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Mail - Parker Perez - Outlook Post Test: Looking Inward cn Mininisia 2 f2.apps.elf.edmentum.com/assessments-delivery/ua/la/launch/4364/45647971/aHROCHMGLy/9/MiSheHBzLMVsZiSIZGibARTBSSjb20VbGVhemSkci922WNVBmRhenkvexNifaithcarp/25:ZWSOLO/NjQvbGF1bmNocGFRLQ1NjQ30To# O Ca Previous 5 v Next All Bo Post Test: Looking Inward Submit Test Reader Tools ) Info Save NEA Arts magazine spotlight: Diane Rodriguez: Sharing the Latina Experience Select the correct answer. by Rebecca Sutton (excerpt) Mar 28, 2018 What is one technique an author can use to create an engaging personal narrative? (1) Writer, director, and performer Diane Rodriguez has long been a part of the Latino artistic community, making her professional theater debut with El Teatro Campesino in the mid-1970s In subsequent roles as co-director of the Latino Theater Initiative, board president of the O A. include technical information on the topic Theatre Communications Group (TCG), associate artistic director of the Center Theatre Group in Los Angeles, and a member of the National Council on the Arts, she has consistently used B. end by asking a question of the readers nally unheard voices, most passionately those of Latinas. O C. begin with a humorous or personal anecdote (2) In recent years, she has found her own voice as a playwright, sculpting title characters who are all strong women. Living Large centers on a Latina widow who remakes her life on her own; O D. use a formal style to promote academic vocabulary Itch revolves around a Latina social justice worker seeking to at least crack, if not break, the glass ceiling, and A Sweetheart Deal follows a youn Latina's trajectory into becoming a leader within the United Farm Workers Union. She has also reached an entirely new generation of s through her work writing and consulting on scripts for Mattel's live Barbie productions and the Disney television show Elena of Avalor, which focuses on the adventures Reset Next of a Latina princess. In the following edited interview, Rodriguez discusses the challenges and joys she has faced throughout her career as a Chicana theater artist. PLANTING ROOTS (3) Being a Latina, Chicana, has affected my career greatly. I was going to go to graduate school. I applied to California Institute of the Arts, and I got turned down. The alternative was to join El Teatro Campesino-that was the best thing that ever happened to me. It opened my eyes to possibility, but it also rooted me in home, and in where I came from. It rooted me in the fields that my parents worked in, in the canneries that my mother toiled in as we were growing up. I never forgot the roots that I came from as Bunched into the world. Even now, even citic work, those roots keep me anchored. MAKING ROOM FOR NEW VOICES AND LEADERS (4) A great civilization and a great city need culture, Large organizations are not our enemy. All that all of us are asking is that centers of culture are shared, that various voices are heard, and that we don't decimate one voice for the oth So I appreciate the large theaters and the small e to think about the whole ecosystem because we depend on each other. I think it's the same with women. We are asking to share in the leadership, and have a space where we're not crowded out, where we are heard, and where we don't feel that the doors are slammed in our faces. From popular culture to high art, it's difficult. We're still in dark times in (5) I think leadership in the theater is the number one challenge still. There are still very few olor in managerial positions and executive positions. There has never been a Latina who has run a LORT [League of Resident Theatres] theater, and ce theater, and certainly not a Mexi American woman. I have tried to get in those doors, (6) We still need more writers of color. We've made advances, certainly, and there are a lot of talented writers But I do think that it's very very hard for a woman of color to be a playwright 2025 Edmentum. All rights reserved. 12:14 7/22/20 Q Search