My Second Latino Monologue Book

My Second Latino Monologue Bookais the second title in a groundbreaking new collection designed to support K-3 students in beginning acting classes whose first language, or language most frequently spoken at home, is Spanish. 100 places -- from the soccer park to Abuela's house to under Jose's bed -- are explored in short, fun monologues, featuring a dash of Latino culture and language and sprinkled with fun illustrations throughout. Each monologue is followed by two critical thinking questions to engage the kids in the acting process: Does your character like the place he or she is describing? Why or why not? These questions engage young performers in analyzing the monologues, and encourages them to express opinions and discuss choices."

My Third Latino Monologue Book is the third title in a groundbreaking new collection designed to support K-3 students in beginning acting classes whose first language, or language most frequently spoken at home, is Spanish. Divided into four sections about life in general, school, brothers and sisters, and dreams, the 100 monologues range from comic to dramatic, and each speaks directly to young actors -- to their joys and dilemmas, hopes and fears. While performing these short, snappy monologues, beginning acting students discover situations and characters to identify with, and by so doing, find their own voices.

"This series of comedic monologues, which the New York Times called "Glorious," chronicles the lives of various Latino immigrants dealing with transcultural shock of race and gender identity known as the "Hispanic breakdown." The play is bracketed by the misadventures of the naive Frederico or "The Gay Little Immigrant That Could" who arrives in Los Angeles during the first day of the 1992 riots and believes he's witnessing the filming of another Lethal Weapon sequel. Other characters include Vinnie, a kept boy being asked to leave the home of his wealthy sugar daddy because he's turned 30; Edward, a Latino actor passing for Anglo who gets a Latino part and has to deal with his real identity; the Demon Roommate, a lonely young man with an apartment a little too close to the airport; Paco, a Cuban restauranteur who was imprisoned by the Communists in Cuba for being gay and has now been exiled by his right-wing Miami family for the same reason; the Teacher, a stuffy, sexually repressed English-language instructor who abuses his Latino students when they can't learn properly the "language of Princess Di"; and La Gitana, a drag Flamenco dancer struggling with AIDS as he stages his final performance. The play ends with Federico's final misadventure as he tells of his newly found romance, a better job and his acquisition of citizenship in a grand, positive finale. "Some of the characters seem to be hanging onto their American existence by a thread, but make no mistake, these are tough, tenacious men.""--Publisher's description

This groundbreaking new series is for truly young actors- monologues, scenes, and technique book for the elementary school set. Each book builds on the one before it, so skills grow as students grow. Often, young children are given work written for older actors that is difficult for them to understand and retain. This material is comprehensible, relatable, and fun. For all the young characters and performers, there is finally a book for you!And within this series, an exciting collection that breaks down barriers: Square pegs don?t fit into round holes. It's that simple.Specifically for young actors of Hispanic descent, M. Ramirez has written a group of books for second, third, fourth generation immigrant kids who don't often feel included in a lot of the literature they're surrounded with. References to abuelos, abuelas, and other cultural specifics help make these performance pieces a little more accessible to kids who might or might not be speaking English as a second language. all with a specific flavor that will help young actors find their voices and stretch themselves, performing pieces that speak not only about them, but directly to them.Because of the Latino flavor incorporated into this material, these kids can focus on what they are meant to focus on performing without any cultural barriers.KIDS: These books tell you about how to act and give you some excellent characters to play! There are also many, many games and activities. (P.S. They may also make you the smartest kid you know!)TEACHERS: This series provides ample material for classroom use. In addition, the Teacher's Guide will give tips and ideas to use in classrooms.PARENTS: If you?ve got a natural performer in the house, this book provides some simple pieces for auditioning, horsing around, or performing in the living room. These books are both fun and educational.AGENTS/MANAGERS: These monologues are immediate and active, with different emotions and levels within each monologue. Great for auditions.Wow! Who is that?! You can transform yourself into fantastic famous and historical people. How? By acting, of course! Inside, you'll see situations that are just right for five- to eight-year olds. (Teachers and parents, there are great ideas for you, too!) Each section is interactive, featuring pictures and games. Get your family and friends involved can they guess who's who? Jump into another life and let your imagination soar!

This book is organized a little differently than most published collections of monologues. Each chapter is arranged in several sections: About the Playwright List of Plays Playwright Information Performing the Monologues The Monologues

Acclaimed by many as one of the most gifted essayists and stylists in American letters these last few decades, Richard Rodriguez has left an indelible imprint on the tradition of autobiographical writing of the nation. Rodeño’s study of the four installments of Rodriguez’s self-writing offers an insightful and perspicacious analysis of the evolution and the most controversial elements in this Chicano writer’s production so far. Delving deeply into issues of racial and ethnic identity, sexual orientation, religious background, various types of hybridity, and different forms of socio-cultural adaptation, this book presents all kinds of incisive observations about the contested space(s) that “minority” self-writers are often pushed to occupy in the American tradition of the genre.