ANNA IN THE TROPICS TUE / MAR 5 10:30 AM...Anna in the Tropics by Nilo Cruz won the Pulitzer Prize...

THE BROAD STAGE AT THE SANTA MONICA ARTS CENTER1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3422

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SEDEducation and Outreach at The Broad Stage and Classic & Contemporary American Plays Present

ANNA IN THE TROPICS

TUE / MAR 510:30 AM



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We are thrilled to be partnering again this year with Classic and Contemporary American Plays.

Helmed by Bonnie Franklin and Judy Bush, CCAP brings together renowned directors and extraordinary actors to read the indelible and beautiful language of America’s finest playwrights. These staged readings are produced specifically so junior and senior high school students can be introduced to the rich and diverse universe of the American canon of theatrical literature. Produced without the fanfare of big sets and costume changes, audiences are treated to the depth and simple beauty of the words of the play.

Anna in the Tropics by Nilo Cruz won the Pulitzer Prize in Drama in 2003 and was the first Latino playwright to win the prestigious award. It was considered a long shot for the prize, considering it had never been produced in New York. However, the gorgeous poetry and strong themes made its win a sweet victory for those who love good literature…and a perfect fit to bring into the classrooms and onto the stage for CCAP.

The production you will be seeing is directed by Ernest A. Figueroa, a seasoned director/producer and arts educator in Los Angeles. A veteran artist, he is one of the Founding Directors of Director’s Lab West, an annual interactive forum to engage emerging directors in an intensive study of their craft and to foster collaborative relationships among a community of artists. The ensemble cast he has assembled for Anna in the Tropics features some of the most talented emerging and experienced Latino actors in Los Angeles today.

We are thrilled to be a part of your students’ educational experience and hope that hearing this play aloud will serve as inspiration and a launching point for their own creative endeavors. Thank you for working with us.

Enjoy the show!

Danika BurmesterAssociate Manager of Education and OutreachThe Eli and Edythe Broad Stage at theSanta Monica College Performing Arts Center

The Broad Stage Education and Outreach Program is supported by Austin and Virginia Beutner, Eisner Foundation, The Rosalinde and Arthur Gilbert Foundation, The Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, Mathewson Charitable Trusts, Roth Family Foundation, The City of Santa Monica and the Santa Monica Arts Commission, Sony Pictures Entertainment, and SMC Associates.

GREETINGS FROM THE BROAD STAGE!

The Broad Stage Education and Outreach Program is supported by Austin and Virginia Beutner, Eisner Foundation, The Rosalinde and Arthur Gilbert Foundation, The Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, Mathewson Charitable Trusts, Roth Family Foundation, The City of Santa Monica and the


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CONTENTS

PRE-SHOW LESSONLesson 1: Old World, New World

Handout 1: Cigar Industry Timeline

PRE- OR POST-SHOW LESSONLesson 2: El Lector: Team Cheche v. Team Ofelia

Handout 2: El Lector

POST-SHOW LESSONLesson 3: The Power of Words

Handout 3: Anna in the Tropics CharactersHandout 4: Anna in the Tropics Summary

APPENDIXGlossary

California Core Content Standards


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SEDLESSON 1

OLD WORLD, NEW WORLD(Pre-Show Lesson, 50 minutes)

Grade Levels 11-12

Description: Students engage in a class discussion to illuminate the similarities and differences of current culture to the culture represented in Anna in the Tropics. Through writing exercises, students argue the value of tradition in society.

Goals: 1. Students will make historical connections to current events. 2. Students will make personal connections to the themes of Anna in the Tropics.

Materials: Handout 1: Cigar Industry Timeline. Whiteboard and whiteboard markers in two different colors. Paper and writing utensils.

PART 1ENGAGEMENT

Distribute and review Handout 1: Cigar Industry Timeline.

Discuss with your students the historical events that led up to the year that Anna in the Tropics is set in, 1929.

Draw two columns on the whiteboard entitled “Then” and “Now.”

Lead students to fill in the important events from Handout 1: Cigar Industry Timeline and make connections to current events that affect economics and relationships today (i.e. war in Afghanistan, housing crisis, jobless rate, etc.).

Ask students to dig deeper and see if they can find any connections between “Then” and “Now” for the changing role of women in society (i.e. increased independence for women in the 1920s; women able to take combat positions in 2013). Encourage students to discuss the advantages of changing gender roles as well as the issues that arise when there are major shifts in culture.

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SEDLESSON 1

PART 2ACTIVITY

Ask students to draw two columns on a piece of paper entitled “Old World” and “New World.” Have students quickly list traditions from their parents and grandparents in the “Old World” column and new trends in the “New World” Column.

Give students a few minutes to explore the list of Africa’s natural resources and the countries they’re found in.

QUICK WRITE

Prompt students to answer the following questions:1. What, if any, are the traditions that have stayed strong in your family?2. State your opinion on the importance of maintaining traditions. 3. What are the tangible benefits of change within a culture? Give specific examples. 4. Can change hurt a culture? Explain why or why not.5. When you have your own family, how many traditions will you keep from your family

or will you create new ones?6. Why do you think people create theater? How do plays reflect tradition and change?


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TAKE IT FURTHER!Interview the older members of your family to discover their thoughts on the importance of tradition to your family and community. Use their feedback, the in-class quick write, and examples from the play to explore which characters from Anna in the Tropics embody ‘the old ways’ and which embrace the ‘new ways.’ Create a persuasive essay that states your opinion on whether keeping to tradition strengthens or hinders a culture’s progress.

Old World Making homemade tamales Listening to the radioMariachi music at partiesHearthQuinceañeara MidwifeSewing own clothes

New World Buying frozen ones at Trader JoesListening to podcasts/iPodsHip-hop musicStoveSweet 16HospitalShopping at the mall


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SEDLESSON 2

EL LECTOR: TEAM CHECHE V. TEAM OFELIA

(Pre- Or Post-Show Lesson, 50 minutes)

Grade Levels 11-12

Description: An exploration of the history of the Lector and lively classroom debate to debunk or prove their usefulness.

Goals: 1. Students will learn about a profession that is no longer prevalent in our society. 2. Students will delve into and dissect one of the major conflicts of the play.

Materials: Anna in the Tropics, Handout 2: The Lector, a timer, paper and writing utensils.

PART 1ENGAGEMENT

Divide students into two teams: ‘Team Cheche’ and ‘Team Ofelia.’ As a group, have them read the Handout 2: The Lector.

Instruct ‘Team Cheche’ to develop three arguments against Lectors in the factories and ‘Team Ofelia’ to develop three arguments for why Lectors are a necessity. Let them use their scripts to reference the characters’ arguments. Encourage the students to reference the play for concrete evidence to support their views. Ask each team to choose three volunteers to argue each of the points.

PART 2ACTIVITY

Debate Have the teams flip a coin to decide who argues their point first. The first volunteer from the team who wins the coin flip delivers their first argument. Set the timer for one minute. The next team gets 30 seconds to rebut that argument. Then the next team gives their first argument. Complete each argument and rebuttal. After the debate is complete, the students can vote on whether or not they actually think Lectors should have been kept in the factories or dismissed. There is no right or wrong answer, just the different opinions.

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It’s okay if students don’t actually agree with the argument of their te a m. L e t th e m k n ow th e y ’ l l strengthen their team’s arguments by participating because they can see the other side!

TAKE IT FURTHER!Let students deliver their arguments

“in character.” Have students take on the persona of a character in the play and “be” that character while d e l i v e r in g th e i r a rg um e n t o r rebuttal.


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SEDLESSON 3

THE POWER OF WORDS(Post-Show Lesson, 50 minutes)

Grade Levels 11-12

Description: A class discussion on student reactions to seeing the staged reading of Anna in the Tropics.

Goals: 1. Students will identify the parallels between Lectors and their modern counterparts. 2. Students will highlight the importance of an individual’s access to literature and

knowledge.

Materials: Anna in the Tropics, Handout 3: Anna in the Tropics Characters, Handout 4: Anna in the Tropics Summary, paper and writing utensils.

PART 1REFLECTION

Discuss the experience of hearing Anna in the Tropics at The Broad Stage.

Ask ● How was the experience different between reading the text in class and hearing/seeing the

play performed aloud?● Did you have an unexpected reaction to any of the characters?● Was there an advantage to having a staged reading? (i.e. not being distracted by the sets and costumes of a full production). Did it make it easier to listen to the words or harder to lose yourself in the story?

● Have you ever been affected by a really good book or story? Did it make you feel deeply? Did it make you behave in a different way?

● What modes of storytelling do you encounter most in your life? (i.e. church, theater, podcasts, television, movies, radio, etc…)

● How do these modes of storytelling compare to something you have to read off the page?

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Remind students that listening to a Lector while working was not a job benefit; the owners of the factory didn’t pay a cent for it. The workers pooled their wages to pay the Lector to read to them. It was that important to them that their minds and hearts were stimulated.


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SEDLESSON 3

PART 2ACTIVITY

Distribute Handout 3: Anna in the Tropics Characters and Handout 4: Anna in the Tropics Summary.

Ask students to choose a quote from one of the characters and one of the following prompts:

Prompt 1: Use the script and choose a character to discuss the imagery, symbolism, and style used to illustrate that character’s feelings and point of view. Discuss the effectiveness of the author’s word choice and what, if anything, you would have done differently had you been the playwright. Explain the differences in the experience between the storyteller and the listener. Use your Anna in the Tropics script for reference and evidence.

Prompt 2: Use the script to discuss the importance of storytelling to our current culture. In a cigar factory in 1929 there were Lectors who read to the workers. What do we have in current culture that serves the same purpose (sharing news, politics, love stories, and therefore educating the public)? Explain the differences in the experience between the storyteller and the listener. Is there anything today that really serves the same function?

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TAKE IT FURTHER!Create a scene set in the present, between two characters that are arguing over the importance or silliness of a specific tradition. Create a clear inciting incident, exposition, climax, and resolution to the scene.


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HANDOUT 112

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CIGAR INDUSTRY TIMELINE

1819 Spain cedes Florida to the United States.

1853 Vicente Martinez Ybor starts his own cigar factory in Havana, Cuba. The great Cuban revolutionary, Jose Martí, is born.

1857 Economic panic in the U.S. causes a rise in tariff duties on items manufactured abroad.

1868 Start of the Cuban Revolution; Ybor moves his plant and workers to Key West, Florida.

1868-78 Ten Years War, hundreds of thousands of Cubans seek refuge abroad.

1885 Ybor and Ignacio Haya decide to build factories in the Tampa area, Ybor City is born.

1887 City of Tampa annexes Ybor City and Tampa’s population nearly triples.

1888 Labor militancy causes a long, violent strike in Key West leading many Key West cigar manufacturers to move to Tampa.

1891 Martí delivers “Free Cuba!” (Cuba Libre!) speech to 10,000 Cubans in front of the V.M. Ybor Cigar Factory. This speech, many believe, was instrumental in the development of the Spanish-American War.

1898 Spanish-American War ends.

1899 Cuba’s Havana Liga General de Trabajadores (General League of Workers) publishes a manifesto denouncing the lack of jobs for those who had fought abroad for independence. Havana-American Company establishes ownership over several Tampa factories. New management in cigar factories leads to a major labor-management conflict known as the “weight strike.”

1900 Ybor City is by now commonly known as the “Cigar Capital of The World.”

1901 American Cigar Company takes over Havana-American Company.

1902 Approximately 90 percent of export trade in Havana cigars passes into ownership by North American tobacco trusts.

1917 America declares war on Germany, thus joining World War I.

1919 Versailles Peace Treaty is signed marking an end to World War I.

1920 The 19th amendment gives women right to vote in the United States.

1929 The year in which Anna In The Tropics is set.

1930s-40s The Great Depression, a growth in cigarette consumption and improved cigar-rolling machinery cause a sharp economic decline for hand-rolling factories.

1931 Cigar manufacturers abolish the use of a factory lector.

1960s Fidel Castro takes power in Cuba and the US bans the importation of all Cuban products, including tobacco.

1 Adapted from McCarter Theater Company’s Study Guide http://www.mccarter.org/Education/anna/index.html


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EL LECTOR

El Lector, or the Reader, was a well-paid and prestigious position in cigar factories in Florida in the late 1800s and early 1900s. They sat on a tribuna, a raised platform, and read aloud to the workers as they rolled cigars. Typically, lectors would read news and opinion in the morn-ing and classical works in the afternoon. They would read primarily in Spanish, but were often multi-lingual and could translate and read from different languages. The tradition of the lec-tor travelled from Cuba and became an integral part of a worker’s life.

Often, workers were not highly educated and were illiterate, however, because of El Lector they were often better educated in current events and politics than other Americans and could quote great works of literature from memory. Les Miserables, Don Quixote, and The Count of Monte Cristo were common favorites of El Lector. The workers would then share their newfound knowledge and ideas with their families and friends after work.

The books and newspapers were provided by El Lector, however, the workers chose what he would read democratically. Because of this, the lector often became the voice of the work-ers. The newspapers he would read were often left leaning and pro-union. When there were labor disputes between the management and the workers the lector would often come up in arguments and negotiations. If the management tried to get rid of the lector for fear he would incite the workers, they would often strike until he was returned to his post.

Lectors ‘auditioned’ for their positions. Good lectors had loud voices that could carry, and were often skilled actors and storytellers. They were able to convey meaning and emotion to make literature leap off the page for the workers who pooled their wages weekly to pay them.

After 1931, lectors were no longer permitted to read in factories. Factory owners were afraid of the strong radical ideas of the labor unions and decreed an end to the lector system. The tribunas were torn down, the lectors were forced out, and radios replaced them on the gal-lery floors. The replacement of the lectors was also influenced by the Great Depression; declines in cigar sales, growing popularity of cigarettes, and the loud noise generated by the machines that replaced the skilled workers. It should be noted that there are still lectors today in Cuba and other parts of the world.

Sources:1. http://floridahistory.org/ybor2.htm2. http://www.cigarsoftampa.com/lector.html3. Synopsis of Chapter 7 - El Lector -”Ciudad de Cigars West Tampa” by Armando Mendez

1994


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ANNA IN THE TROPICS CHARACTERS

Santiago - Santiago is the owner of the cigar factory and the patriarch of the story. He gambles and drinks to escape from his troubles.

Ofelia - Santiago’s wife and the matriarch of the factory, she is intent on taking care of her family, the factory, and keeping in touch with the old traditions of Cuba.

“Only a fool can fail to understand the importance of having a lector read to us while we work.” “That has always been our pride. Some of us cigar workers might not be able to read or write, but we can recite lines from Don Quixote or Jane Eyre.”

Conchita - The oldest daughter of Santiago and Ofelia, she finds herself in an unhappy marriage with a man she loves. She shares the passions, dissatisfaction, shame, and desire for change with the heroine of Anna Karenina.

Palomo - Conchita’s husband is a clear headed man who has become bored with his life. He is having an affair.

Cheché - Santiago’s “long-lost” half brother longs to take control of the cigar factory and believes it needs to be modernized to keep it afloat. His wife recently left him for the previous lector.

Marela - The youngest child of Ofelia and Santiago, is beautiful, easily excitable and naïve. She absorbs the romance from the story of Anna Karenina and is oblivious to its dark side. She also doesn’t see the dark side and danger of the people around her.

“No, everything in life dreams. A bicycle dreams of becoming a boy, an umbrella dreams of becoming the rain, a pearl dreams of becoming a woman, and a chair dreams of becoming a gazelle and running back to the forest.”

Juan Julian - The lector, is an intelligent and handsome man who longs to share the beauty of language with all who will listen.

Eliades - The man who runs the cock-fights that Santiago and Cheche bet on.


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HANDOUT 4


ANNA IN THE TROPICS SUMMARY

Act 1Scene 1 Page 1Santiago and Cheché are betting on the cock fights. Santiago is losing badly and borrows more and more money from his half brother, Cheché. Ofelia, Conchita, and Marela are wait-ing at the docks for the new lector, Don Julian. Santiago scrawls his ‘I.O.U.’ onto the bottom of Cheché’s shoe. After he exhausts all the cash, he bets more shares of the cigar company he owns. He loses that as well. Juan Julian, the new lector arrives. Marela pees herself as she can’t hold in her excitement.

Scene 2 Page 15Juan Julian arrives at the cigar factory and meets Cheché and the other workers. Cheché clearly doesn’t want him there and doesn’t know he’s already been hired. Juan Julian finds out that Cheché’s wife ran off with the last lector. Santiago doesn’t show up for work and Cheché tells Ofelia that if Santiago doesn’t pay him another share of the factory will be his. Ofelia tells him she’ll have nothing to do with it.

Scene 3 Page 23Juan Julian begins reading Anna Karenina to the workers who are clearly enraptured by it, save Cheché who would have preferred a detective story. Marela immerses herself in the romance of the story. Conchita confronts her husband Palomo on his affair. She decides to let go of her jealousy, cut her hair, take a lover, and love her husband in a different way.

Scene 4 Page 35Santiago and Ofelia fight through Marela (they are not speaking to each other). Marela leaves and Santiago continue to fight over his gambling losses. Santiago admits that he’s been listen-ing to Anna Karenina from upstairs and Levin reminds him of the way he used to be—young and dedicated to his business. Ofelia encourages him to overcome his embarrassment and go down and see the workers. Santiago reconnects with his wife by using the story to talk to her about love and draw her back in. Ofelia exclaims that he hasn’t lost her.

Scene 5 Page 42Conchita and Juan Julian begin talking after work and are clearly very attracted to each other. Palomo comes in quietly and watches them. Conchita lets Juan Julian cut her hair, they kiss, and the affair begins.


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ANNA IN THE TROPICS SUMMARY

Act 2Scene 1 Page 1Juan Julian and Conchita’s affair gets more serious. They’ve begun making love in the empty factory. Cheché and Ofelia arrive and argue about the changing business of cigar rolling. Cheché argues that they need to bring in modern machinery to remain competitive; he has brought in the first machine. Cheché then tries to get the workers to get rid of Juan Julian. Juan Julian tells Cheché that trying to speed up production is like giving in to the problem. People are rushing through their lives without taking time to listen to a story or smoke a cigar; that it’s modernity that’s destroying the industry. The workers all vote to keep the lector (except for Cheché and Palomo). Santiago returns to the factory and announces that they will create a new cigar called Anna Karenina and Marela will pose for the artwork. He speaks to Cheché who confides in him how frustrated he is with his own life, the company, everything. Cheché finds himself alone with Marela and tries to seduce her. She pushes him away and he falls to the floor.

Scene 2 Page 15Palomo grills Conchita on her affair with Juan Julian; his jealousy has been ignited. Palomo begins to seduce Conchita.

Scene 3 Page 19There is a party at the cigar factory to launch the new Anna Karenina cigar. Palomo confides in Cheché that thinking of his wife with Juan Julian is driving him crazy. Cheché, Palomo, and Juan Julian talk about Anna Karenina and Cheché says he would have killed Anna’s lover a long time ago. Juan Julian says that Anna took a lover so that she could learn to love again. Conchita arrives and everyone agrees she looks transformed and beautiful. Palomo says that literature brings out the best and worst part of ourselves. Palomo’s jealousy is getting more intense. Cheché watches from the shadows and realizes that Marela is interested in Juan Julian. Juan Julian leaves and Cheché emerges from the shadows and grabs Marela.

Scene 4 Page 32The night after the party. Marela comes in still wearing her long full coat and seeming distraught. Cheché comes in late while Juan Julian is reading, pulls out a gun and shoots him.

Scene 5 Page 35Three days later. Marela is still wearing her coat. The cigar factory is silent. Juan Julian is dead. Conchita and Marela think they should continue to read. Palomo picks up where Juan Julian left off. End of play.



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GLOSSARY

Apparatus - An integrated group of materials or devices used for a particular purpose.; A group or system of organs that collectively performs a specific function or process.

Asphyxiate - To cause asphyxia in; smother, suffocate.

Barbarism - An act, trait, or custom characterized by ignorance or crudity.

Bohemian - A person with artistic or literary interests who disregards conventional standards of behavior.

Compliant - Disposed or willing to comply; submissive.

Enrapture - To fill with rapture or delight.

Lofty - Of imposing height.; Elevated in character; exalted.; Affecting grandness; pompous,; Arrogant or haughty.

Malady - A disease, disorder, or ailment.

Modernity - The state or quality of being modern: “Warriors of the…tribe, imposing symbols of nomadic culture…are caught between tradition and modernity” (Sheila Rule).

Oblivion - The state of being disregarded or forgotten; total forgetfulness; “He sought the great oblivion of sleep.”

Saffron - The deep orange aromatic pungent dried stigmas of a purple-flowered crocus used to color and flavor foods and formerly as a dyestuff and as a stimulant in medicine; a purple-flowered crocus.

Verdure - The lush greenness of flourishing vegetation.; Vigorous greenery,.; A fresh or flour-ishing condition: the verdure of childhood.

Zeppelin - A rigid airship having a long cylindrical body supported by internal gas cells.


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Visual and Performing Arts THEATRE CONTENT STANDARDS GRADES NINE THROUGH TWELVE-ADVANCED

1.1 Use the vocabulary of theatre, such as genre, style, act-ing values, theme, and design, to describe theatrical experiences.

1.3 Identify the use of metaphor, subtext, and symbolic ele-ments in scripts and theatrical productions.

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

4.2 Draw conclusions about the effectiveness of informal and formal productions, films/videos, or electronic me-dia on the basis of intent, structure, and quality of the work.

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

Reading Standards for Literature Grades 11-12KEY IDEAS AND DETAILS

1. Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as infer-ences drawn from the text, including determining where the text leaves matters uncertain.

2. Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one an-other to produce a complex account; provide an objective summary of the text.

Writing Standards Grades 11-12TEXT TYPES AND PURPOSES

1. Write arguments to support claims in an analysis of sub-stantive topics or texts, using valid reasoning and relevant and sufficient evidence.

a. Introduce precise, knowledgeable claim(s), establish the significance of the claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that logically sequences claim(s), counterclaims, rea-sons, and evidence.

b. Develop claim(s) and counterclaims fairly and thoroughly, supplying the most relevant evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level, concerns, values, and possible biases.

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

d. Use words, phrases, and clauses as well as varied syntax to link the major sections of the text, create cohesion, and clarify the relationships between claim(s) and

reasons, between reasons and evidence, and between claim(s) and counterclaims.

e. Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing.

f. Provide a concluding statement or section that follows from and supports the argument presented.

Research to Build and Present Knowledge7. Conduct short as well as more sustained research proj-

ects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the sub-ject under investigation.

Speaking and Listening Standards Grades 11-12COMPREHENSION AND COLLABORATION

1. Initiate and participate effectively in a range of collab-orative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11–12 top-ics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

a. Come to discussions prepared, having read and re-searched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.

b. Work with peers to promote civil, democratic discussions and decision-making, set clear goals and deadlines, and establish individual roles as needed.

c. Propel conversations by posing and responding to ques-tions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative perspectives.

d. Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and deter-mine what additional information or research is required to deepen the investigation or complete the task.

Reading Standards for Literacy in History/Social Studies Grades 11-12KEY IDEAS AND DETAILS

1. Cite specific textual evidence to support analysis of pri-mary and secondary sources, connecting insights gained from specific details to an understanding of the text as a whole.

2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary that makes clear the relationships among the key details and ideas.

CALIFORNIA CORE CONTENTSTANDARDS COVERED IN

LESSONS 1-3

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to link the major sections of the text, create cohesion, and clarify the relationships between claim(s) and

from specific details to an understanding of the text as

2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary that makes clear the relationships among the key details and

ANNA IN THE TROPICS TUE / MAR 5 10:30 AM...Anna in the Tropics by Nilo Cruz won the Pulitzer Prize...

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Transcript of ANNA IN THE TROPICS TUE / MAR 5 10:30 AM...Anna in the Tropics by Nilo Cruz won the Pulitzer Prize...