mismo.1 No quiero verte molestar a Trini! dMe oyes? Pepe: Urbano, que no es para tanto... Urbano:}Canalla! i Q u e ' quieres? Rosa:/Dejale! ; Tu no tienes que pegarle! Trini: Urbano tlene razon...Que no se meta conmigo. / / Rosa: Callate tu,;mosquita muerta! 260 Trini : iRosa! ✓ Rosa: Dejale,/te digo! Urbano: Todavia le defiendes,jimbecil! Pepe:/Sin insultar! / Urbano: Venir a perderte por un guinapo como este...Por un golfo...un cobarde. Pepe: Urbano, esas palabras... ✓ Urbano:/Callate! Rosa:/.Y a ti. que'" te importa? <■ Me meto yo en tus asuntos? Me meto en si, rondas a Fulanita o te soplan a Menganita? Mas vale cargar con Pepe que querer cargar con quien no quiere nadie... Urbano: (‘Rosa! Sr. Juan:;Callad! jCallad ya! ; Me vais a matar! Si, me morire^. /Me morire' como Gregorio! Trini:/Padre, no! Sr. Juan: Defame!/.Por que^no te la llevaste a otra casa? Tenjfais que quedaros aqui para acabar de amargarnos la vida! Trini:/Calle, padre! Sr. Juan: Sf. Mejor es callar. Y tu:suelta ese trapo. / Urbano: Anda. Carga con e l ...... Pepe: Llamarme cobarde a mf, /cuando si no me enredo a golpes es por el asco que me dan! ; Cobarde a mil «'Pe8te de vecinos! Ni tienen educacion, ni saben tratar a la gente, ni..."34 (c) Question Period (1)iQue^hace Pepe por la noche, segun Rosa? (2)«/Que^ hace Rosa contra Pepe? (3)cQue/ dice Pepe a Trini? (4) (5)cQuien oye el piropo de Pepe? / . / ✓ (6) Segun todos los vecinos,tcomo es Pepe? I . Look for metaphors and similes. Given 10 minutes, students will look for 5 metaphors and similes in this episode. (1) Hoy le dan tierra (2) Poner el puchero (3) Mejoras con los affos como el vino. (4) Mosquita muerta (5) Suelta ese trapo II. Sentences from the dialogue are presented with the words in random order. Given 10 written scrambled sentences students will put them in correct order with 100% accuracy. / \ / (1) Cargar vale mas con Pepe que con quien cargar querer nadie no quiere. (2) Por un guinapo este como perderte venir a. (3) A presidir venir para el duelo ni valido has no de tu padre. (4) Los anos como mejoras con el vino. (3) Cada mas dla guapa estas. (6) Te pones como un piropo por. (7) No verte quiero Trini a molestar. (8) Te enfades pi chon no bueno. (9) Dinero pensando estais en el siempre. (10) De amargarnos aqu/ la vida acabar para que quedaros tenfais. III. Putting dialogue sentences in correct order. A. w'Sin insultar! 1. -ilmbe'cil! 2. / 4Dejale, te digo! 3. 262 B. -A comer, princesa. 1. -No te enfades. 2. / t'A que vienes? 3. 1 c. -Esta^ cada dfa mas guapa. 1. ^Hola! 2. -jHola, Trini! 3. D. -f'Granuja, canalla! 1. xPerderla a ella tambien? 2 . 7,'Que^ quieres? 3. / E. -Urbano tiene razon. 1. -Un dia te tiro, te tiro. 2. ✓ / -Bejale, tu no tienes pegarle 3. IV. Matching questions and answers Given 5 written statements, students will match them with the correct rejoinder with 100% accuracy. (1) (2) No te enfades. (b)cme meto yo en tus asuntos? (3) Dejale, imhe'cil te crees que se puede comer sin el? (4) A ti que*" te importa. (d)2como te pones por un piropo. (5)i_Y el dinero? (e) a comer. V . Correcting Sentences The students change the sentences to make sense. Given 10 written sentences, students will select the correct letter corresponding to the appropriate synonym of the word with 100% accuracy. 1. Eres un gran vagabundo. (a) repugnancia 2 . Ese cumpllmiento te lo tragas. (b) basura 263 3. No rondes a ese chulo. (c) senorita 4. Me das asco. (d) piropo / 3. £sta hecho un granuja. (e) ▼ago 6. Pareces un guinapo. U) presumido 7. Se conserva la mocita. («) arreglada ✓ 8. £1 puchero esta listo. (*) mentira 9. La nina es muy apanada. (i) la comida 10. Esa es una pejja que no creo. (J) canalla VI. Speaking - Prepared Questions. Situaclon; Una calle espanola. Usted es una senorita espanola que^se encuentra en la calle con un tenorio espanol como Pepe. (iComo le responderia en el siguiente dialogo?) -TKola, princesa! i A donde vas? — rComo te pones por un piropol --£Como se llama mi nifia? — Yo soy Pepe. Tanto gusto. ;Se conserva bien la mocita! — Todos dicen que soy un golfo. ;_Que' cree usted? — La gente mayor es despreciable. Yo no me meto con nadie. — Que piensen o digan lo que quieran. Es eso lo que piensa usted? La invito a coiner. EPISODIC) IV URBAHO Y CARMINA Teacher: Urbano, un trabajador que vive en el mismo edificio de apartamentos, tambien tiene suenos de grandeza los cuales nunca se realizan. Estos suenos se pueden ver en su conversacion con Carmina, la que finalmente se casa ✓ con el para Bolucionar las dificultades financieras de su / familia, aunque ella no lo ama a el verdaderamente. Las esperanzas y los fracasos de Fernando y Urbano se ven a traves del fondo de infelicidad y pobreza de los miembros de sus familias que viven como vecinos en el mismo edificio. Urbano no es como Fernando, el tiene pocos sueftos. El ademals tiene una pequena esperanza de progresar en su vida. Y su fracaso es debido a su falta de confianza en si mismo, esto es, su falta de confianza en su habilidad para hacer su propio destino. Urbano piensa que el destino es fijo, y no cree en su propia habilidad para cambiarlo. Asf', Urbano habla de s i mismo como de "un pobre hombre" o "un pobre diablo" que nunca llegara a ser nada en la vida. Pero los suenos son necesarios. Urbano fracasa debido a su falta de fuerza de voluntad. El fracaso de ambos se justifies. Elios son ▼fctimas mas de sus propias faltas que de sus propios 266 ambientes. ✓ Quiza el desengano mayor haya sido el de Carmina, que, aunque sigue queriendo a Fernando, como, en el fondo, el t a ella, accede a casarse con Urbano, un obrero que vive en el cuarto de al lado. (Given 3 themes, 95% of the students will write 4 complete Spanish sentences for each of the following themes with 90% accuracy.) (a) Los personajes de Buero como munecos ante la obsesionante voluntad superior de la escalera. (b) Lo que piensa hacer Urbano si Carmina se casa con el. (c) Lo que piensa de si mismo Urbano. V ocabulary (1) privaciones(necesdades o estrecheces) (2) dichosa(feliz) (3) soltera(no casada) (4) desagrada(molesta) (5) consiente(permite) (6) tftulo(nombre) (7) energfas(fuerzas) Idioms (1) salir adelante(poder mantenerse o poder vivir) (2) no te merezco(no soy digno de ti) Tape recording Students will first listen to the selected passage on tape. Exposition of the selected passage ✓ s Teacher Que otro pasage nos recuerda este dialogo entre Urbano y Carmina? 267 Students: (Oral Reading) Carmina: "cTermino el...? Urbano: s£. t Carmina: Muchas gracias, Urbano. Has sido muy bueno con nosotras. Urbano: No tiene importancia. Y sabes que yo...que nosotros...estamos dispuestos... Carmina: Gracias. Lo se. Urbano: Vas..^vas a la compra? Carmina: s£. / / / Urbano: -Dejalo. Luego ira Trini. No os molesteis vosotras por nada. / Carmina: Iba a ir ella, pero se le habra olvidado. Urbano: Carmina... / Carmina:^Que? Urbano: Puedo preguntarte. ^que^ vais a hacer ahora? Carmina: No lo se^.. .Coseremos. / Urbano :<^Podreis salir adelante? / Carmina: No lo se. Urbano: La pension de tu padre no era mucho, pero sin ella... Carmina: Calla, por favor. Urbano: Lispensa...He hecho mal en recordartelo. Carmina: No es eso. Urbano: Carmina, y o ... Carmina: Tu eres muy bueno. Muy bueno. Has hecho todo lo posible por nosotras. Te lo agradezco mucho. Urbano: Eso no es nada. Aun quisiera hacer mucho mas. Carmina: Ya habeis hecho bastante. Gracias de todos modos. 268 Urbano:;Espera, por favor! Carmina, yo...yo te quiero. Te quiero hace muchos afios, tu lo sabes. Perdona que te lo diga hoy; soy un bruto. Es que no quisiera verte pasar privaciones ni un solo dlTa. Ni a ti ni a tu madre. Me hariaB muy feliz si... si me dijeras...que puedo esperar. Ya s/ que no me quieres. No me extrana, porque yo no valgo nada. Soy muy poco para ti. Pero yo procurarea hacerte dishosa. No me contestas... Carmina: Yo...habia pensado permanecer soltera. / , / Urbano: Quiza continuas queriendo a algun otro... Carmina:/No, no! Urbano: Entonces, es que...te desagrada mi persona. Carmina: ('0h, no! Urbano: Ya se^ que no soy mas que un obrero. No tengo cultura ni puedo aspirar a ser nada importante... Asi es mejor. As^ no tendre que sufrir ninguna decepcion, como otros sufren. Carmina: Urbano, te pido que... Urbano: Mas vale ser un tri,ste obrero que un senorito imi'til.. .Pero si tu me aceptas yo subire. Subire! . Porque cuando te tenga a mi lado me sentire^ lleno de energfas para trabajar! J Para trabajar por ti! Y me perf eccionare' en la mecanica y, ganare'mas. ViviriTamos juntos; tu madre, tu y y o . Le dariamos a la vieja un poco de alegria en los afTos que le, quedasen de vida. Y tu" me harias feliz. Aceptame, te lo suplico. Carmina:,'Eres muy bueno! Urbano: Carmina; te lo ruego. Consiente en ser mi novia. Dejame ayudarte con ese titulo. Carmina: Gracias, gracias! Urbano: Entonces. *^siT? Gracias yo a ti! No te merezco! (b) Question Period (l)oCual es el ideal de Urbano? (2)t'En que se diferencia el ideal de Urbano del de Fernando? 269 , / (3)oPor que acepta Carmina la proposicion de Urbano? (4)2 A quien promete ayudar Urbano? (5)/En que habfa pensado Carmina en vez de casaree? c I . Dehydrated Sentences Given 5 dehydrated sentences, students will change the sentences according to the structure of the model sentence. /V / (1) Tu has hecho muy bien en salir. Tu/ ser/ muy bueno/ en venir. / \ / / (2) A ella se le habra quedado lo que traia. A Juan/ olvidarse/ lo que/ pensar. (3) Tu me darfas un plan si fueras mi amigo. Tu/ hacerme/ feliz/ si/ comer/ conmigo. (4) No os habreis cansado de nada de lo que os dije. Juan/ no/ molestarse/ por nada/ de lo que/ contar. (5) El se habia prometido estarse quieto. Carmina/ casarse/ por no/ permanecer/ soltera. II. Changing a narrative to a dialogue Reading orally a narrative to the class, students will change the narrative to a written dialogue with 90% accuracy. Teacher: Carmina le da las gracias a Urbano por haber sido tan bueno con ella. Urbano le pregunta si va de compras, y que^ va a hacer ahora que ya no tiene padre. Carmina dice que cosera/ psora poder salir adelante. Urbano la quiere ayudar de todas formas y le dice que la quiere desde hace muchos anos. Carmina le contesta que ella habfa pensado permanecer soltera. 270 ✓ Teacher: Escriba la conversacion entre Carmina y Urbano. Carmina: ______ Urbano: ______9 Carmina: ______ Urbano: ______ Carmina: ______Urbano: ______ III. Changing a dialogue into a narrative Given a written dialogue, students will change the dialogue to a written narrative with 95ft accuracy. Urbano: Yo se/ que te desagrada mi persona. Carmina:<0h, no3 Eres muy bueno. Urbana: Entonces, consiente en ser mi novia. Carmina:/Gracias, gracias! Estoy dispuesta a lo que quieras. Urbano:JGracias yo q til ; No te merezco! IV. A collective letter Given part of a written letter to Carmina about Urbano’s new job, students will complete the letter by answering the following questions. El 3 de mayo de 1974 Querida Carmina: / Muchas gracias por tu carta. La descripcion de tu nuevo trabajo me fascino^. Me pediste describir el mio. Entonces, aqu£ esta'. The teacher gives oral cues: (1)CCuantos obreros hay en la fabrica? (2)/En que^ trabaja Urbano? (3)cCuanto dinero gana? 271 (4 ) tComo consiguio^ el trabajo? (5)^Cuales son sus horas de trabajo? V . Write 5 sentences choosing one element from each column, Given 4 columns of fragmentary structures, students will write 5 grammatically correct sentences by choosing one element from each column to construct the sentences with 100% accuracy. 1. Urbano pid— — ajara ser mi esposa 2. Carmina am— — a jab an la vida 3. Elios cons-- — an en casarnos 4. Carmina y yo trab — — entimos espanol 5. Urbano y Carmina pregunt— — entiria leche "~en para comer duro te por la familia 272 EPISODIO V EL CAPACHO Teacher: Hemos apuntado anteriormente que el drama de Buero Vallejo es puramente social. El teatro ha sido muy rara vez vehfculo de ideas sociales, al menos en Espana, donde la lamentable apatfa del ambiente ha dado poca importancia al teatro y a la novela social entre los espanoles. ✓ La obra Historia de una escalera esta llena de escenas tipicas que le dan color local, provocando la identificacion de los espectadores con el drama y sus personajes, como en el caso de la vecina que no tiene con que'" pagar la luz electrica. Otra escena tfpica es la que se desarrolla entre Paca y Generosa en el primer acto, en que esta se queja de lo poco que represents el retiro de su marido, como es usual entre personas humildes. £1 segundo acto tambien lo abre una escena tipica: la de la familia y amigos regresando de un entierro y coraentando el suceso. El lenguaje "chulo" de Pepe es tambie'h caracter^stico de un sector social muy propio. Esta escena entre Trini y Paca es sumajnente tfpica y costumbrista. Las vecinas se ayudan para hacer las 273 compras y el capacho es el medio caracterfstico de hacerlas. Given 2 themes, 95% of the students will write 2 complete Spanish sentences for each of the following themes with 90% accuracy: (a) £1 slmbolo del capacho (b) Las escenas tipicas de ambiente social espanol en comparacidn con el americano. (a) Vocabulary (1) entierro(funeral) (2) capacho(cesto) (3) bronca(pelea) (4) apresuran(darse prisa) (5) pareja(par o dos) (6) confusos(aturdidos) (7) interpela(reganar) (8) confidencial(en secreto) (9) gesto(senal) (b) Idioms (1) se me paso(se me olvido) (2) bonita conversacion(desagradable charla) 2. Tape recording Students will first listen to the selected passage on t a p e . (a) Exposition of the selected passage Teacher:cQue/ represents el capacho? Students: (Oral Reading) ?aca: "Que' haceis ahi? 274 Urbano: Le estaba explicando a Carmina...el entierro. ✓ / ✓ Paca: Bonita conversacion. cDonde vas tu con el capacho? Carmina: A la compra. Paca:^No ha ido Trini por ti? Carmina: No... / ✓ Paca: Se le habra ^olvidado con la bronca. Quedate en casa, yo ire en tu lugar. Acompanalas, anda. c No subfs? (Elios se aprsuran a hacerlo. Paca baja y se cruza con la pareja en la escalera. A Carmina, cogiendole el capacho.) Lame el capacho. Sigue bajan^o. Se vuelve a mirarlos y ellos la miran tambien desde la puerta, confusos, Carmina abre con su Have, entran y cierran. Paca, con gesto expresivo:) Je! Cerca de la bajada, interpela por la barandilla a Trini, que sube.) cPor que' no te has llevado el capacho de Generosa? Trini: Se me paso. A eso subia. ✓ / Paca: Trae el capacho. Yo ire. Ve con tu padre, que tu sabes consolarle. Trini :;Que^ le pasa? Paca: Nada...Lo de Rosa. Lame el dinero. (Trini le da unas monedas y se dispone a se^uir. Paca, conficencial:) Oye: sabes que...? Trini:^Que? Paca: Nada. Hasta luego. Trini ^Lo'nde va usted? Sr. Juan: A acompanar un poco a esas pobres mujeres. * No has hecho la compra? Trini: Bajo' madre a hacerla."^ Question Period (1)cComo estan Urbano y Carmina cuando Paca los ve? (2) (3)cAdonde pensaba ir Carmina con el capacho? (4)<‘Que/le pasa a Juan, padre de Trini? (5)tQu©y quiere hacer Juan? 275 I. Going Shopping Given a series of 4 actions, several students will be selected to perform these actions in pantomine. Teacher: Quiero que Paca tome el capacho. (Paca performs the action) Teacher: Paca,^qu^ quieres que haga Trini? Paca: quiero que Trini vaya a la tienda. (Trini performs the action) Teacher: Sr. Juan,c‘que/ quiere que compre Generosa? Sr. Juan: Quiero, que compre un litro de leche y un kilo de azucar. (Generosa performs the action) / Teacher: Generosa,ique quieres que haga Carmina ahora? Generosa: Quiero que Carmina saiga. (Carmina performs the action) II. Guided Composition Write the narrative in the first person, as though it happened to you, and use the past tense. Given written questions about the episode, students will answer the questions in the first person, past tense. (1) (2)cLe estas explicando el entierro a Carmina? (3)eDonde vas tu con el capacho? (4)iNo vas por Trini? (5) (6)c2e donde viene usted? (7)iNo has hecho la compra? (8)<^Que/ se compro^ usted? III. Verdadero o Palso Given 5 written statements, students will write V for "verdadero” if the statement is true, and P for "falso" 276 if it is false. If the statement is false the students will rewrite the entire statement to make it true. / /■ 1. Paca se creyo la explicacion de Urbano. 2. Urbano le estaba explicando el entierro a Carmina. 3. El Sr. Juan va a acompanar a las pobres mujeres. 4. Paca, finalmente va a hacer la compra de Generosa. 5. El capacho es para ir a comprar leche. IV. Answer the following questions in complete sentences according to the dialogue in the episode. (Given a selected passage from the episode, students will orally answer the following questions.) 1. Lfneas 1-3 — LQue hacen Urbano y Carmina? — lQu£ excusa le da Urbano a Paca? 2. Lineas 4-6 — jA ddnde va Carmina? — {i^uie'n debia ir de la compra? 3. Lineajs 7-12 — iQue le^ pasa al padre de Trini? -tA quien le da el dinero Trini? 4. Lineas 13-16 — £A dopde se dirige el Sr. Juan? -x&uien fue a hacer la compra? V. Given a series of pictures with written directions, students will find specific places by drawing arrows to indicate their locations. Teacher: Si used quiere ir a la tienda "la Salud" siga derecho en la calle Vallejo, no hay que doblar ni a la izquierda ni a la derecha. ______d „ c. v A L.L. EJ Q Q < % 277 Teacher: Desde la calle Vallejo es necesario doblar a la izquierda en la bocacalle para ir al Mercado. a o ZL Teacher: En la esquina de la bocacalle tiene que tomar el bus para regresar a casa. V I . Reading Concept and .Discussion The teacher presents a new dialogue between a Spanish housewife and her maid: "Problemas de una dueSa de casa." The students are to choose the main concept of the dialogue. (Given orally a dialogue about going shopping, between a Spanish housewife and her maid, students will select one of 6 written topics and discuss orally one of these main concepts from the dialogue.) Senora: No puedo ir al mercado hoy, Rosa. Mejor vaya usted sola. Criada: Muy bien, senora. ± Que'" traigo? Senora: Aquf esta^ la lista... Criada: Esta bien. Senora: Otra cosa, no se deje dar gato por liebre. Criada: No se preocupe, senora, que para regatear a mf nadie me gana. Senora: Bueno, no tarde mucho. Recuerde que esta noche tenemos invitados. Topics 1. la compra 2. Los invitaios 278 3. Los precios 4. La lista 3. La criada 6. La senora 279 EPISODIC) VI EL PATERNALISMO Teacher: Siempre se ha dicho que la sociedad espanola es patriarcal. Es decir, que esta^basada en el padre, como cabeza, jefe y mantenedor economico de la familia. En Espana raramente encontramos a la mujer como la que sostiene economicamente a la familia. Por regia general / es obligacion solamente del padre el sostener y mantener a su entera familia. De esta manera de la dependencia economica se ha derivado una dependencia moral y social ✓ que ha llevado a una super-proteccion que llega casi a una tirania despo'tica. Es el padre que impone las ideas, tanto sociales, como religiosas y morales en su familia. El hispano tiene un concepto muy fuerte de la familia. El padre es su jefe absoluto y su contacto principal con / / el mundo de afuera. Segun la tradicion antigua, la mujer buena tiene que estar siempre en casa para cuidar a los ninos, para limpiar la casa, y preparar las comidas. / Solo el hombre debe salir. Given 3 themes, 95% of the students will write 3 complete Spanish sentences for each of tne following themes: (a) El padre como jefe de la familia. (b) La nueva generacio^n contra el paternalismo. 280 (c) £1 senor Juan y sus dos hijas. Vo cabulary (1) defender(proteger) (2) mentarmela(nombrarmela) (3) termino'Cacabo) (4) pena(dolor) (3) repugna(asco) (6) golfa(vagabunda) (7) durillos(billetes de cinco pesetas) (8) copas(vino) (9) entere(sepa) (10) rencor(odio) (b) Idioms (1) ni mentarmela siquiera(no me la nombres) (2) defenderse muy mal(llevarse mal con alguien) (3) se junto/ con(se fue a vivir con) (4) echarse a la vida(lanzarse a la calle) (5) no me guardes rencor(no me tengas odio) (6) como cosa tuya(como algo o asunto tuyo) (a) Presentation of meaning Kosita se termim/ para nosotros(Hosita ya no es mas parte de nuestra familia) ✓ / debe de defenderse muy mal(quizas le esta yendo muy mal en la vida) debe garnarlo(tiene que ganarse la vida por b { nisma) se ve en seguida(esta claro) Tape recording Students will first listen to the selected passage on 281 tape. (b) Exposition of the selected passage Teacher: t'Que/entendemos por paternalismo? 4 Students: (Oral Reading) Sr. Juan: "Ya. ^.Viste como defendia Rosita a ese bandido? Trini: Sf, padre. Sr. Juan: Es indignante...Me da verguenza que sea. mi hija. Trini: Rosita no es mala, padre. Sr. Juan: ;Calla! /Que'" sabes tu? /Ni mentarmela siquiera! Y no quiero que la visites, ni que hables con ella! JRosita se termim/para nosotros../Se termino! Debe de defenderse muy mal, verdad? Aunque a mf no me importa nada. Trini: Padre.. Sr. Juan: Que. Trini: Ayer Rosita me dijo...que su mayor pena era el disgusto que usted tenia. Sr. Juan: jHipo'crita.1 Trini: Me lo dijo llorando, padre. Sr. Juan: Las mujeres siempre tienen las lagrimas a punto. Y..ique" tal se defiende? Trini: Muy mal. El sinverguenza ese no gana y a ella le repugna...ganarlo de otro modo. Sr. Juan:; No lo creo! Esa golf a! .. iBah! |Es una golfa, una golfa! Trini: No, no, padre. Rosa es algo ligera, pero no ha llegadt} a eso. Se junto' con Pepe porque Le queria ...y aun le quiere. Y el siempre le esta diciendo que debe ganarlo, y siempre la amenaza con dejarla. Y...le pega. Sr. Juan:iCanalla! Trini: Y Rosa no quiere que el la deje. Y tampoco quiere echarse a la vida...Sufre mucho. 282 Sr. Juan:iTodos sufrimos! / Trini: Y, por eso, con lo poco que el la da algunas veces, le va dando de comer. Y ella apenas come. Y no cena nunca. se ha fijado usted en lo delgada que se ha quedado? Sr. Juan: No. Trini:jSe ve en seguida! Y sufre porque el dice que esta' ya fea y...no viene casi nunca. La pobre Rosita terminara' por echarse a la calle para que el no la abandone.! Sr. Juan:^ Pobre? (No la llames pobre! Ella se lo ha buscado. Sufres mucho por ella,^verdad? Trini: Me da mucha pena, padre. Sr. Juan: Mira, no quiero que sufras por ella. Ella no me importa nada, (3)cQue dice el Sr. Juan sobre las mujeres? (4)i_De que ahorro el Sr. Juan unos durillos? ✓ (5)cQuien no quiere el Sr. Juan que lo sepa? B . Orden temporal varlado / (1)^Como vive el Sr. Juan? (2)i.Vive Rosa con su familia? ✓ (3)cComo vive Rosa con Pepe? C. Detalles iaolados (1)'Despues de que'hecho sucede esta conversacion? / (2)JCual es la excusa del Sr. Juan para ayudar a Rosa? 284 (3) / \ / / (1)cPor que esta disgustado el Sr. Juan? 9 (2);Por que da el Sr. Juan dinero? ✓ (3)^Por que dice Trini a Rosa que el dinero no es suyo? / E. Variacion (con varios alumnos) (1)‘^Quieres el dinero de tu padre? Le debo #10 dolares. (2)c‘Tu quieres ir a llevarselo? (3) Toma el dinero de tu padre,t'lo aceptas? (4) ______Preguntale a ______si quiere el dinero de su padre. (5) ______difgale a que tu quieres ir a llevarselo. (6) ______dfgale a que ustedes esperan recibirlo. P. Preguntas personales (1)oLe gustarfa tener raucho dinero? (2)^Le gustaria ayudar a alguien? (3)cQue^sacrificios harfa para ahorrar dinero? (4)oCuanto dinero ahorraria en un mes? G. Interpretacion (1)tEl/ \ padre conoce bien a sus hijas? ^Como' la sabe usted? (2)^Por que Rosa no deja a Pepe, segun usted? (3)cCuando cree usted que una familia esta ma^s unida? II. Cultural differences Given a list of different mealtime hours (U.S.A. and Spain), students will fill in the blanks with the correct hours and answer the questions that follow. 285 U.S.A. SPAIN MATCHING HOURS 1. El desayuno ______11:00-1:00 1:00-3 2. El almuerzo ______3:00-6:00 9:00-11 < 3. La merienda ______7:00-8:00 8:00-9 4. La cena 5:00-6 Questions (1)^Por que los espanoles cenan tan tarde? (2)iPor que los espanoles tienen una merienda? (3)cCuantas comidas fuertes tienen los espanoles? (4)cCuantas comidas fuertes tienen los americanos? (5) Ill. Teaching Concept and Discussion Given orally a theme about family life in Spain, students will select one of 4 written topics and discuss them orally. El hombre tiene todavia en Espana la responsabilidad de la familia. El toma todas las decisiones y su palabra es una ley absoluta. Pero la mujer de hoy tiene mas independencia que antes. Vota en las elecciones, y hay muchas mujeres que trabajan afuera de la casa como maestras, secretarias... Topics (1) La liberacion de la mujer (2) El tradicionalismo (3) La mujer espanola (4) El hombre espanol 286 EPISODIC) VII EL CASAMIENTO Teacher: Pernando es un sonador sin la voluntad necesaria / / para desarrollar su potencial. El, ademas, esta frustraao por toao lo que le rodea. Y ensena su cobardia casandose con Elvira por su dinero. Antes cuando eran jovenes y solteros, Carmina y Pernando se amaban. Su union probablemente le hubiera traido alegrfas y felicidad, pero el casamiento efectuado y consumado en un hi jo con Elvira, les cerro^ el mutuo amor, y como unico resultado lo'gico vinieron las peleas, los regaffos y la infelicidad. Pero si en todos los casamientos ezisten problemas, el de los celos es el mayor de todos. Y en este casamiento entre Pernando y Elvira este problems se impone sobre los / demas en este episodio: "...lo que tu quieres: ver a Carmina, y decirle cositas y tonterfas.. . , le dice Elvira. Given 2 themes, 95% of the students will write 4 complete Spanish sentences for each of the following themes: (a) La vacilacion de dar el pe'same. (b) El problems de los celos. Vocabulary and Idioms (1) pesameCcondolencia) 287 (2) alteres(enfades) (3) juro(aseguro) (4) acabar(terminar) (5) terca(dura de cabeza) (6) fingir(disimular) (b) Idioms (a) decirle cositas y tonterias(charlar dulcemente) (b) no te molestes en fingir(no te preocupes en disimular) (c) hacerte el encontradizo(procurar encontrarla accidentalmente) 2. Planned Reading Tape recording Students will first listen to the selected passage on tape. Exposition of the selected passage Teacher:oCual es el problems o los problemas que tienen en el casamiento Pernando y Elvira? Students: (Oral Reading) Pernando: "Ahora entramos un minuto y les damos el pesame. Elvira: Ya te he dicho que no. Pernando: Pues antes querjfas. Elvira: Y t\x no querfas. / Pernando: Sin embargo, es lo mejor. Comprendelo, mujer. Elvira: Prefiero no entrar. Pernando: Entrap yo solo entonces. Elvira:/Tampoco! Eso es lo que tu quieres: Ver a Carmina, y decirle cositas y tonterfas... Pernando: Elvira, no te alteres. Entre Carmina y yo termino^ todo hace mucho tiempo. Elvira: Ho te molestes en fingir. i Crees que no Be doy cuenta de las miradltas que le echas encima, y de c6mo procuras hacerte el encontradizo con ella? Fernando: Fantasias. Elvira:dFantasfas? La querias y la sigues queriendo. Fernando: Elvira, sabes que yo te he... Elvira:/A mi nunca me ^has querido! Te casaste por el dinero de papa. Fernando ^'Elvira! Elvira: Y sin embargo, valgo mucho mas que ella. Fernando:/Por favorPueden escucharnos los vecinosJ Elvira: No me importa. Fernando: Te juro que Carmina y yo no... Elvira:/No me lo creo! / Y eso se tiene que acabar!/Abre! / Fernando: Vamos a dar el pesame; no seas terca. Elvira: Que no, te digo. Fernando: Toma a Fernandito. Elvira:/!^ tampoco vasl^ne has ojCdo? ^ Me has oido? Fernando:/ Entra! Elvira ^‘Tu^ antes! Question Period (1)tDe quex hablan Fernando y Elvira? (2)^Por que/ no quiere Elvira que Fernando entre? (3)cPor que se caso^Fernando con Elvira, segun esta? (4)cQue/ le da Fernando a Elvira? \ * / (5)cComo es el caracter de Fernando en su casamiento? 289 (Given 5 sentences regarding this episode, students will fill in the blanks with the correct word or words in order to check their reading comprehension of this episode.) (,1) El matrimonio fue a dar ______a los vecinos. (2) La novia era ______, por eso no se caso"! (3) Los dos amigos ______que se querian. (4) Van a pasar unos ______con sus vecinos. (5) Elios llevaban a su ______en brazos. ✓ II. Use of Subjunctive after "Lastima" Giv^n a series of sentences employing the expression "lastima," students will fill in the blanks with the appropriate form of the subjuntive.) 1. Lastima que no(haberse) casado con ella. ...(morirse) por ella. ...(sufrir) por m { . 2. Lastima que(estar) enfermo(Urbano) enfermos (Urbano y yo) ...______enfermas (Carmina y Elvira) / ^ 3. Lastima que no (haber) una habitacion desocupada. . ..(ponerse) una silla a,p£. ...(desocuparse) el cafe. / / 4. Es una lastima que (tener) que dar el pesame. ...(ser) dura de cabeza. ...(casarse) por los celos. III. (Given 3 idiomatic expressions and 2 verbs of emotion, students will use them in translating the 10 sentences written below.) 1. (a) Carmina fell in love with a young man . (b) Urbano said he'd never fall in love with anyone, (enamorarse de) 2. (a) I don't know why Elvira got so mad. (b) If I tell you, promise me you won't get mad. (enojarse) 290 3. (a) You've ruined itJ (to) The rain spoiled them all. (echar a perder) < 4. (a) Were you feeling all right? (b) I haven't felt well for a week. (sentirse) 5. (a) I don't think .Fernando was in agreement. (b) Do you agree with me? (estar de acuerdo) IV. Apocopation of Ad.jectives (Given a list of 12 adjectives, students will write the correct form of the adjective in the appropriate blank.) 1. Tiene que hablar _____ vecino m£o. uno-un 2. A veces no hay vecino. alguno-algun 3. No soy ______esposo. ninguno-ningun 4 . No soy una esposa muy ______. bueno-buen 3. Elvira vive en el _____ pi so. malo-mal primero-primer V. Use of the Pronouns (Given a series of reflexive verbs, students will fill in the blanks with the appropriate verb form and verb tense.) Pronoun Sentence (yo) l.cCrees que no _____ de lo que paso? (darse cuenta- Imperfecto) / (tu) 2. Procuras ______el encontradizo. (hacerse- Presente) / (tu) 3. _____ por el dinero de papa. (casarse- Pasado) 291 (me) 4. Ho ______de un Pepe. (enamorarse-futuro) (se) 5. Y eso ______que acabar. (tenerse-futuro) 292 EPISODIC) V III LAS FAMILIAS Teacher: Buero Vallejo permanece fiel a la este^ica / s clasica y a la concepcion moral del hombre nacida del cristianismo. Una familia, la de Fernando, se siente en ✓ obligacion moral y religiosa de acompanar en el sentimiento y en su dolor a otra familia: la de Carmina. El encuentro es inevitable, y los novios se encuentran otra vez cara a cara, pero en muy diversas situaciones. Carmina, prometida formal de Urbano; y Fernando, casado con Elvira y con un tierno nino entre bus brazos. La situacio^ no puede ser mas embarazosa. La tension aumenta a la vez que nos acercamos al final del segundo ^ / acto. El nino es el unico escape o salida posible a tal s / / / situacion problematical "Mire que rico esta mi Fernandito," dice Elvira para quitar toda posible situacion embarazosa. Vocabulary (1) lamentable(dolorosa) (2) nene(nino) (3) teta(pecho) (4) rico(lindo) (5) chillar(gritar) (6) empenes(insistas) 293 (7) afectes(emociones) / / (8) reportate(controlate) (9) nena(nina) (b) Idioms (1) acompanar en el sentimiento(dar el pesame) (2) dar el pecho(darle la leche o la teta) (3) es una monada(es muy Undo) (4) tiene la cara de (se parece a) (5) es mi vivo retrato(se parece a mi) (6) tendrax el aire de familia(se parece a los de la familia) (a) Presentation of meaning le acompanamos sinceramente en el sentimiento(sentimos contigo verdaderamente tal pe'rdida) al nene le toca ahora la teta(el nino necesita tomar su leche ahora) mire que rico estatvea que preciosidad) tiene toda la cara de su padre(se parece en todo a su padre) Tape recording Students will first listen to the selected passage on tape. (b) Exposition of the selected passage ✓ TeachericQue reacciones observaraos en las dos parejas? Students: (Oral reading) (Carmina y Urbano estan con las manos enlazadas, en una actitud clara. Ante la sorpresa de Fernando, Elvira vuelve a Cerrar la puerta y se dirige a ellos sonriente.) Elvira: 7 Que casualidad, Carmina! Sall'amos precisamente para ir a casa de ustedes... 294 Carmina: Muchas gracias. (Intenta desprenderse pero Urbano la retiene) Elvira: Sf, hija...Ha sido muy lamentable...,muy sensible. Pprnando: Mi mujer y yo les acompaffamos sinceramente en el sentimiento. Carmina: Gracias. Elvira :i.Su madre esta dentro? Carmina: Si, haganrae el favor de pasar. Yo entro en seguida. En cuanto me despida de Urbano. Elvira:cVamos, Fernando? ho te preocupes, hombre. Esta"" preocupado porque al nene le toca ahora la teta. Se desvive por su familia. Le d.are'' el pecho en su casa. i ho le importa, verdad? Carmina: Claro que no. Elvira: Mire que rj.co esta^mi Fernandito. Lormidito. No tardara en chillar y pedir lo suyo. Carmina: Es una monada. Elvira: Tiene toda la cara de su padre. Si, sf; aunque te empeffes en que no. El asegura que es igual a m£. La agrada mucho que se parezca a mi. Es a 6 1 a quien se parece,^. no cree? Carmina: Pues...no se. i Tu qu/ crees, Urbano? Urbano: No entiendo mucho de eso. Yo creo que todos los nirfos pequeffos se parecen. Fernando: Claro que sf'. Elvira exagera. Lo mismo puede parecerse a ella, que...a Carmina, por ejemplo. Elvira: lAhora dices eso! 1 Pues siempre estas afirmando que es mi vivo retrato! Carmina: Por lo menos, tendra^ el ^.aire de familia. /Decir que se parece a m£ l /Que disparate! Urbano: ,’Completo! Carmina: Me va^usted a hacer refr, Fernando, en un dfa como este. Urbano: Carmina, por favor, no te afectes.; Es muy sensible! 295 Carmina: Gracias, Urbano. Urbano: Repo'rtate. Fiensa en cosas mas alegres.. .Puedes hacerlo... Fernando: Carmina fue siempre muy sensible. Elvira: Pero hoy tiene motivo para entristecerse. ;Entramos, Fernando? Pernando: Cuando quieras, nena. ' AO Urbano: Dejalos pasar, nena." (c) Question Period (1)^Como estan Carmina y Urbano al abrirse el Primer Apartamento? (2) IA quien se parece Fernandito, el hi jo, segun Elvira? S (3)c-Por que se enfada Elvira? (4)cPor que esta preocupado Fernando? ✓ / I. Segun este diagrama situe a los diferentes familias en sus apartamentos. (Given a diagram of the 4 apartments in Historia de una Escalera. students will identify the people who live in each apartment with 100% accuracy.) I II III IV a )______a)______a)______a)_____ b )______b)______b)______b)______c) ______c)______d )______d)______e ) ______ Apart. I: Viuda y su hi jo. Apart. II: Matrimonio con un hi jo y dos hijas. Apart. Ill: Padre y su hija. Apart. IV: Matrimonio con un hi jo y una hija. II. Con las letras sep|iradas de E-S-C-A-L-E-R-A haga su propia construccion con los personajes del Drama. 296 (Given a diagram of a staircase with the letters spelling out ESCALERA, students will fill in the blanks with the names of the people in the play.) ______I — .jjiiv ■ . ■j fi r' f III. Shown a series of visuals, students will discuss orally the 5 situations pertaining to the visuals. (1) Show visuals 20, 21, 22. (2) Then show visuals without plot development. (3) Finally show them to evoke students personal description of the scene. Teacher: Temas De Discussion (1) El problems de los celos y el dinero. (2) Lo que cada uno trajo de su vida anterior al casamiento. (3) El parecido familiar. (4) El plazo de los 10 anos se ha cumplido. 297 (3) Los antiguoe y los nuevos suenos. / / IV. Antonimos y Slnonimos Given 5 vocabulary words, students will write a synonym and antonym corresponding to each word. (1) nene (2) rico (3) reportate (4) chiliar (5) pena ______ V. Reconstruccion de una escena improvisada. Los estudiantes paean adelante de la clase por grupos para representar la escena de este episodio. Sillas adelante. (Given a situation of one of the Tenant's wake, students will improvise a dialogue by following the directions given below.) Guided Line Est. I : Es la esposa del difunto. Se encuentra sentada. Est. II: Es la hija del difunto. Se encuentra sentada al lado de su madre. Est. Ill: Vecina sentada en una silla. Est. IV: Otra vecina sentada en una silla. Est. V: Urbano que entra. (Dialogo improvisado) Est. VI: Fernando que entra de la mano de su esposa. (Dialogo) Est. VII: Elvira que entra con su esposo. (Dialogo) Est. VIII: Un hombre de la Casa Punebre que entra para anunciar que tienen que llevarse al difunto al cementerio. (Dialogo de despedida de los presentes.) END OP ACT II 298 GENERAL REVIEW I. Buero Vallejo nos presents cinco escenas costumbristas en este segundo acto, tcua'les son? (Subraye) 1 . el funeral 6. el dinero 2. el amor 7. la familia 3. el capacho 8. el tenorio 4. la amistad 9. el paternalismo 5. el pesame 10. el piropo II. Que^ frase corresponde a cada uno de los siguientes personajes quie'n habla) : 1. Fernando a) se quedan con el dfa y la noche. 2. Elvira b) todos tenemos que morir, esa es ! vida. 3. Urbano c) 4. Carmina d) 5. Pepe e) 6. Sr. Juan f) 7. Generosa g) 8. Paca h) defendiendo asf a Pepe. __9. Trini i) Vamos a dar el pe'same, no seas terca, 10. Rosa j) Ese piropo y otros muchos te los vas a tragar ahora mismo. III. .From the four Spanish words that follow each English word, select the one that correctly translates the English. Then in the blank space at the left, write the letter (a, b, c or d) which stands before the 299 English word that you selected. 1. funeral a) entierro b) tierra c) terreno d) futuro 2. condolence a) dolor b) pesado c) pesa d) pesame 3. gloomy a) tosco b) ho sco c) pega d) pegamento 4. spoiled a) mfmico b) mimado c) mistico d) mito 5. pot a) poner b) puesto c) puchero d ) puro 6. mess a) l£os b) liar c) problems d) ligamento / 7. grudge a) riffa b) rencor c) rincon d) correr 8. compliment a) comprension b) piropo c) comprender d) contener 9. ragamuffin a) guinapo b) guino c) guisar d) guiar ____ 10. basket a) caja b) capacho c) juego d) compra IV. Ponga^la letra correspondiente a la expresion idiomatica espanola: ✓ . 1. juntandosele a) it grieves me very much 2. como al descuido b) she went to live with 3.*y a tener animo! c) getting close to him 4. 5. y no se te a cab a la mujer e) and have courage.' 6 . /debate de romanticismos! f) what shall we do? 7. hoy le dan tierra g) and if your wife doesn't drop dead 8. de todos modos h) stop dreaming 300 ✓ . _9. se junto con i) they are burying him today 10. me da mucha pena j) at any rate / V. Responda a la pregunta segun el cuadro que se le * presente. #17 I.^Como se presenta la escalera despues de 10 arfos? #18 2.^Quienes sobre todo piensan mas en la muerte? #19 3.2A donde se dirigen Fernando y Elvira, y sobre que discuten? #20 4. Fernando y Elvira se enfadan y^que se echan en cara? #21 5.{^Que/ declara y promete Urbano a Carmina? ✓ ✓ #22 6.i Sobre quien trata la conversacion cuando se encuentran las dos parejas? VI. Read each statement below. If the statement is true according to the play, draw a circle around the T. If it is false, draw a circle around the F. 1. V F Han transcurrido 20 anos que no se notan en nada. 2. V F El tiempo transcurrido se advierte en todos los personajes, 3. V F Al morir Gregorio, Generosa se queda sola y desamparada. 4. V F Pepe llega a la casa para reconciliarse con Rosa. 5. V F Urbano le declara su amor a Carmina llevandosela al "casinillo." 6. V F El Sr. Juan decide finalmente no ayudar a su hija Rosa. 7. V F Carmina tiene celos de Elvira. 8. V F Fernando y Elvira encuentran a Urbano y Carmina abrazados. 9. V F Fernando siempre sostiene que su hijo Fernandito se parece enteramente a su madre. 10. V F Fernando y Carmina salen de su apartamento para dar un paseo con el niffo. VII. Complete each Spanish sentence by selecting the correct form according to the play from the 3 verb forms in parentheses. In the blank space at the left write the 301 form you selected. S y 1 .IYa no X mas a las cartas! (jugare-jugaremos- jugaria) 2 . Yo me X pronto tambien (muero-mor£-*morire) 3 . Les damos o no X el pesame (dimos-demos-damos) w / 4. Mira nina, ya me estas X (cansado-cansando-cansar) 5.iNo os X vosotras por nada! (molestais-molesten- molesteis) 6. Iba a ir alla^ pero se le X (olvidara-habra^ olvidado-habia olvidado) 7. Te lo ruego. X en ser mi novia (consiento- consientes-consiente) ._____ 8. Mira, no quiero que X por ella (sufrieras-sufras- sufres) 9. Entre Carmina y yo X todo hace mucho tiempo (termina-terminarfa-terminoO 10. Yo creo que todos los ninos pequenos se X (pareceran-parecen-parecerfan.) VIII. Oral Comprehension A. El drama (1) Explique la estructura artifstica del segundo acto. (2) Indiquese su efectismo dramatico. (3) Explique los sentimientos personales de algunos personajes. _ / B . La accion (1) Anal^cese la exposicion. (2) Estudiese el desarrollo. (3)<.Cual es el punto culminante en este acto? (4KComo se desarrolla el desenlace final? C. Los personajes / (1) Tracese un retrato de los personajes. (2) Comparacion entre las relaciones de esposos y novios. / (3)^Como se ponen en juicio los valores humanos de Fernando, Elvira, Rosa y Pepe? D . El ambiente (1)cEn que^fecha ocurre la accion? (2)dPor cuanto tiempo dura la ficcion narrativa? (3) (4) !£ocante a ^as costumbres tipicas de la vida espanola, icomo las presents el autor? _ _ / E . La estetica (1) Sena'lense los recursos expresivos del lenguaje. {2) Analicese el tono ironico, tragico y burlesco. IX. Describa con dos o tres frases las aiferencias de costumbres que se enuncian: 1. Un funeral espanol. Un funeral americano. 2. La costumbre espanola de las La coetumbre americana comidas. de las comidas. 3. La funcion del padre y de La funcion del padre la madre en la familia y de la madre en la espanola. familia americana. 30 3 4'. La manera de hacer las La manera de hacer las compras en Espana. compras en America. 304 ACTO TERCEHO EPISOLIO I LA ESCALERA DEL DRAMA / Teacher: A pesar de las indicaciones de exitos, estos son pocos, y se siente mucho mas el peso de la frustracion economica, reflejada tambien en la frustracion amorosa. El autor trata de crear un cuadra realista y, por consiguiente, tragico. "En el fondo es una tragedia, porque la vida entera y verdadera es siempre, a mi juicio, tragica."^ Se destacan la miseria de los personajes y su falta de capacidad para sobreponerse a los obstaculos; / pero, dando a conocer estos obstaculos, parece que el autor quiere senalar el camino a conquistarlos y llegar a una vida mejor. La escalera simboliza la repeticion, la estrechez, / el fluir del tiempo. Parece servir solo para bajar. Pero / / tambien puede servir para subir. La escalera es inmovil es decir; las condiciones de la vida cambian poco a / nada, pero se puede subir o bajar, tener exito o fracasar, / ✓ segun la voluntad y el caracter del individuo. (a) Vocabulary ✓ (1) epoca(tiempo) 305 (2) casero(cuidador de la casa) (3) disfrazar(enganar) (4) blanqueadas(pintadas de bianco) (3) consumida(gastada) (6) fatigada(cansada) (7) demontre(demonio o diablo) (5) interior(piso) (b) Idioms (1) no me da la gana(no quiero) (2) hueca no falta(no falta espacio) (3) rascarse el bolsillo(sacar o pagar dinero) (4) no me muero ni con polvorones(no me muero ni con una indigestion de dulces) (5) marchando(llevando bien la vida) Planned Reading Given 3 idiomatic expressions, 85% of the students will write a complete Spanish sentence for each with 100% accuracy. (a) Presentation of meaning (1) Pues, no me da la gana de serlo(pues no quiero ser una molestia) (2) Le falta ganas de rascarse el bolsillo(no quiere pagar o sacar dinero) (3) No me muerp ni con polvorones(no me mata una indigestion) Tape recording Students will first listen to the selected passage on tape. 306 (b) Exposition of the sleeted passage Teacher : Students: (Oral reading). ^ / Pasaron vplozmente veinte anos mas. Es ya nuestra epoca. La escalera sigue siendo una humilde escalera de vecinos. El casero ha pretendido sin exito disfrazar su pobreza con algunos nuevos detalles concedidos despaciosamente a lo largo del tiempo: la ventana tiene ahora cristales romboidales coloreados y en la pared del segundo rellano, frente al tramo, puede leerse la palabra "QUINTO" en una placa de meta^. Las puertas han sido dotadas de timbre electrico, y las paredes, blanqueadas. (Una viejecita consumida y arrugada, de obesidad, malsana y cabellos completamente blancos, desemboca, fatigada, en el primer rellano. Es Paca. Camina lentamente apoyandose en la barandilla y lleva en la otra mano un capacho llena de bultos.) Paca:Wue/ vieja estoy! iTan vieja como tu! Uf! iY que^ sola! Ya no soy nada para mis hijos ni para mi nieta. Un estorbo! Pues no me da la gana de serlo, demontre! Hoj!/jQue escalerita! Ya podia poner ascensor el ladron del casero. Hueco no falta. Lo que falta son ganas de rascarse el bolsillo. ^n cambio, mi Juan subia de dos en dos...hasta el dia mismo de morirse. Y yo que no puedo con ella...no me muero ni con polvorones. Bueno, y ahora que no me oye nadie. «Yo quiero o no quiero morirme? Yo no quiero morirme. Lo que quiero es poder charlar con Generosa, y con Juan.. JPobre Genero^a! ;Ui los huesos quedaran! ;Y que'” me haga un poco mas de caso mi nieta, demontre! Joven: Buenos dfas. Senor: Buenos dias. a la oficina? Joven: senor. iUsted tambie'n? Senor: Lo mismo. iY esos asuntos? Joven: Bastante bien. Saco casi otro sueldo. Mo me puedo quejar. iY usted? 307 Senor: Marchando. Solo necesitarla que alguno de estos vecinos antiguos ^e mudase, para ocupar un exterior. Despues de desinfectarlo y pintarlo, podria recibir gente. Joven: Si, senor. Lo mismo queremos nosotros. Senor: Ademas, que no hay derecho a pagar tantisimo por un interior mientras ellos tienen los exteriores casi de balde. Joven: Como son vecinos tan antiguos... Senor: Pues no hay derecho. Joven: Ademas, que son unos indeseables. Senor: No me hable. Si no fuera por ellos...Porque la casa, aunque muy vieja, no esta mal. Joven: No. Lo pi^os son amplios. Senor: Unicamente, la falta de ascensor. ✓ Joven: Ya lo^pondran. ^ha visto los nuevos modelos de automovilee? Senor: Son magnlficos. Joven: jMagnificos! Se habrlfijado en que la carroceria es completamente... I. Choosing from the list below, students will write a rejoinder to each of the following sentences with 1009t accuracy. Use each rejoinder only once. sI, voy a tratar unos asuntos. estoy deseando. ese senor es un ladron. sigue siendo humilde. la escalera y la Sra. Paca. tienen una carroceria magnifies. despues de desinfectarlos y pintarlos. un ascensor para subir. 308 Yo no quiero morirme. jSoy un estorbo para todos! ✓ ✓ (1)^Como son ahora los automoviles (2) Los pisos son araplios pero les falta (3) Podrian recibir a la gente (4)cVas a la oficina? (5) Que se muden los vecinos (6) cYo quiero o no quiero morirme? (7)^Que/ clase de persona es el casero? (S) La pobre vieja se queja (9)lComo se presenta la escalera? (lO)^Quienes son las dos viejas? II. Students will write a paragraph using all of the sentences below and all of the conjunctions in the right-hand columns. Combine pairs of sentences into one sentence whenever necessary. Ya no soy nada para mis hijos ______ soy un estorbo ______Y no me da la gana serlo ______Porque no puedo subir esta escalera ______Ya mi Juan la subfa de dos en dos ______En cambio el dia mismo de morirse Hasta III. Students will write an answer to each of the following questions by filling in the blanks with the appropriate dates written in Spanish. / \ / ^ / (1J^En que ano sucedio el primer acto? - \ ✓ ^ (2)lCual es el ano del segundo acto? (3) IV. Given a paragraph written in the past tense, students ' will rewrite the paragraph in the present tense with 100% accuracy. Pasaron velozmente veinte anos mas. El casero pretendio sin exito disfrazar su pobreza; la ventana tenfa cristales / coloreados y en la pared podia leerse la palabra QUINTO. ✓ Las puertas fueron dotadas de timbres electricos. Una viejecita desembocaba en el primer rellano. Era Paca. Caminaba lentamente apoyandose en la barandilla y llevaba en la otra mano un capacho. V. Today Paca went visiting her friends and shopping. Can you figure out by the clues given below how she will get to her destination tomorrow and where is she going? Paca sale de su apartamento y dando la vuelta a la Plaza, pasando por la Municipalidaa, va al apartamento de su / nieta, y luego a ver a una amiga. Despues va a la Oficina de Correos y luego a ver a Dona Beatriz. Paca deja a su amiga y sigue carainando hasta llegar a la Zapaterfa Preciosa. Despues va al restaurante Valencia / pero no le gusta el menu y entonces sale sin almorzar. Paca quiere ir a la Iglesia. Para llegar tiene que pasar 310 por la escuela para sefioritas y la escuela primaria. Luego va al Cafe^LaGitana a tomar algo y sigue hasta la casa de su hermana Soledad. Se queda conversando con t / ella un rato y despues va a la Casa Lopez, una tienda de ropa para senoras. Le dicen que el vestido que le estan arreglando no esta listo todavia y que debe volver dentro de una hora. Paca va por unos minutos al Parque y vuelve a la Casa Lopez, donde le dicen que todavlfa no esta^ listo su vestido. Paca esta7 muy cansada y decide dar la vuelta al Parque para regresar a su casa pasando por la tienda / / - del perioaico y la lechena, y entonces, cansadisima, vuelve a su apartamento. 311 ^ * ftestaurante „____ . Medico Valencia parque \ Plores J Zapateria Esc. para Stas. Preciosa Librer^a Esc. Prim aria Oficina Casa de Z5obernacionyJ „ d® ' Dna. Beatriz Estacion CaJ?t^ a Correos ^ .Cl tana Municipalidad Periodicos 0 * C&8fl de Hotel “ 1«»- LeCher.ir* =}» S ° U i a i de lal ^ 1 de Paca L<£pez nieta Salon de belleza La Madrilena Dentista leatro * 312 EPISODIO II EL CUMPLEANOS Teacher: Para Buero Vallejo una comedia no es un estudio / / filosofico, ni siquiera un ensayo; su mision es reflejar la vida, y la vida suele ser mas fuerte que las ideas. A" Es el ano de 1949. En la escalera suben un Joven y un Senor, bien vestidos. Se quejan de que los viejos inquilinos pagan menos y tienen mejores pisos. Hablan tambien de los nuevos modelos de autos. Por este tiempo Pepe ha abandonado a Eosa. Carmina y Urbano, casados, tienen una hija, Carmina, de dieciocho anos. Elvira y .Fernando tienen ya dos hijos: Manolin, de doce anos, y -Fernando, de veintiuno. Todos han envejeciao. Urbano es obrero; Fernando, empleado. Se ve que no han hecho / ningun progreso material. (a) Vocabulary (1) aspecto(apariencia) (2) obreroCtrabajador) (3) empleado(oficinista o tendero) (4) secamente(friamente) (5) llav^n(llavecita) (b) Tape recording Students will first listen to the selected passage on 313 tape. (c) Exposition of the selected passage TeacherloHasta donde ha llegado la estrechez economica de Fernando? Students: (Oral reading) / / Elvira: £Por que no abres con el l lavm? Fernando: Manol^n nos abrira". Manol^n: Hola, papa. Fernando: Hola, hijo. Manolin: Hola, mama. Elvira: Hola. Fernando:'Que7 buscas? hanolin:^No traeis nada? Fernando: Ya ves que no. Manolin: Los traeran ahora? ElviraEl que? Manolin:jLos pasteles! Fernando:^Pasteles? No, hi jo. Estan muy caros. Manolfn:/Pero, papa! jHoy es mi cumpleanosl Fernando: s£, hi jo. Ya lo se^. Elvira: Y te guardamos una sorpresa. Fernando: Pero pasteles no pueden ser. Manolin: Pues yo quiero pasteles. Fernando: No puede ser. Manolifn:^Cual es la sorpresa? / Elvira: Ya la veras luego. Anda adentro. Manol/n: No. 314 / s Fernando :<>>onde vas tu? Manolin: A jugar. Elvira: No tardea. 4 Manolin: No. Hasta l u e g o . ' 1^ (d) Question Period (1;i.Que dos matrimonios se encuentran en la escalera? / / (2)cQuien es Manolin? (3) (4)<^Cual es la condicion economica de este matrimonio? I. In the following paragraph students will fill in the blank with either por or para with 95% accuracy. Manolin no sabia _____ que le pasaban esas cosas. El otro dia iba ____ el parque y ___ bajar tenia que pasar ____ la ventana de sus padres. El puso su pelota en el suelo / que no la vieran sus padres. Pero cuando busco, la / pelota ya no estaba donde la dejo. ‘c que puede querer alguien mi pelota? Y siguio caminando ____ el parque muy triste ____ encontrar a sus companeros. II. Students will orally give the appropriate question to the following answers. QUESTION RESPONSE 1 . El se llama Manolin. 2. Va a celebrar su cumpleanos en casa. 3. El prefiere un paquete de cigarros. 4. Yo pienso en la pobreza de sus padres. 5. Los pasteles son muy caros. 315 / III. Topico de Discussion Teacher (to the students) : En Espana cada persona lleva el nombre de un Santo como primer o segundo nombre. Por lo general en Espana se celebra "el dfa del Santo patrono," esto es el nombre del Santo que lleva cada persona. (1) De razones (religiosas o sociales) por que en Espana celebran el dia de Santo mks que el del nacimiento. (2)<;,Po r que^creen ustedes que el autor aqui, olvidando la tradicion ^espdnola, introduce otrajCorma de celebracion cual es la del cumpleanos o dia de nacimiento? IV. The teacher will use the overhead projector to display the dates of the liturgical calendar which correspond to the Saints' Day of some of the characters in the play. Students will orally identify the characters and the dates of their Saints' day. h'ino Dios - El primer dia del ano. San Prancisco de Asis - El cuatro de octubre La Asuncion de la Virgen - El quince de agosto La Santisima Trinidad - El ultimo domingo de Mayo La Virgen del Carmen - El diez y seis de julio Santa xiosa de Lima - El treinta de agosto San Jose - El diez y nueve de marzo San Juan - El 24 de junio Example: Si uated se llaraara Manolin,ccuando celebraria el dia de su Santo? V. Teacher will select several pairs of students to act as reporters. Each pair will ask the questions given below and then write the answers on the blackboard upon completion of the interview. 316 Reportero I.^Cuando nacio^usted? Reportero 2.tCuando celebra su cumpleanos? Reportero 1.cComo se llama usted? f Reportero 2.^Tiene usted un Santo patrono?cCual? Reportero l.cCuando se celebra el dfa de su Santo? VI. Given 3 model sentences, students will answer orally the questions based on a series of interrogative pronouns given below. 1. Manolin quiere muchos pasteles. COuantos?) ______ (;Q u e " ? ) ______ ^Para quien?) ______ 2. Sus padres le compraron un gran regalo. CPor que^? ) ______ tPara que^) ______ fcDo nd e ?) ______ 3. El tendra hoy una gran fiesta en su casa. (iCuando?) ______ (iPor que’?) ______ (£uien?) 317 EPISODIO III LA PROTESTA / Teacher: La protesta es un escape natural y pricologico ✓ provocado por un obstaculo aparecido, y que va en contra de los intereses personales. La protesta aparece muchas / veces en forma de rebelion pasiva, y otras en forma de violencia. La violencia es una caracteristica de nuestro tiempo; la encontramos no solamente en las guerrillas, en las acciones terroristas, las demostraciones estudiantiles o en los grupos de obreros, sino que tarabien / y en el arte, el cine, la television, la pintura, la poesia, la novela y hasta la musica tienen como motivo la protesta, la rebeldfa o la accion violenta. / Esta situacion no es culpa de la juventud, pues no / la han creado los jovenes. Por el contrario, son ellos las vlfctimas principales de un mundo construido por los mayores, y en el cual les toca ahora vivir de buena o mala, y contra el cual luchan. La protesta de Manolfn se puede explicar sencillamente / como coea psicologica y natural de esa edad. Aquf la protesta tiene su escape en el cigarrillo, y un lugar para salir o esconderse de la sociedad: "el casinillo." 318 Vocabulary (1) ronosos(tacanos-baratos) (2) furtiva(de lado-rapida) (3) cochino(sucio) (4) cajetilla(paquete) (5) grunona(reganona-quejadora) (6) declaracion(propuesta) (7) simplezas(tonterias) (8) cerilla(fosforo-mecha) (9) atolondrada(cabeza loca) (b) Idioms (1) mala pieza(criatura mala) (2) de un manotaza(con un golpe en la mano) (3) cuantos cumples(cuantos anos estas celebrando) (4) ni lo suenes(ni lo pienses) Tape recording Students will first listen to the selected passage on tape. Exposition of the selected passage TeachericCorao se explica la conducts de Manolin? Students: (Oral reading) Manolin: J*Que ronososi Se encoge de hombros y, con cara de satisfaccion, saca un cigarrillo. Tras una furtiva ojeada hacia arriba, saca una cerilla y la pared. Se pone a fumar muy complacido. Salen del III Rosa y Trini: una pareja notablemente igualada por las arrugas y la tristeza que la desilusi^n y las penas han puesto en sus rostros. Rosa lleva un capacho.) 319 TriniitPara que vienes, mujer: ,'Si es un momento! Rosa: Por respirar un^poco de aire^de la calle. Me ahogo en casa. Ademas, te ayudare. Trini: Ya ves; yo prefiero, en cambio, estarme en casa. Rosa: Es que...no me gusta quedarme sola con madre. No me quiere bien. / Trini : Wue di sparate! Rosa: Si, si...Desde aquello. S Trini Quien se acueraa ya de eso? Ro8a:|Todos! Siempre lo recordamos y nunca hablamos de ello. / Trini: Dejalo. No te preocupes. Manolin: ,'hola, Trini ! Trini:,'Mala pieza! j Madre mia! Manolin:jEs que hoy es mi cunpleanos! Trini : JCararabal ^Y cuantos cumples? Manolin: Doce. jYa soy un hombre! Trini: Si te hago un regalo^me lo aceptaras? Manolin :t,Que/ me vas a dar? Trini: Te dare^dinero para que te compres un pastel. Manolin: Yo no quiero pasteles. Trini:^No te gustan? Manolin: No. Prefiero que me regales una cajetilla de tabaco. Trini :}Ni lo suenes! Y tira ya eso. Manolin: No quiero. Oye, Trini...Tu me quieres mucho, verdad? Trini: Naturalmente. 320 Manolin: Oye...quiero preguntarte una cosa. Trini : Manolin: Ven. No quiero que me oiga R o s a . " 4 4 I . Question Period Students will write a 100-word composition that responds to any one of the following questions: (1)iQue'ejemplo personal o ajeno podrias dar como un caso de protesta? (^)^Por que s,e quejan tanto los mayores o la gente mayor de los jovenes de hoy dia? (3)‘-Por que se quejan los jovenes tanto de sus padres? (4)<^En queX arte encuentra^ la protesta mejor explicada o desarrollada? ^Por que? II. Act out and orally respond to a situation in which you display 3 particular emotions: anger, impatience, and frustration. / v ' Teacher: Hoy es tu cumpleanos y tu familia se ha olvidado de ello. Student #1 displays anger: ______ Teacher: Tus esperas a tus padres que te traigan un regalo. Student #2 displays impatience: Teacher: Tus padres te dan un regalo que no te gusta. Student #3 displays frustration: ______III. Pairs of students will improvise (by using gestures only) a dialogue between a young boy 12 yrs. old and a mature woman in her 60*s. (1) Nino fumando(gesto) (2) Vecina mayor le llama la atencion(gesto) (3) Nino no le hace caso(gesto) (4) Vecina se muerde los labios de colera y lo llama para pegarle(gestos) 321 (5) Kino pone cara triste y avergonzada. Se da la vuelta(gestos). Tira el cigarrP (6) Vecina lo llama para darle la mano y un abrazo. Se sonrien y se despiden(gestos). IV. Given a list of vocabulary words, students will explain orally the meaning of these words. Examples: 0. Ceguera el que no ve 1. Rofioso ______ 2. Cochino ______ s * * 3. Grunon ______4. Simpleza ______ 5. Atolondrado .______ V. Given 3 childhood situations, students will elaborate on their reactions to each situation by writing a short paragraph for each beginning with the model phrase. (1) Sus padres beben mucho y a causa de ello se pelean con frecuencia. Yo aconsejo a mis padres ...... (2) Una vecina te promete dar un regalo a cambio de que dejes de fumar. Ya no volvere a fumar mas si...... (3) Tienes 12 anos y vas a hacerle una proposicion a una vecina amiga de 50 anos. Yo me quiero casar contigo porque...... 322 EPISODIO IV EL TRADICIONALISMO Teacher: Los hijos, Fernando y Carolina, se quieren mucho, pero los padres prohiben que se hablen. Se repiten en este acto los rnisraos motivos de al principio. Historia / de una escalera es un drama de composicion sencilla, pero / no elemental; la situacion planteada en el primer acto / debe conducir, segun los datos visibles, a una segunda / situacion que, sin embargo, no sucede, sino la contraria, que viraos en el segundo acto y que resulta profundamente / logica. Los sobrevivientes del acto segundo asisten, en el acto tercero, al planteamiento de una situacion semejante a la del primer acto con sus hijos como protagonistas. Es un anillo de destinos que se cierran, una vuelta a empezar sin salida, semejante a la vida misma, que podrfa representarse de la siguiente forma: © Vocabulary (1) abrumar(llenar) (2) desasirse(safarse-desprenderse) (3) forcejear(hacer fuerzas) (4) brusquedad(violencia-rudeza) (3) esquivado(evitado) f (6) pretexto(excusa) Idioms (1) no te saldras con la tuya(no haras lo que tu quieras) (2) lo nuestro no puede ser(nuestro noviazgo no puede continuar) Tape recording Students will first listen to the selected passage on tape. Exposition of the selected passage (Oral reading) / Paca: "Que pongan o^ra...Ix>p jovenes, en cuanto una cosa esta vieja, solo sabeis tirarla. /Pues las cosas viejas hay que conservarlas! I Te enteras? Carolina, hija: A ti, como eres vieja, te gustan las vejeces. Paca: Lo que quiero es que tengas mas respeto para...la vejez. Carmina, hija:,'Boba! J Vie ja guapa! / Paca:;Quita! jQuita, hipocrita! Ahora vienes con carinitos Carmina, hija: Anda para adentro. / Paca: ,*Que falta de verguenza! I Crees que vas a mandar en mi? ^De'jame! Carmina, hija: Entra... Paca:|No te olvides de comprar ajos! Fernando, hi jo: Carmina. Carmina, hija:,‘Dejame, Fernando! Aqui, no. Nos pueden ver. 324 ✓ Fernando, hijo:JQue nos importa! ✓ Carmina, hija: Dejame. ✓ Fernando, hijo;/Escuchame, te digo! /Te estoy hablando! Carmina, hija: Por favor, Fernando. Fernando, hi jo: No. Tienes que ser ahorav Tienes que decirme en seguid^, por que me has esquivado estos dias.x Vamos,icontests! Por que? /No mires mas! No hay nadie. / Carmina, hija: Fernando, dejame^ahora. Esta tarde podremos vernos donde el ultimo dia. Fernando, hijo: De ^.cuerdo, Pero ahora me, vas a decir por que no has venido estos dias. Carmina, hija:)Fernando! Fernando, hijo: Difmelo! /Es que ya no me quieres? No me has^querido nunca,/verdad? Esa es la razon. Has querido coquetear conmigo, divertirte conmigo! Carmina, hija: No, no... Fernando, hijo: S^. Eso es. / Pues no te saldras con la tuya! ✓ Carmina, hija: Fernando, yo te quiero. [ Pero dejame! / Lo nuestro no puede ser! Fernando, hijo:/Por que/ no puede ser? Carmina, hija: Mis padres no quieren. / Fernando, hijo:/Y que? Eso es un pretexto. / Un mal pretexto! Carmina, hija: No, no...de verdad...Te lo juro. Fernando, hijo: Si me quisieras de verdad no te importaria. Carmina, hija: Es que...me han amenazado y...me han pegado... / Fernando, hijo:c’Como? Carmina, hija: s£, y hablan mal de ti...y de tus padres... Dejame,j' Fernando! Olvida lo nuestro. No •> 325 puede ser... Tengo miedo."^-’ I. Usted es entrevistado en un programa de televisions como el de Johnny Carson o Merv Griffin. Preparan las mesas y las sillas lo mismo que se ven en estos programas. / Presentador: I.^Que hizo usted para llegar a ser famoso? / 2 ^ En dpnde construyo us^ed su obra maestra, y cuanto tiempo empleo? 3.«!£s usted el hijo mimado de la familia? ✓ 4.^Cuantos miembros hay en su familia? 5.0Ganaba su padre lo suficiente para mantener a su familia? / 6.cEstudiaba o trabajaba usted en algun sitio 7./Lo(a) dejaban salir solo(a) fuera de casa? 8.^Existian buenas relaciones entre ustedes, los hijos, y vuestros padres? f / 9.cComo era su relacion con las familias de los vecinos? / 10.£Pertenece usted a alguna asociacion o club II. Given a questionnaire about customs that may apply to the United States and Spain, students will circle SI or NO according to their knowledge of these customs. U .3 . A . SPAIN SI NO SI NO I.^Pueden los novios verse a solas sin el permiso de sus padres? SI NO SI NO 2.c-Deben intervenir siempre los padres en las relaciones del noviazgo? SI NO SI NO 3.Pueden salir juntos dos novios para cver una pelicula, sin el permiso de los padres? SI NO SI NO 4 ‘c^5 contra la modestia de la mujer^si esta sale sola por la noche despues de las diez? SI NO SI NO 5^lPuede la mujer ir a prisitar a su novio a la casa de este? 326 III. Match the Spanish sentences in column A with their English equivalents in column B. (1)iQuita! c. Bo you think you are going to order * me around? (2) Cierra la puerta en sus narices. b. Where we met last time. (3}/ \ Donde elultimo ^ dia. / c. Get away. (4) Lo nuestro nopuede ser. d. Slams the door in her face. (5)cCrees que vas a mandar en mi? e. Our courtship can't continue. IV. Given a questionnaire about man and woman's role in Spanish society, students will circle VERDADERO or FALSO after reading each statement. V F 1. Antes de casarse la novia es reina; despues, ella es tratada un poco mejor que como una esclava. V F 2. El papel de la esposa con exagerada femenidad es llamado "herabrismo." V F 3. El papel del esposo con exagerado masculinismo es llamado "machismo." V F 4. La costumbre de ii; la joven acompanada por una "chaperona" todavia existe en Espana. V F 5. De cada ocho matrimonios, uno se divorcia en Espana. 327 EPISODIC) V EL CHIVATO / Teacher: Si admitimos que el desahogo psicologico se / produce a traves de la protesta, bien podemos considerar diversos tipos o clases de escape. Ya vimos anteriormente como Manolin se refugia en el "casinillo” para fumar o protestar de la injusticia cometida por sus /v' padres al no recibir su pastel de cumpleanos. En este episodio la protesta tiene un sentido diferente. La colera de Manolin se manifestara yendo con un cuento a su padre sobre su hermano y la novia de e'ste. En Espana se le suele llamar a esto de diversas formas: "habladuria,” "ir con el cuento,” "alcahuetear," ”ir a soplar (soplon)," "chivarse,” "correr la bola”... / y otras muchas mas expresiones que forman un conjunto / variado e interesante segun las diversas regiones y contumbres. Vocabulary (1) suspicacia(sospecha-desconfianza) (2) colillas(sobras o puntas de cigarros) (5) trastear(enredar o enganar) (4) apremio(prisa) (5) chivato(soplon) 328 I. The sentences below contain predicate nominatives. Underline each subject once and each verb twice. Draw a curvy line under each predicate nominative. (1) Si, el senor en la puerta era el novio de mi hermana. € (2) Yo estoy harto de vuestras estupidas prohibiciones. (3) Yo soy ya un hombre. / (4) Tu eres el que no nos comprendes. (5) Por anos mi hermano era su novio. Tape recording Students will first listen to the selected passage on tape. Exposition of the selected passage (Oral reading) / Fernando, "hijo\iQue haces aquf? Manolin: Nada. Fernando, hijo: Anda para casa. Manolin: No quiero. Fernando, hojo:jArriba, te digo! Manolin: Es mi cumpleanos y hago lo que quiero. *Y tu^ no tienes derecho a mandarine! Fernando, hijo: Si no fueras el favorito...ya te daria yo cumpleanos. Manolin:}Que^ entusiasmado estas con Carmina! Fernando, hojo:/Te voy a cortar la lengua! Manolin: jPareciais dos novios de pelfcula! fNo me abandones, Nelly! Te quiero, B o b ! ",’Bruto! Fernando, hijo:^Que hacias en el "casinillo?" Manolin:! No te importa! ,‘Bruto! Idiota! . y/Momantico! ! ! Fernando, hijo: Fumando,^eh? Ya veras cuando se entere papa". 329 Manolin:/Y yo le dire que sigues siendo novio de Carmina! Fernando, hijo: ,'Que//bien trasteas a los padres, marrano, hipocrita! / Pero los pitillos te van a costar caros! * Manolin:|No t^ tengo miendo! Y dire lo de Carmina. ) Lo dire ahora mismo! Fernando, hi jo:/Baja, chivato! Manolin: No. Ademas, esos pitillos no son mios. Fernando, hi jo:/Baja! Manolin:/Papa, Fernando estaha besandose con Carmina en la escalera! Fernando, hi jo:/Embustero! Manolin: Si, papa. Yo no los veia porque estaba en el "casinillo"; pero... Fernando: pasa para adentro. . / Manolin: Papa, te aseguro que es verdad. / Fernando: Adentro. Y tu, sube. Fernando, hijo: Papa, no es cierto que me estuviera besando con Carmina. Fernando :«LEstabas con ella? Fernando, hijo: Si. Fernando :c‘Recuerdas que te hemos dicho rauchas veces que no tontearas con ella? Fernando, hijo: s£ . Fernando: Y has desobedecido... Fernando, hijo: P a p a " " . , .Yo... "46 II. Underline all of the verbs in this episode according to tense, person, and number. EJEMPLO: Haces: presente indicativo, segunda persona singular. 330 III. Compose a monologue in which Fernando, hijo, addresses himself. Plot: Fernando, hijo protesta y se rebela contra las estupidas prohibiciones de sus padres ie no poder ser novio de la persona a la que ama. Eduardo Albert 1 Raquel Welch Hoberto Redford Historia de un amor tenia a Ryan O rNeal y Ali McGraw como protagonistas principales. Ahora estamos dando Historia de una escalera; (1)cQuien hara el papel de Fernando? (,2)iPoT que escogio usted este actor? (3)cQ^e caracter/sticos comunes tiene este actor con Fernando? (HAGASE LO MISMO CON URBANO. ELVIRA Y CARMINA) 331 * EPISODIC) VI LA LIBERACION Teacher: El desprenderse del dominio paterno ha sido siempre un tema delicado y pocas veces tratado en el teatro espanol, sumamente tradicionalista y apegado a la familia. Aqui, Buero Vallejo nos enfrenta a una escena en que / el hijo mayor se rebela en contra de las estupidas / prohibiciones de sus padres. MQue tengo yo que ver con S vuestros rencores y vuestros viejos prejuicios? ^Por que no vamos a poder querernos Carmina y yo?"^^ / El amor es mas fuerte que los lazos familiares y por eso rompe con todo con tal de liberarse y seguir a la persona amada. Vocabulary (1) harto(lleno-cansado) (2) rencor(odio) (3) tratarse(hablarse) (4) blanduras(tiernas) (5) halagar(dar gusto o placer) (6) empenarse(insistir) Tape recording Students will first listen to the selected passage 332 on tape. Exposition of the selected passage Fernando: "Entra, /’has oido! Fernando, hijo: (rebelandose) (No quiero! j'Se acabo! Fernando:cQue dices? Fernando, hijo:jNo quiero en^rar! Ya estoy harto de vuestras estupidas prohibiciones! / Fernando: Supongo que no querras escandalizar para los vecinos... / Fernando, hijo: No me importa! Tambien estoy harto de esos raiedos! iPor que' no puedo hablar con Carmina, vamos a ver? / Ya soy un hombre! Elvira:|No para Carmina! Fernando:jCalla! Y tu entra. Aqui^ no podemos dar voces. / Fernando, hijo^Que tengo yo que ver con vuestros rencores y vuestros viejos prejuicios? cPor que no vamos a poder querernos CaLrmina y yo? Elvira:j Nunca! Fernando: No puede ser, hijo. / Fernando, hijo: / Fernando: Tu no lo entiendes. Pero entre esa familia y nosotros no puede haber noviazgos. ✓ Fernando, hijo: Pues os tratais. Fernando: Nos salud^amos, nada mas. A mi realmente no me importaria demasiado. Es tu madre... Elvira: Claro que no. (Ni hablar de la cosa! Fernando: Los padres de ella tampoco lo consentirian. Puedes estar seguro. Elvira: Y tu' deb^as ser el primero en prohibirselo en vez de halagarle con esas blanduras improcedentes. Fernando:/Elvira! 333 Elvira:/Improcedentes! Entra, hijo. / ✓ Fernando, hijo: Pero, mama.. .Paga,.. .|'Cada vez lo entiendo menos! Os empenais en no comprender que yo...jno puedo vivir sin Carmina! ✓ Fernando: Eres tu el que no comprendes. Yo te lo explicare todo, hijo. Elvira: No tienes que explicar nada Entra. Fernando: Hay que explicarle, mujer...Entra, hijo. Fernando, hijo: No os comprendo...No os comprendo. I. After listening to this episode on tape and orally reading, the teacher will ask the following questions and students will answer them orally. (1)(^Que/ dice Fernando, hijo, a sus padres sobre Carmina? (2 KAceptarjfa Fernando, padre, las relaciones entre su hijo y Carmina? / (3)i_Le que tiene miedo el padre de Fernando? / / (4)oDe que esta harto, Fernando, hijo? (5)^0bedece Fernando, hijo, a sus padres? II. Students will fill in the flanks witn the appropriate verb . (1) Ki hermano menor ______las cartas, (recibe, corre sienta) (2):Donde ______su hermano? (muere, vive, mide) (3) Mis padres ______a visitar mi familia. (reciben, comprenden, prometen) (4) Su novia y yo ______a la oficina del decano. (abrimos, entramos, fuimos) / (5) La tradicion les ______(1U€ S€ yean« (dice, comunica, prohibel III. Students will complete the following clauses by adding rejoinders that contain predicate nominatives. (1) Mi hermano pequeno es un ______334 (2) Si no fueras el favorito ______. v / ' (3) Que entusiasmado estas con . (4) Esos pitillos no son ______. ✓ (5) Mi hermano mayor esta saliendo a . IV. Students will change the following sentences: (1) to the negative, past tense; (2) to an interrogative. A. Su hermano es el favorito. / 11) Preterito negativo: ______/ (2) Interrogacion: ______ / B. Tu tienes ganas de obedecer. / t1) Preterito negativo: ______(2) Interrogacio^n: ______/ / C. Pernando esta besandose con Carolina. (1) Preterito negativo: ______/ {2) Interrogacion: ______ D. La obediencia y el respeto a los mayores es cosa sagrada. (1) Preterito negativo: ______ (2) Interrogacion: ______ £. Te voy a cortar la lengua. / V / (1) Preterito negativo: ______ (2) Interrogacion: ______335 V. Students will fill in the blanks with the names of all the characters from the play who fit into each category. COSMOS DEL RESPETO EE LA. SOCIEDAD ESPANOLA CATEGOR1AS CUAHTITATITAS CATEGORIAS CDALITATIVAS Edad-sexo Paailia Amigos Vecinos Ocupacion Posicion ALTO Econoaico RESPETO Mujeres y Padres y ami- y veci- ProfeBor hoabrea de y herma gas de nas de Jef es Gente edad avanzada no s ma- mayor mayor Curas rica y maduros. yores. edad. edad. Policias Doctor Filo'sofo Intelec- tual Ingeniero NAMES ACCORDIHG TO THE PLAT RESPETO Jovenes Hermanos Eetudiantes Gente de MEDIO menores sirrientes elase Muchachos Ministros media, y aucha- Protestan- pobre y chas tes. class Actores popular. Ar/tistas Nusicas ■AMES Ninos Amigos o amigas Obreros linos- ACCORDING TO THE y / de vecinos de neros PLAT bebes menor edad. NAMES ACCORDING TO THE PLAT 336 EPISODIC) VII LA MATERNIDAD Teacher: La forma del cuerpo femenino corresponde a sus funciones internas. Estas funciones tienen su primer origen en el misterio propio de la mujer, la maternidad. Y viceversa, son la base de que la maternidad se estimule y se mantenga siempre despierta, aun para las solteras y sin hijos. En ello se basa el misterio de la juventud y la madurez de una mujer. Lo mas femenino de una mujer es el instinto maternal. La mujer es ella misma por completo cuando es madre. Y esto no solo en el sentido de la maternidad corporal, sino tambien en la espiritual, sintiendo maternalmente por todo lo que se refiere al nino, la debil, lo pequeffo, lo necesitado de ayuda. Vocabulary (1) tra8nochando(sin dormir) (2) sano(saludable) (3) fondo(interior) (4) jadear(respirar con fuerza) Tape Recording Students will first listen to the selected passage on tape. 337 Exposition of the selected passage (Oral reading) Trini: *?Y no le has vuelto a ver? t Rosa:/Muchas veces! Al principio no me saludaba, me evitaba. Y yo como una tonta, le buscaba. Ahora, es al reves... Trini j^Te busca el? Rosa: Ahora me saluda, y yo al el no. / Canalla! Me ha entretenido durante anos para dejarme cuando ya no me mira a la cara nadie. S Trini: Estara ya viejo... Rosa:/Muy viejo! Y muy gastado. Porque sigue bebiendo y trasnochando... Tri ni : i Qu e vi d a! Rosa: Casi ^ne alegro de no haber tenido hijos con el. No habrian salido sanos. /Pero yo hubiera querido tener un nino, Trini! Y hubiese querido que el no fuese como era...y que el nino se le hubiese pareciao. Trini: Las cosas nunca suceden a nuestro gusto. Rosa: No. / Pero, al menos, un nino! Mi vida se habria llenado con un nino! Trini :.. .La inia tambien. . / / Rosa:cEh? Claro. /Pobre Trini! / ^ue lastima que no te hayas casado! / / Trini:/Que iguales soraos en el fondo tu y yo! Rosa: Todas las mujeres somos iguales en el fondo. Trini: S£...Tu has^sido el escandalo de la familia y yo la victims. Tu quisiste vivir tu vida y yo me dediqu^ a la de los demas. Te juntaste con un hombre y yo solo conozco el olor de los de la casa...Ya ves: al final hemos venido a fracasar de igual manera. Rosa: Abre... Trini: sf...Ahora mismo."^ 338 I. Discuss your problems as if you were Rosa aby using the following questions as guidelines. (1) (2)c Quien y por que razon le ha abandonado a usted? (3)cHa deseado ser madre alguna vez? (4)iQue^ clase de comparaciones o contradicciones existen entre usted y su hermana? (5)cQue es lo que desearia hacer en la vida? II. Explain the different meanings of the following vocabulary used in the play. (1) Gastado ______ (2) Trasnochado ______ (3) Eondo ______(4) Jadear ______ (3) Gusto ______ III. Given a series of social situations, students will express (orally with one or more statements) proper etiquette usually observed in these situations. (1) Teacher: Congratulate the bride on the occasion of her marriage. Student: Teacher: The bride might respond: Student: (2) Teacher: Congratulate the groom on the occasion of his marriage. Student; Teacher: The groom could respond in the same or different manner than the bride. Student: 339 (5) Teacher: Congratulate the parents on the birth of a child. Student: (4 ) Teacher: Extend condolences to a person on the death of a loved one. Student: (5) Teacher: Traditional remarks made to relatives or friends of the deceased at a funeral home. Student #1 (He/she lived a long and full life) Student #2 (He/she looks natural) Student it3 (He/she was a good man/woman) IV. Students will answer the following questions concerning cultural differences in Spain and the United States as if they were of dual nationality. Circle SI or NO according to your country's customs. (1)cEs la escena del funeral como la de tu pafs? SI NO (2)<^E 1 ritual de dar el pesame es lo raismo que en SI NO U.S.A.? (3)'La falta de tecnologfa es propia de los Estados SI NO Unidos? (4)cLa costumbre de velar el muerto en la propia casa SI NO es propia de los Estados Unidos? (5) (6)^,E1 4&rro de leche que debe comprarse diariamente SI NO esta de acuerdo con nuestras costumbres? (7)cEl chismeo se da solo en Espana? SI NO (8)^,La manera de protestar o de rebelarse la SI NO juventud es lo mismo en Espaifa que en los Estados Unidos? 340 (9) (10)flLa casa de apartamentos en donde vive la gente SI NO de la obra es semejante a la de los Estados Unidos? V. Given a series of cultural aspects of Spanish society, students will choose an appropriate rejoinder to each situation. (1) Un padre espanol esta^reganando a su hija de 22 affos pcrque ella fue^al cine con su novio a pesar de que el padre le habia prohibido salir de la casa. La raam^ de la senorita, para proteger a la hija, dice: (a Ella ya es de edad. Puede hacer lo que quiera. (b Ella es muy religiosa. Podemos confiar en su prudencia. (c Ella no fue al cine. Yo la mande adonde la costurera. (d No tengas pena. Maria, la hermana del novio, fue al cine con ellos. (2 La mama" de un amigo de Juan se muricT anoche. Al verle a su amigo el dxa siguiente, Juan probablemente le dirfa: (a Que" lastima. Me cafa bien. (b Ella era una mujer muy buena. / / (c Mi mas sentido pesame. (d Aslf es la vida. (3 Jose^ lleva una nueva camisa yy un espano^. quien no le conoce muy bien le dice: "Que camisa mas bonita!" El le diria: (a Muchas gracias, es importada. (b Muchas gracias, es de mi hermano. (c El la tuya. ✓ / (d Esta a sus ordenes. 341 EPISODIO VIII LOS PROYECTOS FALLIDOS Teacher: "Fracasado" es la palabra que le lanzan al que le fallan los proyectos. Para los que ven en la obra el fracaso completo de los personajes y por eso mismo el pesimismo profundo del autor, hay tres personajes que, desmienten lo inevitable del fracaso. El primero es Don Manuel, que como vive en la misma casa que los otros, debio^ ser tan pobre como ellos. Habia sido ofieinista, un empleo bastante humilde, pero luego monto una agenda para sacar permisos, certificaciones, etc., y tenia empleados. Asi que se puede concluir que, trabajando fuerte, pudo salir de la miseria que rodeaba a los otros. Otro aspecto optimista se ve al empezar el tercer acto. Un Joven y un Senor, bien vestidos, se quejan de pagar mas por los pisos inferiores, hablan de los nuevos modelos de carros y de lo bien que marchan sus asuntos. Teniendo en cuenta el bienestar economico de estos tres personajes, se podria interpretar el drama de una manera optimista; es decir, que los hijos de Fernando y Urbano / / romperan el molde de la frustracion si tienen voluntad. 342 Muy bien desarrollado hasta aqui es el tema del conflicto ideologico y amoroso entre Urtoano y Fernando, ylas rivalidades entre Elvira y Carmina, conflictos que poco a poco ascienden a su punto culminante (climax) en la gran bronca de esta escena, que es como un resumen de las decepciones, los rencores, los odios, tapados durante afios, que brotan como una gran ola sobre todos los personajes. Vocabulary (1) gandul(vago) (2) testarudez(cabeza dura) (3) impedir(prohibir) (4) sonsacar(enganar) (5) deslomo(matar a palos) (6) encarrilar(enderezar) (7) emancipar(librarse) (B) gallina(cobarde) (9) gallo(valiente) (10) gentuza(gente vulgar) (11) entrometida(intrusa) (12) zalamera(lavacaras) Idioms (1) tener pajaritos en la cabeza(tener visiones de grandeza) (2) esto no tiene arreglo(esto no tiene remedio) (3) sacar de sus casillas(volverlo loco o fuera de si mismo) 343 (4) es de la pasta de su familia(es como los de su familia) (5) mosquita muerta(alguien callado e insignificante) (6) salio^ mal la combinacion(le fallo^el proyecto) (7) a limpiarse de mi nieta(no quiero ver con mi nieta) Tape recording Students will first listen to the selected passage on tape. Exposition of the selected passage (Oral reading) Urbano: j"Y no quiero que vuelvas, a pensar en Fernando! Es como su padre: un inutil. Carmina:/Eso! Urbano: Masj, de un pitillo ^nos hemc^s fumado el padre y yo ahi mismo cuando eraraos jovenes. Me acuerdo muy bien. Tenia muchos pajaritos en la cabeza. Y su hi jo es como el: un gandul. Asi es que no quiero ni oirte su nombre. Entendido? Urbano CTe cansas? Carmina: Un poco. Urbano: Un esfuerzo. Ya no queda nada. Toma, ve abriendo. Te duele el corazon? Carmina: Un poquillo... Urbano:/Dichoso corazon! Carmina: No es nada. Ahora se pasara. Urbano:cPor que/no quieres que vayamos a otro medico? Carmina: Porque no. Urbano:/Una testarudez tuya! Puede que otro medico consiguiese... Carmina: Nada. Esto no tiene arreglo; es de la edad...y de las desilusiones. Urbano: Tonterias! Podiamos probar... / / Carmina:i Que no! / Y dejame en paz! / / Urbano:cCuando estaremos de acuerdo tu y yo en algo? Carmina: Nunca. Urbano: Cuando pienso lo que pudiste haber sido para mi... ^Por que te casaste conmigo, si no me querias? Carmina: No te engaxie. Tu te empeSaste. Urbano: Si. Supuse que podr^a hacerte olvidar otras cosas ...Y esperaba mas correspondencia, m£s... Carmina: Mas agradecimiento. Urbano: No es eso. En fin, paciencia. Carmina: Paciencia. Paca^No sub^s? Urbano: Si. Carmina: Si. Ahora mismo. Urbano:^Puedes ya? Carmina: Si. Urbano:j Fernando! Fernando: Hola. ^Que^ quieres? Urbano: Un momento. Haz el favor. Fernando: Tengo prisa. Urbano: Es solo un minuto. Fernando:^Qu/ quieres? Urbano: Quiero hablarte de tu hijo. Fernando: iDe cual de los dos? Urbano: De Fernando. / Fernando u-Y que tienes que decir de Fernando? 345 y / Urbano: Que harias bien impidiendole que sonsacase a mi Carmina. Fernando :e'Acaso crees que me gusta la cosa? Ya le hemos dicho todo lo necesario. No podemos hacer mas. Urbano:dLuego lo sabias? ✓ ^ Fernando: Claro que lo se. H a n a falta estar ciego... Urbano: Lo sabias y te alegrabas,d no? ✓ Fernando : Urbano Si! Te alegrabas, Te alegrabas de ver a tu hi jo tan parecido a ti mismo...Le encontrarle tan irresistible como lo eras tu hace treinta afTos. ✓ Fernando: No quiero escucharte. Adios. Urbano:/ Espera!y Antes hay que dejar terminada esta cuestion. Tu hijo... Fernando: Mi hi jo es otra victima, como lo fui yo. A mi hi jo le gusta Carmina porque ella se le ha puesto delante. Ella es quien le saca de sus casillas. Con mucha mayor razon podria yo decirte que la vigilases. Urbano:/Ah, en cuanto a ella puedes estar seguro! Antes la deslomo que pernjitir que se entienda con tu Fernandito. Es a el a quien tie/ies que sujetar y encarrilar...Porque es como tu eras: un tenorio y un vago. Fernando:iYo un vago? Urbano: Si. ILonde han ido a parar tus proyectos de trabajo? No has sabido hacer mgfs que mirar por encima del hombro a los demas. /' Pero no te has emancipado, no te has libertado! Siques amarrado a esta escalera, como yo, como todos! y ' / / Fernando: Si; como tu. Tambien tu ibas a llegar muy lejos con el sindicato y la solidaridad. Ibais a arreglar las cosas para todos...hasta para mi. Urbano :j Si! Hasta para los zanganos y cobardes como tifl Carmina:»Eso! JUn cobarde! / Eso es lo que has sido siempre! / Un gandul y un cobarde! 346 Urbano:/Tu, callate! Carmina:)No quiero! Tenia que decirselo. /Has sido un cqbarde toda la vida! Lo has sido para las cosas mas insignificantes... y para las mas , importantes. ) Te asustaste como una gallina ouando hacia falta ser un gallo con cresta y espolones! Urbano:jMetete para adentro! Carmina:) No quiero! Y tu hi jo es como tu: un^cobarde, un vago y un embustero. Nunca se casara con mi hija, entiendes? / y Fernando: Ya procurare que no haga esa tonteria. Urbano: Para vosotros no seria u,na tonteria, porque ella vale mil veces mafs que el. Fernando: Es tu opinion de padre. Muy respetable. Pero Carmina es de la pasta de su familia. Es como Hosita... Urbano: Te voy a... Fernando:/Si! A tirar por el hueco de la escalera! Es tu amenaza favorita. Otra de las cosas que no has sido capaz de hacer con nadie. y Elvira: JPor que te avienes a discutir con semejante gentuza? Vete a lo tuyo. Carmina:)Una gentuza a la que no tiene usted derecho a hablar! Elvira: Y no la hablo. Carmina:/Ueberra darle verguenza! Porque usted tiene la culpa de todo esto! Elvira:*: Yo? Carmina:)_Si, usted, que^ ha sido siempre una zalamera y una entrometida... Elvira:*; Y usted que/ ha sido? j Upa mosquita muerta! Pero le salio mal la combinacion. Fernando: Estais diciendo muchas tonterfas... / / Elvira: )Tu te callas! Urbano: Carmina,ino discutas eso! Elvira: Fue usted, que nunca supo retener a madie, que no ha sido capaz de conmover a nadie...ni conmoverse. ✓ Carmina:/Usted, en cambio, se conmovio a tiempo!,' Por eso se lo llevo! / Elvira:/ Callese! jNo tiene derecho a hablar! Ni usted ni nadie de su familia puede rozarse con personas decentes. Paca ha sido toda su vida una murmuradora...y una consentidora. /Como usted! Consentidores de los caprichos de Rosita... /Una cualquiera! Rosa:(Deslenguada! /Vibora! Fernando:/Basta! jBasta ya! Urbano:/Adentro todos! Rosa: Si yo me junte7 con Pepe y me salio^ mal, usted cazo/ a Fernando... Elvira:;Yo no he cazado a nadie! Rosa:/A Fernando! Carmina:/Si! /A Fernando! Rosa: Y le ha durado. Pero es tan chulo como Pepe. Fernando:LComo? Urbano: /Claro que s^! iEn eso llevan razon! Has sido cazador de dote^. En el fondo, jgual que Pepe. Peori /Porque tu has sabido nadar y gusirdar la ropa! Fernsmdo:/No te parto la cabeza porque...! Urbano:IPorque no puedes! (Porque no te atreves! Pero a tu nino se la partire yo como le vea rond&r a Carmina! Paca:/Eso! )A limpiarse de mi nieta! Urbsuio:|Y se acabo! j Adentro todos! 348 Rosa:jPecoral Carmina: / Enredadora! Elvira:jEscanda losas! jOrdinarias! / Fernando:iVosotros, para dentro tambien! Elvira:|Y tu a lo tuyo, que ni para eso vales!"5® I. Circle the correct rejoinder to each question with 100% accuracy. (1 )tl Quien llama a Fernando cuando este esta para entrar? (a) Carmina (b) Urbano (c) Elvira (d) Su hijo (2)t'De que sufre Carmina, la madre? (a) De asma (b) de los pies (c) de la cabeza (d) del corazo'n (3)c Quien es la primera que interviene en el altercado de Urbano y Fernando? (a) Elvira (b) Carmina (c) Rosa (d) Paca (4KQuien es la otra mujer que aparece al fin del altercado? (a) Elvira (b) Carmina (c) Rosa 349 (d) Paca (5)«.Cual es el insulto mas veces repetido a Fernando por todos? ' (a) Vago (b) Cobarde (c) Embustero (d) Canalla (6) Elvira (lice a Carmina hablando sobre Fernando: '.'Se lo regalaria de buena gana!": ' (a) Porque lo quiere (b) Porque no le gusta (c) Porque no puede divorciarse (d) Porque le pega. II. Select several students to ora'ly represent the characters cited by answering the following questions. (l;^Por/ \ que/ no quiere usted que su hija Carmina sea novia de Fernando? (2)^Segun usted,I por que habla su hi jo con Carmina? (3)^Que ha ocurrido con los proyectos de usted y Urbano? (4)^Que diria usted como madre, a Fernando, el padre? C5)tQuien habla y hace mas: Usted como Elvira, o Fernando? III. Given 3 themes, students will write a 150-word composition for one of the following themes. (a) Relaciones actuales entre Carmina, hija y Fernando, hi jo. Resultado. (b) Situacion presente de la familia de Rosa. (c) Explique las razones de por que^ es este el climax de Historia de una escalera. IV. The play's climax is in this episode. To support this statement, read the following sentences, choose one of them giving the reasons why you think it agrees with the initial statement. 350 (a) Es un resumen de las decepciones, los rencores, los odios de dos familias, tapados durante anos, y que salen con violencia en este momento. (b) Los hijos son la causa principal de que se arme un lio de todos los demonios,pr lleguen a insultarse los padres entre si. (c) Historic de una escalera es una obra sin una solucion clara, y es aqu/ en donde el autor demuestra que ninguna de las faniilias gana la pelea. 351 EPISODIO IX LOS JOVENES Teacher: Los hijos, Fernando y Carmina, se quieren mucho, pero los padres prohiben que se hablen. En este final el hi jo repite las palabras de su padre treinta anos antes. Kuchos criticos han visto en ellas un pesimismo profundo sin salida, un cuadro costumbrista de gente pobre que, dadas las condiciones expuestas, nunca podra salir de su condicion economics. Estas palabras del / hi jo rauestran que esta para seguir los pasos de su padre hacia el fracaso completo. Pero el fracaso no se debe a las condiciones economicas, sino al caracter abulico de los protagonistas. Por otro lado el fracaso de Fernando se debe a ^ / haberse traicionado a si mismo, casandose con Elvira, a quien no amaba, y el de Urbano por casarse con Carmina, que no le amaba; pero creemos que los hijos son fieles a su amor y por eso quiza triunfaran. Vocabulary (1) sordidez(bajeza) (2) confiar(tener fe) (3) mezquino(miserable) (4) vulgar(ordinario) 352 (5) bronca(pelea) (6) estrecheces(necesidades) (7) arrobados(extasiados) (8) divisar(ver-observar) (9) rozar(tocstr por encima-pasar con la mirada) Tape recording Students will first listen to the selected passage on tape. Exposition of the selected passage (Oral reading) Fernando, "hi jo:iCarmina...! Carmina, hija:/Fernando! Ya ves...Ya ves que no puede ser. Fernando, hi jo:/Si puede ser! ^No te dejes vencer^por su sordidez. iQue puede haber de comun entre ellos y nosotros? /Nada! iEllos son vj.ejos y torpes! No comprenden...Yo luchare para veneer. Luchare'por ti y por mi. Pero tienes que ayudarme, Carmina. Tienes que confiar en mi y en nuestro carino. Carmina, hija:/No podre^ Fernando, hi jo: Podra"^. . .Podra^... jjprque yo te lo pido. Tenemos que ser mas fuertes que nuestros padres. Ellos se han dejado veneer por la vida. Han pasado treinta af}os subiendo y bajapdo esta escaler^...Haciendose cada dia mas mezquinos y mas vulgares. Pero nosotros no nos dejaremos veneer por este ambiente. /No! Porque nos marcharemos de aqu£. Nos, apoyaremos el uno en el otro. Me ayudaras a subir, a dejar para siempre esta casa miserable, estas broncas constastes, estas estrecheces. /.He ayud'aras, verdad? Dime que si, por favor. fDimelo! Carmina, hija: Te necesito, Fernando, i No me d ejes! Fernando, hi jo:iPequeffa! Carmina, voy a empezar en seguida a trabajar por ti. /Tengo muchos proyectos! 353 Saldre de aqui. Dejare a mip padres. No los, quiero. Y te salvare a ti. Vendras conmigo. Abandonaremos este nido de rencores y de brutalidad. Carmina, hija:/Fernando/ Fernando, hi jo: s£, Carmina,, Aquf" solo hay bruta^dad e incomprensipn para nosotros. Escuch^me. Si tu carino no me falta, empr^ndere rauchas co^as. Primero me hare apare^jador. i'No es dificil! En unos aiios me hare un buen apare^jador. Ganarl mucho dinero y me solicitaran todas las empresas constructoras. Para entonces ya estaremos casados...Tendremos nue&tro hogar alegre y limpio..., lejos de aqui. Pero no dejare de estudiar por p so. /No, no, Carmina! Entonces me hare ingeniero. , Sere el mejor ingeniero del pafs y tu seras mi adorada mujercita... Carmina, hi ja: j Fernando! /Que felicidad ! .. .‘Que felicidad! 51 Fernando, hi jo: Carmina!'' I. To project into the future, use your imagination as if the play will continue beyond Act III. (1) Si usted ^ubiera escrito Historia de una escalera, C_como habria terminado el drama? (2)cAl quedarse solos ^os jovenes despu/s de ofr la bronca de sus padres,/que h a b n a dicho o hecho Carmina al ver a Fernando? (3)^Cuale8 habrfan sido los proyectos nuevos de Fernando, hi jo, para atraer a Carmina, hija? (4)<^Hay alguna abra de ^J-itera^ura o programs de televisio'n que te inspire algun fantastico proyecto de conquista? (5)CComo habrfan reaccionado los padres al saber de la fuga de sus hijos? II. Use the overhead projector to show the various visuals indicated. The teacher will select the number of students that appear in each visual to improvise the situation by means of a short dialogue in Spanish. 354 Show Visual #24: tres personajes #25: tres personajes #26: tres personajes * #2 7: tres personajes #28: tres personajes #29: dos personajes #30: dos personajes #31: dos personajes #32: dos personajes III. Give a synomym for each descriptive adjective. Also identify the character or characters described by each insult. (1 tenorio (2 zalamera (3 cobarde & (4 consentidora (5 deslenguada (6 Vibora _____ (7 Torpe ______/ (8 zangano ____ (9 chulo (10 entrometida (11 gentuza ___ (12 embustero (13 gallina (14 una cualquiera (15 raurmuradora 355 IV. Taken from the cartoon LOVE IS... The following statements could apply to similar situations in Historia de una escalera. Select one of the two rejoinders given ahove which will be placed , before or after the initial phrase. Make verb changes whenever necessary. MODEL POR LA PERSONA AMADA LOS QUE SE AMAN Ser sensible ailos sentimientos del otro ANSWER LOS QUE SE AMAN son sensibles a los sentimientos del otro (1) _____ Lucharemos juntos l o v e i s ... (2) _____ Tienes que confiar en mi _ (3) _____ No nos dejaremos veneer ______ (4) _____ Nos apoyaremos el uno en el otro / (5) _____ Me ayudaras a subir __ (6) _____ Te necesito. No me dejes. ______ (7) _____ Trabajare por ti ______z ... tern# sensfHixi. (8) _____ De jare a mis padres ______^otter's £eJ- / * (9) ____ salvare a ti ______*ngs" (10) Abandonaremos todo esto V. Using the previous exercise as a model, students will write a 100 to 150 word monologue expressing their emotions, desires and frustrations for the one they love. 356 GENERAL REVIEW I. TITULO DE LA OBRA (1)dJ?or qu/ llama el autor a esta obra Historia de una escalera? (2)i_Por que razones la escalera cambia de apariencia? / \ / / / / (3)^Que personajes, en que ocas^on y de que manera intentan cambiar la situacion de la escalera? II. OPTIMISMO Y PESIMISMO (1)^Que impresion te causa la obra en general? (2) Si, al finalizar la obra, quedan algunas esperanzas de triunfo,c.en que factores se basan esas esperanzas? (3)cHasta que punto y en que sentido podemos ^poner nuestras esperanzas en la juventud del futuro segun las indicaciones de esta obra? III. INSINCERIDAD Y FALTA DE MORALIDAD (1) El autor condena frecuentemente la falta de sinceridad en la vida familiar y, la falta de moralidad en la juventujl actual, i Que personajes demuestran esto? tCon que actos? (2),;Hay falta de moralidad en la sinceridad de los hijos al protestar contra sus padres? IV. LA SOCIEDAD ESPANOLA (1) El autor ataca frecuentemente ciertos defectos de la sociedad espanola. i.Que/ aspectos de esta obra o circunstancias de su desarrollo son muy tfpicas de Espana? ^ / (2)tQue otros aspectos son mas universales y propios del hombre en general? C3)tSegun/ % i f su opinion, / que' es ^as ' importante en esta obra, lo tipico espanol o lo mas humano y universal? 357 V. MONOLOGOS Y DIALOGOS (1)^En que" partes del jirama aparecen los principales monologos? ^De que tratan? ' / (2)^Le ^gusta mas el estilo de Buero Vallejo £n los dialogos cortos y vigorosos o en los monologos?c' Por qu4? ESTUDIO DE LOS PERSONAJES VI. CARMINA / \ / (1)^Cual es el verdadero amor de Carmina? / (2)^En que circunstancias se presents su amor como vergonzoso o inmoral? / \ • / ^ (3;cQue elementos hacen que sintamos compasion por Carmina? VII. FERNANDO / \ > ' (1)(. En que ocasiones aparece Fernando como un hombre impotente y cobarde? ✓ / (2)^Por que se merece Fernando la opinion que los vecinos tienen de el? (3)cSe encuentra Fernando en medio de ijn mundo lleno de pequeneces y estupideces o es que el no tiene fuerzas para romperlas? Explique. (4)cNace la tragedia de su vida de las circunstancias externas en que vive o mas bien de la lucha entre las pasiones internas? Explique. VIII. PEPE (1) Pepe es un vagabjmdo, bohemio y mujeriego. dPor que^ es asf? cPor que le gusta ser picaro? Es acaso un sinvergiienza? (2)iQue/ aspecto de la sociedad espairibla critica Pepe mas duraraente? / r (3)cQue es lo que mas manifiesta la vulgaridad de Pepe? IX. PERSONAJES EN GENERAL , y (l)cDan todos, ellos la impresion de ser reales, como si los pudieramos encontrar en la Espana actual? 358 (2)^Existe un protagonista concreto en la obra? (3)cConstruyen ellos sus propias desgracias o vienen estas desgracias solamente de las circunstancias externas? Explique. Q4) Si todos ellos fracasan,c donde y como podernos encontrar alguna esperanza para el futuro? X. APRECIACION DE LA ESCENA Y DEL ESCENARIO Teacher: How carefully did you read the stage directions of the play? Did you visualize the stage setting? By answering correctly the following questions you will have mastered an understanding of the design of the play. Draw a circle around the SI is the answer is yes, and around the NO if the answer is no. ✓ SI NO l.c'Esta dividido el drama en tres actos? SI NO 2.cSe cierran las cortinas al final de cada acto? SI NO 3.2Hay frecuentes cambios de escenario? / SI NO 4.L Esta usado el escenario entero para cada acto? , / SI NO 5.c-Es la accion del drama continua? SI NO 6.^ Se desarrolla el drama avanzando desde el punto de vista del tiempo? / SI NO 7.c.Es visible la escalera a traves del drama entero? SI NO 8.cExisten cambios completos de escena, de un acto a otro? ✓ SI NO 9.^Estan bien definidas las pausas entre una escena y otra? SI NO 10.tHay cambios de escena que se indiquen mediante cambios de luz? / / SI NO 11.^Esta la escena en completa obscuridad por algun tiempo durante el drama? SI NO 12.2_Durante el tiempo pi el drama existen dos tipos distintos de accion que se desarrollan al mismo tiempo con independencia uno del otro? SI NO U.^Lq^ Bonidos de escena consisten solamente en musica? 359 SI NO 14.cEs la accion del drama lenta? SI NO 15. XI. CULTURAL CONTRAST (Working Hours and Eating Times) Divide the class into two groups: Los americanos y los espanoles. Begin by saying to the Americans: Teacher: Usted trabaja en una oficina'a. que7 hora almuerza usted? Student: / Teacher: Si usted trabaja en una tienda,c'a que hora almuerza? Student: / Teacher: Si usted trabaja en una oficina>c'a que hora sale? Student: Teacher: Si usted trabaja en una tienda,ca que^hora sale? Student: Teacher: Si us^ed trabaja en una oficina o en una tienda, ia que hora tiene su descanso? Student: Teacher: Si usted sale de compras por la manana,^hasta quey hora puede estar comprando? Student: DO THE SANE FOR THE SPANIARDS 360 ANTONIO B U $ R 0 V A L L £ 1. Escena perteneciente al acto 2. Los personajes en escena son: 3. La mujer se encuentra arriba y en tercer piano porque: 4-. El hombre se encuentra aba jo y en segundo piano porque: 361 5. Los jovenes estan en primer piano y sentados en la escalera porque: 6. Simbolismo de la claraboya: 362 NOTES ^Jose Ramon Cortina, El Arte -Dramatico de Antonio Buero Vallejo (Madrid: Editorial Gredos, S.A., 19^9), p. 59. 2Antonio Buero Vallejo, Historia de una Escalera (New York: Charles Scribner's Sons, p. 71 3Ibid. P* 8. 4 Ibid. pp. 8-9. 5Ibid. P* 7. 6Ibid. P* 8. 7Ibid. pp. 8-11 . CM N~\ 1 8Ibid. pp. . 9 Ibid. P- 25. 10Ibid » P- 26. 11Ibid . P* 25. 12Ibid » PP . 25-26 15Ibid pp. 26-27. 14Ibid » p. 27. ^ ^Ibid » PP . 28-29 ^Antonio del Hoyo, "Sobre Historia de una Escalera." Insula. No. 47, Nov. 15, 1949, p. 56. 17Ibid. 1®Buero Vallejo, oj). cit.. pp. 28-29. 19Ibid.. pp. 35-36. 20Ibid. p. 39. 21 Ibid. p . 42 . 22Ibid. 23Ibid. p. 44. 24Ibid. pp. 45-47. 25Ibid. pp. 49-52. 26Ibid. p. 53. 27Ibid. p. 52 . 2BIbid. p. 55. 29Ibid. p. 54. 30Ibid. pp. 54-57. 31Ibid. pp. 57-61. 32Ibid. pp. 61-63. 33Ibid. p. 64. 34Ibid. pp. 63-70. 35Ibid. pp. 70-75. 36Ibid. pp. 75-77. 37Ibid. pp. 78-33. 33Ibid. p. 85. 3^Ibid. pp. 85-88. 40Ibid. pp. 88-91. 41Ibid. p. XIV. 42Ibid. pp. 92-95. 43Ibid. pp. 95-98. 44Ibid. pp. 98-101. 45Ibid. pp. 104-108. 46Ibid. pp. 109-112. 47Ibid., p. 113. 48Ibid.. pp. 112-115. 49Ibid. pp. 115-118. 5QIbid. pp. 118-131. 51Ibid. pp. 132-134. 365 SELECTED BIBLIOGRAPHY Buero Vallejo, Antonio. Historia de una Escalera. New York: Charles Scribner's Sons, 1955. y / y Cortina, Jose Ramon. El Arte Dramatico de Antonio Buero Vallejo. Madrid, Spain: Editorial Credos, S.A., 1969. Hoyo Arturo del "Sobre Kistoria de una Escalera.'1 Insula 47 (November 1949), p. 56. APPENDIX C - TEACHER OPINION POLL 366 367 OPINION POLL ON THE TEACHING OF SPANISH DRAMA AT THE ADVANCED HIGH SCHOOL LEVELS INSTITUTION ______ POSITION ______ Directions: Below are a number of statements about which your opinion is desired. Please indicate on the blank in front of each statement the extent to which you agree or disagree with each of the possible completions. Use the numbers 1-5 according to the following code. 1 2 3 4 5 Stongly Disagree Undecided Agree Strongly Disagree Agree I. In presenting a Spanish play to advanced level high school students the following guidelines may be used: 1. Give attention to the language itself in a play. 2. Reinforce certain items of vocabulary and certain points of grammar and their significant role in the play. 3. Keep background material to essentials. 4. Pocus on Character. 5. Relate the characters in a play to its dramatic issues. 6. Help students to visualize the staging and production of a play. 7. Discuss the form of a play not only with the purpose of making students follow the pattern of events, but also with the intention of providing a greater understanding of character. 8. Juxtapose significant passages. 9. Concentrate on character in action. 10. Involve students in the play through questions that move from "what" to "why." 368 11. Help students become aware of their feelings as members of an audience. 12. Draw upon the experience students have had with TV and movies. In presenting a Spanish play the high school teacher has difficulty: 1. Selecting a play that would interest the 16-18 age group. 2. Teaching vocabulary. 3. Analyzing the cultural elements depicted in the drama. 4. Preparing behavioral objectives. 5. Depicting plot development. 6. Preparing quizzes. 7. Preparing tests. 8. Preparing visuals 9. Using audio-visual equipment such as overhead projector, tape recorder, etc. 10. Preparing homework assignments other than silent reading. 11. Visualizing an actual stage production of the drama. 12. Introducing background material. APPENDIX D - STUDENT SATISFACTION SCALE 369 370 STUDENT SATISFACTION SCALE FOR INSTRUCTIONAL METHODS EMPLOYED (Pilot Group) The purpose of this scale is to determine the extent to which you felt the METHODS employed in teaching this drama unit were efficient, effective and satisfying. a. Efficient - the method was convenient, practical, and manageable especially in regard to the time and energy required. b. Effective - the extent to which the method helped to increase your knowledge of the drama studied. c. Satisfying - the extent to which you were comfortable and contented with the method and found it adequate, unobjectionable and pleasing. Each of the following statements is to be rated on each of these three factors by circling the number which best describes your beliefs. For example, if your beliefs are related to the word on the right, circle the seventh position. If your beliefs are related to the word on the left, check the first position. Degrees of beliefs can be placed along the scale as desired. Example: The use of behavioral objectives as opposed to the non-existence of such objectives: a. Inefficient 1 2 3 4 5 6 7 Efficient b. Ineffective 1 2 3 4 5 6 7 Effective c. Not Satisfying 1 2 3 4 5 6 7 Satisfying Behavioral Objective - a statement which describes something specific that the pupil will be able to do after he has had the learning experience to demonstrate his achievement of the objective. 371 1. The extent to which the unit Ineffi cient 1 2 3 4 5 6 7 Effi cient seemed to give insight into Ineffective 1 human experiences such as those 2 3 4 5 6 7 Effective we encounter in growing up or in Not Satisfying 1 2 3 4 5 6 7 Satisfying adjusting to new situations. 2. The extent to which the unit Ineffi cient 1 2 3 4 5 6 7 Effi cient explored the universality or commonness of human drama, thus Ineffective 1 2 3 4 5 6 7 Effective helping you'to realize that Not Satisfying 1 2 3 4 5 6 7 Satisfying certain emotions and concerns are common to people of all races and nations. 3. The extent to which the unit Inefficient 1 2 3 4 3 6 7 Efficient pointed out that cultural differences may dictate one's Ineffective 1 2 3 4 5 6 7 Effective actions or reactions? Not Satisfying 1 2 3 4 5 6 7 Sati sfying 4. The extent to which the unit Ineffi cient 1 2 3 4 5 6 7 Effi cient helped you to become sympathetic 1 to and understanding of the Ineffective 2 3 4 5 6 7 Effective people and the culture of Spain. Not Satisfying 1 2 3 4 5 6 7 Satisfying 5. The vocabulary used for Ineffi cient 1 2 3 4 3 6 7 Efficient literary analysis was appro 1 priate for your level of Ineffective 2 3 4 5 6 7 Effective comprehension. Not Satisfying 1 2 3 4 5 6 7 Satisfying 6. The extent to which the use Ineffi cient 1 2 3 4 5 6 7 Effi cient of visual aids added to com 2 prehension of and interest in Ineffective 1 3 4 3 6 7 Effective the drama. Not Satisfying 1 2 3 4 3 6 7 Satisfying 7. The extent to which the Inefficient 1 2 3 4 3 6 7 Efficient background material added Ineffective 1 2 to comprehension of and 3 4 5 6 7 Effective interest in the drama. Not Satisfying 1 2 3 4 5 6 7 Satisfying S. The extent to which the Inefficient 1 2 3 4 5 6 7 Effi cient material in the unit Ineffective 1 2 logically progressed from 3 4 5 6 7 Effective one scene to another. Not Satisfying 1 2 3 4 3 6 7 Satisfying 9. The use of behavioral ob Inefficient 1 2 3 4 5 6 7 Efficient jectives as opposed to the non-existence of such Ineffective 1 2 3 4 5 6 7 Effective objectives. Not Satisfying 1 2 3 4 5 6 7 Satisfying 10. The extent to which you were Inefficient 1 2 3 4 5 6 7 Effi cient able to coordinate listening, speaking, reading, writing Ineffective 1 2 3 4 5 6 7 Effective and thinking skills to Not Satisfying 1 2 3 4 5 6 7 Satisfying ensure maximum growth in the are of language learning. WRITTEN COMMENTS WOULD BE APPRECIATED CONCERNING WHAT YOU LIKED LEAST ABOUT THE DRAMA UNIT, WHAT YOU LIKED MOST ABOUT THE UNIT, AND WHAT SUGGESTIONS YOU MIGHT 9FFER FOR IMPROVING THE UNIT IN THE FUTURE.