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EDUCATOR GUIDE Subject: Carlos Baron Discipline: Theatre

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EDUCATOR GUIDE Subject: Carlos Baron Discipline: Theatre EDUCATOR GUIDE Subject: Carlos Baron Discipline: Theatre SECTION I - OVERVIEW ......................................................................................................................2 PISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEB SITES VIDEO RESOURCES BAY AREA FIELD TRIPS SECTION III – VOCABULARY.............................................................................................................7 SECTION IV – ENGAGING WITH SPARK .........................................................................................8 Carlos Baron directs the cast of Poeta Pan Still image from the Spark story, 2007. SECTION I - OVERVIEW To analyze how theatre traditions change and SUBJECT develop Carlos Baron EQUIPMENT NEEDED GRADE RANGES SPARK story on Carlos Baron on DVD or VHS and 6‐12 related equipment Computer with Internet access, navigation software, CURRICULUM CONNECTIONS speakers and a sound card. Theater, Language Arts MATERIALS NEEDED OBJECTIVE Access to libraries with up‐to‐date collections of To provide a forum for students to understand the periodicals, books, and research papers political history of Chile and to introduce them to Pencils, pens, and paper the elements of play and poetry writing. INTELLIGENCES ADDRESSED STORY SYNOPSIS Logical‐Mathematical – the ability to detect patterns, Playwright Carlos Baron has brought the influence reason deductively and think logically of poet, Pablo Neruda and his personal story of Interpersonal – awareness of others’ feelings, living in Chile to his writings over decades as an emotions, goals, motivations exile from his homeland. Spark follows Baron as he Intrapersonal – awareness of one’s own feelings, and a group of young actors rehearse and perform emotions, goals, motivations his 2005 play Poeta Pan in San Francisco and in Bodily‐Kinesthetic – the ability to use one’s mind to Chile. control one’s bodily movements INSTRUCTIONAL STRATEGIES See more information on Multiple Intelligences at Hands‐on group projects, in which students assist www.kqed.org/spark/education. and support one another Hands‐on individual projects, in which students work independently Group oral discussion and analysis, including peer MEDIA MATTERS review and aesthetic valuing The following SPARK stories may used for Teacher‐guided instruction, including compare/contrast purposes: demonstration and guidance • Forbidden Territory: Traveling Jewish Theatre INSTRUCTIONAL OBJECTIVES • Fusion: Calligraphy of Thought To foster an understanding of the political history of • Home, Sweet Home: headRush Chile • History Retold: Berkeley Repertory Theatreʹs To illustrate the challenges and rewards of working ʺThe Peopleʹs Templeʺ as an actor or playwright • Letʹs Talk Politics: Berkeley Repertory Theatre 2 SECTION II – CONTENT/CONTEXT CONTENT OVERVIEW An activist and an actor, Baron has worked with A childhood in Chile marked by both the lyricism of Berkeley Rep, the Magic Theatre and the San Jose Pablo Nerudaʹs poetic legacy and the violence of the Repertory Theater. He has also had a hand in radio Pinochet regime flavors the experiences that poet and television for many years, as a programmer for and playwright Carlos Baron has brought to his both KPFA and KPOO, and has consulted for writings over decades as an exile from his Antenna Theater, Intercultura and the homeland. Spark follows Baron as he and a group of McNeil/Lehrer Newshour among others. young actors rehearse and perform his play Poeta Pan in San Francisco and in Chile. Poeta Pan or ʺBread Poetʺ is an evocation of Baron’s THE BIG PICTURE Chilean roots through the poetry of Neruda. A multi‐faceted collaboration with Latin jazz flutist Carlos Baron describes the creation of “Poeta Pan” John Calloway, Rafael Manriquez and (Bread Poet) as a project of collaboration and choreographer Martha L. Zepeda, the play calls up challenge. The collaboration is multilayered; there is comparisons between September 11, 2001 and the Baron’s text, John Calloway’s musical compositions, Pinochet coup dʹetat that occurred 28 years earlier Matha L. Zepeda’s choreography, and the cast’s on the same date. strong ensemble performances. Then, there is the poetry of Pablo Neruda: sensual yet spiritual, After studying sociology and theater arts at UC inspirational yet grounded in a fierce love for Berkeley in the late 1960s and early 70s, Baron everyday things. Finally, there is the presence of the returned briefly to Chile to defend the Salvador people of Chile (literally, as audience members, and Allende government, for which he was imprisoned. figuratively, as characters in “Poeta Pan”) who Upon returning to the Bay Area, in 1975 he helped to identify both with Baron’s memories of life under found the La Peña Cultural Center in Berkeley, a Pinochet’s rule, and Neruda’s eloquent and often cultural meeting ground for Chilean exiles, where he deeply political poetry. was the first cultural coordinator. As a poet and a professional storyteller, Baronʹs impassioned work The challenge may have emerged from several has appeared throughout the world at festivals in sources, not least from the multidisciplinary and Cuba, Chile, and the United States. multicultural nature of “Poeta Pan,” which requires the committed cast of Teatro Arcoiris (Rainbow Multiculturalism and Latino theater remain the Theatre) to sing, dance, create shadow puppetry, act primary interests for Baron, who was also the in both English and Spanish and perform on tour in theater and dance coordinator for the Mission Chile. In creating “Poeta Pan,” Baron borrows from Cultural Center and founder of San Franciscoʹs grassroots theater traditions that embrace both the Teatro Latino. As a professor of theater arts at San collaboration and challenge within their Francisco State University, Baron has not only communities. helped to expand La Raza and multicultural studies at the university, but also directs the universityʹs American Grassroots Theater Teatro Arcoiris, or Rainbow Theater, a multicultural Considering the history of grassroots theater, it theater workshop. seems appropriate that Teatro Arcoiris hails from San Francisco State University. In North America, grassroots theater first found its footing at 3 universities. In 1917, Frederich Koch, a professor in where theater served the people. Working with the University of North Carolina’s theater members from the community, Gard saw that in the department, proposed a vision of a grassroots act of bringing their stories to the stage, people American theater that mirrored Neruda’s belief found their voices, saw their experiences reflected about poetry. (“Poetry is like bread; it should be back to them, and felt empowered. shared by all….”) In order to capture the true culture of America, he believed theater needed to Grassroots theater’s ability to empower the record the lives of ordinary people, and be community became attractive to Civil Rights performed for ordinary people. Koch urged his activists in the 1960s and 1970s. While most socially students to write and present “folk plays” exploring engaged theater ensembles used political theater’s their backgrounds and local communities. Realizing blend of satire and allegory to inform and galvanize that a community’s voice must reflect the diversity audiences, companies like Tennessee’s Carpetbag of that community, Koch chose students from a Theatre, Minnesota’s Mixed Blood Theatre variety of ages, races, as well as social and economic Company and New York’s Teatro Pregones backgrounds. The students’ diverse cultural appreciated that community participation and traditions reflected in the themes, dialogue, staging access were central to the grassroots theater and music of the plays they created. movement. And the multiculturalism reflected by a diverse community also appealed to their desire for Koch also insisted that students’ plays focus on what representation and equity. These companies began they considered real issues of the day. For example, diving into issues facing their own communities, “Job’s Kinfolks” by Loretto Carroll Bailey examined involving residents in the creation of plays, and urban mill life; other student works included creating education and outreach programs for local “Country Sunday,” an anti‐lynching play, and neighborhoods. “According to Law,” about the unjust trial of an innocent black man caught in a white man’s court. Activist companies that took up grassroots theater soon found the plays they created in this mode were During Koch’s nearly 30 years on faculty at the highly effective political appeals for social justice. University of North Carolina, his students wrote Simply by committing to portray the lives of real and toured more than a thousand of these “folk people, grassroots theater revealed uncensored plays.” To Koch, touring was an important stories of injustice and abuse. And as is the case with component of grassroots theater. Instead of Neruda’s poetry, playwrights found that when an performing at an arts center for conventional theater individual’s experience is presented with truth and patrons, Koch cut through perceptions of theater’s integrity, it carries a universal appeal. cultural elitism by taking plays directly to the people. He
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