Teaching the Immigrant Experience Through Theater

Teaching the Immigrant Experience Through Theater

Teaching the Immigrant Experience Through Theater

SJSU’s Matthew Spangler was the playwright for the San Jose Repertory Theatre and Arizona Theatre Company production of “The Kite Runner,” which featured, from left to right, Craig Piaget (Young Amir) and Lowell Abellon (Hassan) (photo by Kevin Berne).

San Jose State University has received a $162,000 grant from the National Endowment for the Humanities to host a summer institute for school teachers titled “The California Immigrant Experience through Literature and Theatre.”

The institute will be held July 13-27, 2014, at SJSU. Faculty members will include Maxine Hong Kingston (author of “The Woman Warrior”), Ping Chong (theater artist) and Luis Valdez, ’64 English (author of “Zoot Suit” and “La Bamba”). See below for more.

Associate Professor of Performance and Communication Studies Matthew Spangler and Professor of Radio, TV, Film and Theatre Arts David Kahn will serve as hosts and co-directors for the institute.

This institute will explore some of the ways in which the immigrant experience to the United States, and California, in particular, has been represented through literary and theatrical texts,” Spangler said.

Activities will be organized around three topics that frequently appear in such texts: (1) the construction of political borders between geographic territories and social borders between groups of people; (2) intercultural conflict between settled and immigrant communities; (3) changing family and gender dynamics within discrete immigrant communities.

Participants will explore these topics as they pertain to emigration from Mexico, China and Afghanistan.

Theater workshop

Among the highlights of the institute is a three-day theater workshop with Ping Chong, an internationally renowned theater artist known for his work in intercultural and documentary theater. In this workshop, Ping Chong will guide participants through some of the steps involved in creating a documentary theater production based on the topic of immigration.

On Friday, July 25, participants will showcase the results of this workshop in a theater performance open to the public.

Time: 7:30 p.m.
Location: Hal Todd Theatre, SJSU
Cost: Free
For Reservations: call 408-924-1373 or email CAimmigrationinstitute@gmail.com

Eligibility

Institute participants will include 25 school teachers competitively selected from around the country. Eligibility: Full-time or part-time teachers in American K-12 schools, whether public, charter, independent, or religiously affiliated, as well as home-schooling parents, are eligible to apply to NEH Summer Institutes. Americans teaching abroad are also eligible if a majority of the students they teach are American citizens.

Librarians, school administrators and graduate students may also apply. The deadline is March 4, 2014.

For questions or to request additional information please contact Project Coordinator Maria Judnick (CAimmigrationinstitute@gmail.com) or Matthew Spangler (matthew.spangler@sjsu.edu, 650-714-3622) or visit the institute website.

Faculty

Maxine Hong Kingston (author of “The Woman Warrior,” “China Men” and other novels; Professor Emeritus, UC Berkeley)

Ping Chong (internationally acclaimed theater director, playwright, video and installation artist; author of “East West Quartet” and creator of “Undesirable Elements” performance series)

Luis Valdez (author of “Zoot Suit,” “La Bamba”; founder of El Teatro Campesino)

Kinan Valdez (actor, director, and producing artistic director of El Teatro Campesino)

Donna Gabaccia (author of “Immigration and American Diversity,” among many other authored and edited books on the immigrant experience; Professor of History, University of Minnesota)

Kelly Lytle-Hernández (author of “Migra: A History of the U.S. Border Patrol,” among other articles and books on immigration from Mexico to the United States; Associate Professor of History, UCLA)

Judy Yung (author of “Angel Island: Immigrant Gateway to America,” among other articles and books on immigration from China to the United States; Professor of American Studies, UC Santa Cruz)

Sharon Ott, (theatre director and former artistic director of Berkeley Repertory Theatre; Performing Arts Faculty Savannah College of Art and Design)

David Terry (a specialist on the performance of space and place; Assistant Professor of Communication and Performance Studies, San Jose State University)

Glen Gendzel (author of numerous articles on immigration; Associate Professor of History, San Jose State University)

Sara Zatz (Associate Director of Ping Chong & Company; program director of “Undesirable Elements” performance series)

Matthew Spangler (author of numerous articles and plays about transnational migration, including award-winning adaptations of Khaled Hosseini’s “The Kite Runner” and T.C. Boyle’s “The Tortilla Curtain”; Associate Professor of Performance Studies, San Jose State University)

David Kahn (a specialist in documentary theatre performance; Professor of Theatre Arts, San Jose State University)

Faculty Awards 2 Slideshow

2012-2013 Outstanding Lecturer: Kathleen Normington

2012-2013 Outstanding Lecturer: Kathleen Normington

2012-2013 Outstanding Lecturer Kathleen Normington (Peter Caravalho photo)

The Outstanding Lecturer Award recognizes a lecturer for excellence in teaching effectiveness and service to the San Jose State campus community. This year’s winner comes from the College of Humanities and the Arts.

Kathleen Normington enjoys staging guerrilla theatre performances on campus and in the community, where her students are taken out of the “theatre space.” Creating innovative approaches to learning outside of the classroom has helped her earn the 2012-2013 Outstanding Lecturer Award.

A lecturer since earning her master’s in theatre arts from San Jose State in 2004, Normington uses her 12 years of teaching experience to bring creativity to her students. She supplies the opportunity for them to genuinely experience theatre by providing them with the tools to put their coursework into practice and by teaching them to be fearless and to take risks.

One student said: “The engaging exercises and skills practiced and rehearsed during lecture and laboratory hours provide an open, supportive and safe creative environment where artists find themselves grounded, present and connected to the work and, perhaps most importantly, themselves and each other.”

“As a researcher, director and teacher Kathleen has a natural curiosity. It is her enthusiasm for and understanding of a broad spectrum of performing art that makes her such an eclectic artist and teacher,” said one nominator. “She also has an exacting eye. As a director, and really in every aspect of her work, she brings taste and specificity. From her understanding of language and story to her intuition about staging and character, Kathleen brings intelligence and restraint to her work.”

Normington’s service to San Jose State extends beyond the classroom. She has directed 11 plays at SJSU and four plays in the community. Normington is co-author of Simply Acting: A Handbook for the Student Actor and Simply Theatre: Appreciating Performance of the 21st Century, two textbooks that support courses taught at San Jose State. She was actively involved in revamping the theatre arts curriculum, and has created course certification reports. Normington serves as lead instructor for sizeable multi-section general education courses that are essential components to the theatre program.

“I hope that students realize that the humanity of theatre is what connects us all,” Normington said. “There is not just one way, but many ways to connect that in their lives.”

Normington earned a bachelor’s degree from UC Berkeley and a master’s degree from San Jose State.

San Diego Union-Tribune: Professor’s “Tortilla Curtain” Portrays Many Faces of Undocumented Immigration

Theater preview: Rep lifts ‘Curtain’

World-premiere play an edgily satiric saga of immigration’s complexities

Published by the San Diego Union-Tribune March 8, 2012.

By James Hebert

The pair of struggling immigrants in “Tortilla Curtain” — like countless of their counterparts in real life — would move heaven and earth to make a better life for their family.

But in San Diego Repertory Theatre’s world-premiere stage adaptation of T.C. Boyle’s novel, the earth winds up moving in a manner more literal than they could have imagined — and in a way that’s maybe too symbolic for audiences to ignore.

Rep co-founder and artistic director Sam Woodhouse, who is directing playwright Matthew Spangler’s adaptation of the 1994 best-seller, hesitates to give away too much about the natural cataclysm that accompanies the novel’s (and the show’s) climax.

But “we can certainly say that, inspired by the folly of a particular character, an enormous environmental event occurs,” Woodhouse allows. “The landscape is literally transformed.

“There’s a metaphor there: What happens if the Tortilla Curtain (the term Boyle invokes for the U.S.-Mexico border) becomes porous? Will the landscape of California be transformed forever?”

Some might argue that has long since happened. The debate over illegal immigration certainly has transformed the Southwest’s political landscape through the decades — and continues to do so, with recent battles over Arizona’s strict 2010 immigration law and the DREAM Act (which would offer residency to some illegal immigrants who arrived here as minors).

So although Boyle’s darkly satirical novel came out amid the furor over earlier immigration legislation — California’s sweeping Proposition 187 in 1994 (which won at the polls but eventually died in court) — its themes haven’t lost their potency, Woodhouse says.

“It’s fun to do a play about something that everybody has an opinion about,” as the director puts it. “Everybody who comes to the play is part of a culture that’s living with this issue. If you live in San Diego, you can’t pretend you’re not impacted by it.”

Barriers of all kinds

At the center of the “Tortilla” story are two undocumented Mexican laborers: Cándido Rincón (Kinan Valdez) and his pregnant, common-law wife, América (Old Globe/USD MFA grad Vivia Font).

Their dreams of a more prosperous existence in California have run up against the brutal realities of predatory smugglers, scant jobs and hostile residents. Now they’re living in desperation and destitution in Los Angeles’ Topanga Canyon, in the shadows of a hilltop gated community.

When one of that neighborhood’s residents — an affluent “liberal humanist” named Delaney Mossbacher (Mike Sears), who’s married to lawyer Kyra (Lisel Gorell-Getz) — accidentally hits Cándido with his car, the couples’ lives become an intertwined spiral of chaos. (The Rep production’s cast also features Miles Gaston Villanueva, David Meyers and Jeremy Kahn.)

Spangler, a professor of playwriting and immigration studies at San Jose State University who adapted Khaled Hosseini’s novel “The Kite Runner” for the stage, notes that people like Cándido and América represent only a fraction of the 12 million undocumented immigrants in the United States. (Some are, for example, students or foreign workers with expired visas).

But those who are like the couple in his play “don’t have the same access to some of the civil and legal protections that the rest of us do. And that’s something the book and this play point to. There are some horrible things that happen to the immigrant characters here, and they can’t go to the police. They can’t mount a lawsuit against somebody who has wronged them.

“Of course, there are a lot of works that can focus on that theme. But one thing I liked about (Boyle’s novel) is that it’s also a point-of-view piece. So not only do you have the immigrants’ point of view, but you have the nativists’, the locals’ — the point of view of the settled community.

“And then I suppose as I read the book I liked its humor. It is kind of a dark, satirical story. That’s the type of thing that in many ways appeals to me. I wanted to see if we could capture that onstage.”

The script he came up with (which earned Boyle’s blessing, Spangler says) has Cándido, América and Delaney each addressing the audience directly at times, with Kyra becoming a secondary figure.

“There are 33 scenes in the play, and each is told from a different point of view,” Spangler explains. “So by the end, the audience starts to know more than any of the three (main) characters. That’s part of the conceit of the book and the play — that they start acting on knowledge that they think they have.”

Tales that humanize

Valdez, who’s the producing artistic director of El Teatro Campesino — the iconic Chicano troupe founded in 1965 by his father, playwright Luis Valdez — says the approach gets at the heart of the characters’ contrasting realities.

“The best way to humanize any particular story or person is to allow (the individuals) to explain their choices,” says Valdez, who has acted in Rep productions dating back to the 1990s. “My character has these elaborate, what you might call fantasy sequences, where he explains his particular past. But it’s framed in such a way that’s it’s definitely not naturalistic or realistic. In fact, it’s more comedic.

“Everybody’s going to work to make their arguments and defend the choices they’ve made; everybody is selective in the revelations of certain material and certain experiences.”

In some ways, “Tortilla Curtain” shares artistic DNA with “American Night: The Ballad of Juan José,” another immigration-minded (though more farcical) work that recently was staged at La Jolla Playhouse.

Woodhouse directed a production of that play in Denver; now Herbert Siguenza, a charter member of the troupe Culture Clash — which co-created “American Night” — has been advising Woodhouse and the “Tortilla Curtain” creative team. (Siguenza also portrayed Cándido in an earlier workshop of “Tortilla.”)

But the new play is also of a piece with the Rep’s long history of producing works that speak to border issues, chiefly through its Calafia Initiative, which has birthed about two dozen works since 1995.

For Woodhouse, a key question behind “Tortilla Curtain” is one of privilege versus obligation.

“We have a big, prosperous, churning country — the richest in the world,” as he puts it. “Who has the right to share in that? And who has the right to say who can share in that?”

As the decades-long immigration debate has demonstrated, those are complicated and divisive issues.

“But if there’s no controversy,” Woodhouse says, “we’re not asking the right questions about how to make our country a better place to live.”

San Diego Union-Tribune: Professor's "Tortilla Curtain" Portrays Many Faces of Undocumented Immigration

Theater preview: Rep lifts ‘Curtain’

World-premiere play an edgily satiric saga of immigration’s complexities

Published by the San Diego Union-Tribune March 8, 2012.

By James Hebert

The pair of struggling immigrants in “Tortilla Curtain” — like countless of their counterparts in real life — would move heaven and earth to make a better life for their family.

But in San Diego Repertory Theatre’s world-premiere stage adaptation of T.C. Boyle’s novel, the earth winds up moving in a manner more literal than they could have imagined — and in a way that’s maybe too symbolic for audiences to ignore.

Rep co-founder and artistic director Sam Woodhouse, who is directing playwright Matthew Spangler’s adaptation of the 1994 best-seller, hesitates to give away too much about the natural cataclysm that accompanies the novel’s (and the show’s) climax.

But “we can certainly say that, inspired by the folly of a particular character, an enormous environmental event occurs,” Woodhouse allows. “The landscape is literally transformed.

“There’s a metaphor there: What happens if the Tortilla Curtain (the term Boyle invokes for the U.S.-Mexico border) becomes porous? Will the landscape of California be transformed forever?”

Some might argue that has long since happened. The debate over illegal immigration certainly has transformed the Southwest’s political landscape through the decades — and continues to do so, with recent battles over Arizona’s strict 2010 immigration law and the DREAM Act (which would offer residency to some illegal immigrants who arrived here as minors).

So although Boyle’s darkly satirical novel came out amid the furor over earlier immigration legislation — California’s sweeping Proposition 187 in 1994 (which won at the polls but eventually died in court) — its themes haven’t lost their potency, Woodhouse says.

“It’s fun to do a play about something that everybody has an opinion about,” as the director puts it. “Everybody who comes to the play is part of a culture that’s living with this issue. If you live in San Diego, you can’t pretend you’re not impacted by it.”

Barriers of all kinds

At the center of the “Tortilla” story are two undocumented Mexican laborers: Cándido Rincón (Kinan Valdez) and his pregnant, common-law wife, América (Old Globe/USD MFA grad Vivia Font).

Their dreams of a more prosperous existence in California have run up against the brutal realities of predatory smugglers, scant jobs and hostile residents. Now they’re living in desperation and destitution in Los Angeles’ Topanga Canyon, in the shadows of a hilltop gated community.

When one of that neighborhood’s residents — an affluent “liberal humanist” named Delaney Mossbacher (Mike Sears), who’s married to lawyer Kyra (Lisel Gorell-Getz) — accidentally hits Cándido with his car, the couples’ lives become an intertwined spiral of chaos. (The Rep production’s cast also features Miles Gaston Villanueva, David Meyers and Jeremy Kahn.)

Spangler, a professor of playwriting and immigration studies at San Jose State University who adapted Khaled Hosseini’s novel “The Kite Runner” for the stage, notes that people like Cándido and América represent only a fraction of the 12 million undocumented immigrants in the United States. (Some are, for example, students or foreign workers with expired visas).

But those who are like the couple in his play “don’t have the same access to some of the civil and legal protections that the rest of us do. And that’s something the book and this play point to. There are some horrible things that happen to the immigrant characters here, and they can’t go to the police. They can’t mount a lawsuit against somebody who has wronged them.

“Of course, there are a lot of works that can focus on that theme. But one thing I liked about (Boyle’s novel) is that it’s also a point-of-view piece. So not only do you have the immigrants’ point of view, but you have the nativists’, the locals’ — the point of view of the settled community.

“And then I suppose as I read the book I liked its humor. It is kind of a dark, satirical story. That’s the type of thing that in many ways appeals to me. I wanted to see if we could capture that onstage.”

The script he came up with (which earned Boyle’s blessing, Spangler says) has Cándido, América and Delaney each addressing the audience directly at times, with Kyra becoming a secondary figure.

“There are 33 scenes in the play, and each is told from a different point of view,” Spangler explains. “So by the end, the audience starts to know more than any of the three (main) characters. That’s part of the conceit of the book and the play — that they start acting on knowledge that they think they have.”

Tales that humanize

Valdez, who’s the producing artistic director of El Teatro Campesino — the iconic Chicano troupe founded in 1965 by his father, playwright Luis Valdez — says the approach gets at the heart of the characters’ contrasting realities.

“The best way to humanize any particular story or person is to allow (the individuals) to explain their choices,” says Valdez, who has acted in Rep productions dating back to the 1990s. “My character has these elaborate, what you might call fantasy sequences, where he explains his particular past. But it’s framed in such a way that’s it’s definitely not naturalistic or realistic. In fact, it’s more comedic.

“Everybody’s going to work to make their arguments and defend the choices they’ve made; everybody is selective in the revelations of certain material and certain experiences.”

In some ways, “Tortilla Curtain” shares artistic DNA with “American Night: The Ballad of Juan José,” another immigration-minded (though more farcical) work that recently was staged at La Jolla Playhouse.

Woodhouse directed a production of that play in Denver; now Herbert Siguenza, a charter member of the troupe Culture Clash — which co-created “American Night” — has been advising Woodhouse and the “Tortilla Curtain” creative team. (Siguenza also portrayed Cándido in an earlier workshop of “Tortilla.”)

But the new play is also of a piece with the Rep’s long history of producing works that speak to border issues, chiefly through its Calafia Initiative, which has birthed about two dozen works since 1995.

For Woodhouse, a key question behind “Tortilla Curtain” is one of privilege versus obligation.

“We have a big, prosperous, churning country — the richest in the world,” as he puts it. “Who has the right to share in that? And who has the right to say who can share in that?”

As the decades-long immigration debate has demonstrated, those are complicated and divisive issues.

“But if there’s no controversy,” Woodhouse says, “we’re not asking the right questions about how to make our country a better place to live.”

Five actresses singing on stage together

Students Star in San Jose Rep’s “Daring Fusion of Morality, Sexuality and Rock & Roll”

Five actresses singing on stage together

SJSU theater students Kristen Majetich (on her knees, far left) and Ernestine Balisi (far right) appear with Broadway professionals in the San Jose Rep's "Spring Awakening."

By Pat Lopes Harris, Media Relations Director

Walk by the San Jose Repertory Theater (the bright blue building between campus and light rail) and you might see the names of SJSU theater students flash across the marquee.

That’s because amateur actors Ernestine Balisi, Kristen Majetich, and Manuel Rodriguez-Ruiz are starring in the Rep’s “Spring Awakening.”

“It’s been remarkable sharing my passion with the staff and artists at SJ Rep. Because of this collaboration, not only are there acting opportunities, but also other internships which gives every person an opportunity to create amazing theatre,” Majetich said.

The students are appearing on stage with professionals thanks to new, professionally sanctioned internship program.

“Our students are doing a terrific job and no one can tell them from the Broadway cast members,” said theater Professor Ethel Walker.

Set in 19th century Germany, “Spring Awakening” is “a powerful celebration of youth and rebellion in a daring fusion of morality, sexuality and rock & roll,” according to the Rep.

The internship program may do more than open doors for theater students. It is also an invitation to all Spartan to see the show.

“Hundreds of students stroll past the Rep every day and we are always looking for new ways to get them to step inside,” Artistic Director Rick Lombardo told the San Jose Mercury News.

“Both the SJSU theatre program and San Jose Rep are thrilled by the results of this partnership and its many benefits for our students and our organizations,” said theater Professor David Kahn.

“We believe our professional/academic linkage will lead to even more benefits down the road as we build on the success of the student internships with further collaborative enterprises and the development of external funding sources.”

“Spring Awakening” continues through September 25. Read a review. Purchase tickets.