Ensayo general

Ensayo general
Ensayo general

Book Description

This theatre anthology includes four plays: Historia de una muñeca abandonada by renowned Spanish playright Alfonso Sastre, Fábula del buen hombre y su hijo, by Mireya Cueto, La Cenicienta: versión desempolvada, by Isabel Campoy and La calle de los fantasmas by Javier Villafañe.

Historia de una muñeca abandonada is one of the best plays ever written in Spanish for children. This drama, in verse form, inspired in King Salomon’s judgement, brings to question who is the true owner of a doll, the girl who received it as a gift, mistreated and abandoned it, or the girl who found it and tended for it carefully.

Besides having a profound content, the play is a model of good theatre following the best traditions of theatre in the Spanish language, including changing the metric to adjust to the particular emotions and feelings of each act.

La Cenicienta: version desempolvada by Isabel Campoy is a witty version of the old Cinderella tale now brought to modern times.

La fábula del buen hombre y su hijo is a dramatization of the popular fable in an excellent dramatization by Mireya Cueto.

La calle de los fantasmas is an original play by one of the best authors of children’s theatre in the Spanish language, Javier Villafañe.

The book also includes five sections that will inform children on various aspects of the theatre and will facilitate their getting involved with different forms of staging a play: Sonido y utilería. Los títeres. Las máscaras. Teatro de sombras. Glosario de teatro.

Using this book

The values of the use of involving children with theatre are multiple. Plays can be an excellent tool for promoting the ability to speak in front of a group, which is a leadership skill. Since they offer children the opportunity to utilize words and language registries they may not have other opportunity to use, plays can be strong vehicle for vocabulary and language development.

When used for choral reading plays can strengthen reading skills. In addition, acting on a play enhance children’s self-confidence and self-esteem while providing opportunities to learn about one’s self and others. Most importantly, putting out a play, no matter how simply, promotes the values of collaboration and solidarity.

To read more on the significance of theatre click here: Let’s Raise the Curtain! The Benefit of Theatre in the School and for suggestions on its use in the classroom read the section “Plays and Dramatic Games” in Chapter 3 of The Magical Encounter: Latino Children’s Literature in the Classroom and for dramatic responses to books, the section “Promoting Dramatic Expression” in Chapter 4 of that same book.

Author’s Note

Promoting that children have access to read and act plays has always been one of my basic concerns. Even if it is done with great simplicity acting in a play can have very positive results. It certainly was so for me. Encouraged by my extraordinary sixth grade teacher, Dra. Rosa María Peyrellade, I wrote my first play which we performed in class. As a high school student I wrote three plays, and while very simple my classmates performed them with enthusiasm. We invited the High School Faculty of the Instituto de Camagüey to the premier of one of them, which I entitled La sonámbula or The Sleep-walker. Even though some of the professors did not enjoy the criticism to their very traditional pedagogy which was part of the performance, there was enough interested public that we rented the best theatre in town, el Teatro Principal to give a couple of public functions.

When I became a High School teacher at the Colegio Abraham Lincoln in Lima, Perú, I invited my students to do theatre and we had great fun doing so!

My mother, a coordinator for FLES [Foreign Language in the Elementary School] in Atlanta, Georgia, used theatre very effectively in the teaching of Spanish, and wrote a number of plays that were performed by children and broadcasted via the district TV station.

As a teacher educator in the United States I have continuously emphasized the use of theatre. I have had the privilege of having my mother co-direct with me three different performances of Historia de una muñeca abandonada, by Alfonso Sastre during three summer courses: at the University of Texas, at El Paso, in Philadelphia, and in Puerto Rico. I was later able to continue to invite teachers to perform this outstanding play, in Chicago, through the Associate Colleges of the Midwest, and in Madrid, both at the Universidad Complutense and at the Fundación José Ortega y Gasset.

I am convinced that one is better able to teach something one has enjoyed doing. And just as Isabel Campoy and I emphasize, in our courses of Authors in the Classroom, that teachers who create their own books will be better able to get their students to become authors, I believe that encouraging teachers to do theatre and experiencing the richness of the process would better allow them to incorporate plays in their regular teaching.

For a delightful anecdote that shows the magic of theatre click here: Let’s Raise the Curtain! The Benefit of Theatre in the School.

You can also find more about my personal experience with theatre in the section “It’s Play Time!” in Alma Flor Ada and You volume II, published by Libraries Unlimited.


Each of the seven anthologies in this series offers a variety of plays well-suited for either reading aloud or for full-scale performance. For the early grades, Alma Flor Ada and F. Isabel Campoy have created original adaptations of traditional children’s stories. Familiar tales are retold in the form of plays, choral poems, and theatre games, inviting children to explore movement, characterization, and imaginative play. The use of traditional Hispanic folklore, woven into the dialogue, enhances the cultural setting in which the stories have been recast. For the older grades, a selection of the best plays written for children throughout the Spanish-speaking world has been carefully assembled.

The anthologies are:

Teachers have found the anthologies in this collection both inviting and inspiring.


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