Is the Mentor intruding into the ordinary life of the Protagonist a particular. Obviously they don’t articulate it that way, but they’ll feel it and could become ambivalent towards the story. It’s a tough call for her but she realizes that in order to break out of the East LA cycle, she needs to sacrifice something. I was tempted at first to call it a maturation plot, but that doesn’t fit the bill; Ana’s worldview doesn’t change (much). The lovers kiss scene was cute as well as her buying condoms and them eventually having sex. Ana, a young Latin American working in her sister's small factory, dreams about going to college to become a writer. When the dour, abused Pancha (Rosemarie Casas, stepping in for Carole Gutierrez) receives a lecture about women's rights from Ana, she reacts with a wholly believable jaded contempt. Great blog post! (Finally walking like a woman the way her mother wanted her to.). It's a good start--a group of women working under pressure from without as well as from one another. In the mini-plot stories, multiple characters express opinions on the controlling idea or theme of the story. Ana’s teacher, Mr. Guzman, thinks Ana should pursue her dreams; it would be a waste for her not to. POV: The story is entirely in Ana’s POV: she’s in virtually every scene and we experience the whole story through her eyes. We speak Chicago to Chicagoans, but we couldn’t do it without your help. Real Women Have Curves Synopsis: This is the story of Ana, a first generation Mexican-American teenager on the verge of becoming a woman. Protagonist Gives Up What Has Kept Her Stuck: The Protagonist sacrifices some part of her past to move into the future. I’d say the primary drive is a modest suspense–will she or won’t she convince her parents to let her go to college in New York? Clearly Lopez means us to see that the women accept themselves in all their curvaceous glory, and I applaud her intentions; but her characters haven't gained any real depth by this point, and they seem to be at the mercy of the playwright's caprices. When Mr Guzman comes to Ana’s birthday party, I was struck by how very similar the scene was to the one in Billy Elliot where Mrs Wilkinson, Billy’s dance instructor, comes to Billy’s house. The obligatory scenes and conventions of the global genre need to be on the page (or on the screen in this case) and they exist to satisfy audience expectations. Protagonist Is Caught Shining: The Dependent and Secret Worlds collide. ... Real Women Have Curves - Play. misses key obligatory scenes; namely the middle build crisis (where Ana thinks for herself: a clear point of no return) and resolution (where Ana stands up to her mother). There is sometimes some confusion about whether Status stories are internal or external because the life value at stake is SUCCESS/FAILURE. M... Irene. I wondered if the red dress could represent the Virgin’s Promise step of Dressing the Part. **Update: Performance and Action subplots refer to HIdden Figures. It’s also the female executive that Estela asks for an advance but tells her she won’t get one and “took a chance on someone like you.” The stronger one is Estela since she got sucked into the family business and had dreams of a better life. We may not like her opposition to Akeelah’s aspirations, but we understand where she’s coming from. The conventional Obligatory Scenes for a Status Story follow the Hero’s Journey, but in this particular story, Ana’s journey fits within the Virgin’s Promise better. Ana insults the woman who pays Estela for the dresses. She must separate from the Dependent World and stand on her own. (He’ll loan Estela the money to keep her shop open if he thinks she’ll be successful. This is just a classic conflict between mothers and daughters, especially 1st generation and 2nd generation ones. The scenes in the dress shop are even better with the best being the painted over sign. Real Women Have Curves is the story of Ana, a first generation Mexican-American teenager on the verge of becoming a woman. The scene in the sweatshop where all of the women strip down to their underwear is a powerful rise up moment that was innovative in its defiance and visuals. She opts for college and all but her mother support her. Valerie: Surprising but inevitable ending: The ending of Real Women Have Curves is neither surprising nor inevitable. Wants: Ana wants respect from her family, especially her mother, for her mind and ideas. As Rachelle Ramirez wrote in her excellent Fundamental Fridays blog post Secrets of the Status Genre, the status story that ends in success is a prescriptive tale that shows us how to maintain our place in society or advance up the ladder. Sign up today to unlock amazing theatre resources and opportunities. Ana shows her application to Mr. Guzman. Click here to download our Foolscap Global Story Grid. Over the summer, she learns to admire the hardworking team of women who teach her solidarity and teamwork. The success here is more about winning her father’s respect than about her social rise. The filmmakers didn’t pay off the red dress and college essay. They tell her mother at dinner. Apparently critics have said that Lady Bird ripped off Real Women Have Curves since the characters are so similar. Torn between her mainstream ambitions and her cultural heritage, she agrees to work with her mother at her sister’s downtown LA sewing factory. Ana works on her personal essay and takes it to Mr. Guzman, but she also starts seeing Jimmy as she continues to work at her sister’s dress factory. Further to Anne’s point: I wouldn’t call the missing scenes cliche, I’d call them pay-offs. Required fields are marked *. of Mentor, best suited to, say, an Internal genre story? She lives in the predominantly Latino community of East Los Angeles. The protagonist, Ana, starts in a working-class immigrant family that places a low value on education, and ends up at an Ivy League university. So here’s what I came up with. According to Norman Friedman, Status Sentimental protagonists don’t change a great deal, but remain steadfast and are acted upon as opposed to acting. When a weak protagonist succeeds against the odds, we’re in the Sentimental subgenre. It’s a little weak, because though Ana learns to value the hard work her family does, that realization has very little to do with her going off to college. But part of me doesn't, because my weight says to everybody, 'Fuck you!' It represents a tool she can use to grow into her true nature. Her mother also complains that she is “too fat” and should help her family. | Performing Arts Review. Will Ana stay and work in the factory, or will she leave? Carmen decides to stay in her room, and doesn’t even speak to her daughter. Cuyahoga brings long ago midwest back to life, Elsa Hiltner advocates for transparency in theater design salaries, 'Night, Mother asks 'Whose death is it anyway?'. : The Protagonist recognizes her value and she reconnects with her community. Want to learn more about the Editor’s Six Core Questions? As such, I think. The Status genre is a powerful one for “not falling into the same old groove.”. Mr. Guzman drops by the Garcia family home and tells her parents that he’d like to see Ana continue her education and that she has great potential. The ending scene says it all that when she is strutting in NYC a confidence women ready to take on the world! Anne and I were just talking about this the other day and I was like, wait. The protagonist, Ana, starts in a working-class immigrant family that places a low value on education, and ends up at an Ivy League university. Her status within the family does shift (from the one who is only fit for sweeping floors for free, to the only one who rising above her socio-economic standing). Her employees--including her mother, Carmen (Martha A. del Rio), and younger sister Ana (Justina Machado)--pull together to finish the order by the end of the week, working in secret with the doors and windows of the sweltering factory closed tight, fearing a raid from immigration authorities.
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