KAREN ZACARÍAS. Playwright Karen Zacarías was born in Mexico City and is now the most-produced Latina playwright in the United States.

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1 2018 Study Guide Destiny of Desire by Karen Zacarías EPIC THEATRE Ms. Zacarías says th play a melodrama melded with Bertolt Brecht s Epic Theatre. Bertolt Brecht was a German poet, playwright and theatrical reformer known for a genre of theatre beginning in the 1920s known as Epic Theatre. Charactertics of Epic Theatre: Audiences see what happening behind-thescenes. Sets and costumes are often kept to a minimum. Performers are onstage for most of the show. Performers often speak directly to the audience to announce scenes, put the play into htorical or political context, and/or incorporate popular culture in an ironic way. Musicians are onstage with the actors, not hidden away. The story keeps the audience critical of the play s heroes. KAREN ZACARÍAS Karen Zacarías Playwright Karen Zacarías was born in Mexico City and now the most-produced Latina playwright in the United States. She frequently writes comedies that tackle political matters, usually featuring women as the main characters. Ms. Zacarías one of the founding members of the Latinx Theatre Commons. She the founder of the Young Playwrights Theater, which teaches playwriting in public schools in Washington D. C. She one of the writers under commsion with OSF s American Revolutions: the United States Htory Cycle. I love you... We can no longer deny our destiny. The poor expect to suffer. That their fate. Your destiny not to scrub her sad floors and wash her bitter dhes. DESTINY AND FATE Quotes from Destiny of Desire Both destiny and fate are dcussed throughout the play. In everyday life these words are used interchangeably, however, they have their own specific meanings. Playwright Karen Zacarías describes the difference between the two as follows: Destiny what your life can be if you realize your potential, if you believe in your potential and you go for it. Destiny not something that happens to you; it s something you have to strive for. Unlike fate, which something that s sealed and locked, destiny fluid and can evolve. Who you were and who you can become within your grasp.

2 Before seeing/reading the play 1. Research playwright Karen Zacarías and why she was inspired to write Destiny of Desire. org/2017/02/24/a-playwrights-destiny-an-interviewwith-karen-zacarias/ article/bww-interview-a-date-with-destiny- Talking-with-Playwright-Karen-Zacaras Destiny of Desire written in the style of a telenovela. Research what a telenovela. Many telenovelas have different styles and tones to them. Watch the links below to see the contrast between the two telenovela shows, La Impostora and Nuevo Rico As in most telenovelas, there music, song and dance throughout Destiny of Desire. Many of the songs are from the genre of traditional Mexican music known as Ranchera music. Research the origin of th type of music and lten to th compilation of different kinds of Ranchera songs: traditions/ranchera-music/ MQ&t=361s 4. The playwright of Destiny of Desire uses elements from Shakespearean comedies as well as a theatrical style called melodrama to help tell the story. Research charactertics of melodrama and Shakespeare comedies. How might elements from both of these work well in a telenovela-type story? search?q=cache:o6xunourxwgj:faculty.ksu.edu.sa/ alshayban/englh% /58.the%2520shakespeare%2520comedy.docx+&cd=18&hl=en&ct=clnk&gl=us melodrama.html ARCHETYPAL CHARACTERS IN CLASSIC MEXICAN TELENOVELAS A Doctor, Nun and Nurse. The Good Boy/Good Girl: Usually lovesick, fairly innocent, may have a storyline like a character in a fairytale. The Hero/Heroine: A champion of those in need, often vulnerable to deception. The Kind/We Old One: Generally loved for h/her good intentions and advice, but may also be seen as nosy and too much in everyone s business. The Strong Woman: Always in some kind of conflict or drama, takes matters into her own hands, may seem hard or cold. The Villain: A powerful, wealthy and dangerous character that manipulates others for their own gain. After seeing/reading the play 1. Consider the title of the play. How can the desire to change one s destiny be positive or negative? Which characters in the play are able to change their destinies, and how? What characters try to change their destinies but are unable to, and why? Who desires something for someone other than themselves? What do we learn about the characters from their respective desires? 2. The two families in Destiny of Desire are from two very different socioeconomic backgrounds. How do their incomes and status in society affect how the mothers and babies are treated in the hospital? What are some of the ways Dr. Mendoza treats the families and the well-being of the daughters differently? How do the families treat each other based on their life circumstances?

3 3. Why do you think Ster Sonia decides to go along with the plan to switch the babies in the hospital? In what ways does she attempt to right the wrongs caused by the switch? Why do you think she decides to remain a nun even after she gets her memory back? How does she redeem herself in the end? 4. Compare and contrast the relationship of Hortencia and Ernesto with that of Fabiola and Armando. What secrets do the spouses attempt to keep from each other, and why? How do the secrets affect their relationships? What do the parents expect of their children? Why it crucial to the parents for the children to obey their whes? What happens when the children either obey their parents whes, or dobey them and follow their own desires? a part in forming the kind of person they are? How do they inform how the characters see the world around them? What are some of the other elements the playwright uses from the structure of Shakespearean comedies? How do these elements contribute to the play? 8. Refer to the information provided about Bertolt Brecht s Epic Theatre. Why might have the playwright decided to have the actors interact with the audience? What connection made between the audience and the actors in the play? Ms. Zacarías includes stattics about the United States throughout the play. What effect do you think they have on audience members watching the show? 5. Dcuss the relationship between Pilar and Victoria. Why do they have such an affinity for each other? How are the two daughters similar? How does each young woman s beliefs and goals align with her counterpart s? How does Fabiola interact with the two girls? What, if any, influence does she have on each of them? How does Hortencia interact with both of them? How does she have influence on them? 6. What sacrifice(s) does Hortencia make for Victoria? What does Victoria sacrifice for her mother? What does Ernesto sacrifice for Fabiola? What other sacrifices are made in the play, and for whom? 9. Refer to your research on melodrama. How does th style of theatre affect the way the story told? How do the qualities of melodrama affect the portrayal of the characters physically and vocally? How does music add to the melodramatic tone of the play? 10. If you are also seeing Othello and/or Sense and Sensibility, compare and contrast the Destiny of Desire storms with the storms in these other plays. In what ways do they lead to an unforeseen twt in the story? What characters are most directly affected by the storm? How are other characters in the plays affected, either positively or negatively, by the outcome of the storm? What might the storms symbolize? 7. Refer to your research on charactertics of Shakespearean comedies. How do mtaken identities play a role in Destiny of Desire? What character(s) have the biggest twts and turns in their journeys through the play? How do these complexities play 11. If you are also seeing Othello and/or Romeo and Juliet, compare and contrast the father/daughter relationships with those in Destiny of Desire. How are each of the daughters treated and valued by their fathers? How do each of them defy their father s whes? How successful are the fathers in getting what they want for their respective daughters?

4 Telenovelas are often compared to soap operas. However, some dtinct charactertics set them apart from each other. Telenovelas: Have a finite number of epodes. Broadcast both in the daytime and in prime time. Audiences are compred of women and men of all socioeconomic levels, ages and occupations. Tend to focus on the relationship of a romantic couple as the main plot. Soap Operas: Are written without an end in mind. Air in the daytime. Audiences const of mostly people who work at home. Usually focus on family as the main part of the narrative. Some popular televion shows in the United States are based on telenovelas. Juana la Virgen Jane the Virgin Juana la Virgen Jane the Virgin La Reina del Sur Queen of the South Yo soy Betty, la fea Ugly Betty Members of Oregon Shakespeare Festival Education created the 2018 Study Guide for Destiny of Desire. These suggestions were designed for students and teachers but may be enjoyed by audiences of all ages. They may be used without restriction for educational purposes. The Oregon Shakespeare Festival not responsible for the content of any website lted above. Oregon Shakespeare Festival. No part of the 2018 Study Guide for Destiny of Desire may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, for professional or commercial purposes without permsion in writing from Oregon Shakespeare Festival Education.

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