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Teatro Campesino, El Reference library
The Continuum Companion to Twentieth Century Theatre
... Campesino, El ( The Farmworkers' Theatre ) Theatre company. Founded to support striking grape-pickers in California in 1965 by Luis Valdez (b. Delano, California , 1940 ), a former member of the San Francisco Mime Troupe who had been active in student politics and visited Cuba. Valdez created a bilingual theatre to investigate the culture, tradition and struggle of the Mexican-Americans in the US. Early agitprop plays rooted in Chicano life also opposed the Vietnam War, and in the 1970s the group set up El Centro Campesino Cultural south of San...
Campesino, El Teatro Reference library
Jorge Huerta
The Oxford Encyclopedia of Theatre and Performance
..., El Teatro A Chicano theatre troupe founded by Luís Valdez and a group of striking farmworkers in Delano, California, in 1965 . Under Valdez's guidance, the Teatro members, who had never acted before, collectively created actos or sketches intended to educate and entertain. This troupe of farmworkers gave instant visibility to the incipient farmworker's struggle, satirizing the growers and informing workers about the advantages of a labour union. The troupe left the union in 1968 in order to gain autonomy and to address other issues vital to...
Campesino, El Teatro Reference library
The Companion to Theatre and Performance
..., El Teatro A Chicano theatre troupe founded by Luís *Valdez and a group of striking farmworkers in Delano, California, in 1965 . Under Valdez's guidance, the Teatro members, who had never acted before, *collectively created actos or sketches intended to educate and entertain. This troupe of farmworkers gave instant visibility to the incipient farmworker's struggle, satirizing the growers and informing workers about the advantages of a labour union. The troupe left the union in 1968 in order to gain autonomy and to address other issues vital to...
Campesino, El Teatro
Teatro Campesino
Los Vendidos
guerrilla theatre
Luis Valdez
Los Angeles
diaspora
Lira, Agustín (1945) Reference library
Estevan César Azcona
The Grove Dictionary of American Music (2 ed.)
...Mexican origin. He was one of the most important musicians active during the Chicano Movement, a civil rights movement of the 1960s and 1970s, through his work with El Teatro Campesino (The Farmworkers Theater) and as an independent artist. Lira grew up in a working-class family in New Mexico. He taught himself guitar by playing American and Mexican popular music. A cofounder of El Teatro Campesino, Lira was a principal songwriter and one of the early master composers of Chicano political songwriting. His compositions drew on diverse sources, evocative of the...
guerrilla theatre Reference library
The Continuum Companion to Twentieth Century Theatre
...theatre A form of ‘hit-and-run’ political theatre usually performed outdoors and carrying a strong message, like the early agitprop plays of the California farmworkers' group, El Teatro Campesino , the anti-capitalist pieces of the San Francisco Mime Troupe or the oppositional plays of Wole Soyinka 's Nigerian guerrilla unit which was based at the University of Ife. Colin Chambers See also street theatre . H. Lesnick , ed., Guerrilla Street Theatre (1973) J. Weisman , Guerrilla Theatre ...
Teatro Campesino Reference library
The Oxford Encyclopedia of Latinos and Latinas in the United States
...general have been attributed to El Teatro Campesino. As early as 1969 El Teatro Nacional de Aztlán (TENAZ, the National Theater of Aztlán) was formed and held it first gathering in Fresno. Another marker of El Teatro Campesino evolution was the recognition it received for its first film, I Am Joaquín , based on the poem of the same name by Rodolfo “Corky” Gonzáles. This production received awards at both the 1969 San Francisco International Film Festival and the Independent Film Makers Festival. In 1970 El Teatro Campesino, still firm in its commitment to...
Teatro nacional de aztlán Reference library
The Oxford Encyclopedia of Latinos and Latinas in the United States
...heroes, intensified the teatro movement's radicalism in the face of the Campesino's increasing religious mysticism. Santa Barbara's El Teatro de la Esperanza was achieving perfection, as no other Chicano theater had, in working as a collective and in assimilating the teachings of Bertolt Brecht in its plays. San Jose's El Teatro de la Gente had taken the corrido -type acto , a structure pioneered by El Teatro Campesino that set a mimic ballet to traditional Mexican ballads, and perfected it as Campesino never had. El Teatro Desengaño del Pueblo from...
Teatro de las Chicanas Reference library
The Oxford Encyclopedia of Latinos and Latinas in the United States
...1960s with the formation of El Teatro Campesino in Delano, California. These women joined efforts with the other teatros to educate and spread the goals and objectives of the Chicano/a Movement, a social movement of Mexican Americans advancing civil rights, fighting against social discrimination, and seeking equality. For over a decade, beginning in 1971 , Teatro de las Chicanas performed at political rallies and antiwar demonstrations, in high school gyms, at community centers, in parks, and in the beds of pick-up trucks. The teatro's first written skits dealt...
Valdez, Luis (b. 1940) Reference library
The Oxford Encyclopedia of Latinos and Latinas in the United States
...In its first stage El Teatro Campesino was also linked to other theater movements of Latin America that searched for societal changes through theater and a collective vision. These included Libre Teatro Libre in Argentina, El Aleph in Chile, and El Galpon in Uruguay. El Teatro Campesino in its early years traveled through the fields performing from truck beds for and with farmworkers, expressing their own daily struggles and the relationship with the patrón and the coyote. A new theatrical form, the actos , was born with El Teatro Campesino. In Early Works ...
Playwrights Reference library
The Oxford Encyclopedia of Latinos and Latinas in the United States
...Influence of El Teatro Campesino. In 1970 , El Teatro Campesino hosted the first national festival of Chicana and Chicano theater, with sixteen groups from throughout the country attending. El Teatro Nacional de Aztlán, known as TENAZ, a coalition of teatros that coordinated national and regional events and exchange between groups, was formed in 1971 . By the mid-1970s, Chicana alternative theater groups had formed. In a study of Chicana and Chicano teatros, most of the responding groups credited Luis Valdez and/or El Teatro Campesino as an influence,...
Aztlán Reference library
José A. Ramírez
The Oxford Encyclopedia of Latinos and Latinas in Contemporary Politics, Law, and Social Movements
...roots of ethnic Mexicans. In 1971 , several other theatrical companies joined El Teatro Campesino to form an association called El Teatro Nacional de Aztlán. Chicano and Chicanas also painted murals depicting Aztec motifs on public and private buildings across the Southwest. Muralists and other artists formed collectives such as the Casa Aztlán for mutual support and to help gain exposure for their work. Chicano publications likewise referred to Aztlán. Among these were the novel Heart of Aztlán ( 1976 ) by Rudolfo A. Anaya and the scholarly journal ...
Chicano theatre Reference library
Jorge Huerta
The Oxford Encyclopedia of Theatre and Performance
...is now the USA was performed in 1598 by Spanish and Mexican colonizers near El Paso, Texas. Soon after Spanish missionaries proselytized the natives through religious dramas, plays that can still be seen in Spanish-speaking communities. Secular dramas followed, as did popular entertainments. Well into the twentieth century, the majority of plays performed in Chicano communities were of Spanish or Mexican origin, performed in Spanish. With the emergence of the Teatro Campesino , founded by Luis Valdez and a group of striking farmworkers in 1965 , other...
Mexico and Central America Reference library
The Continuum Companion to Twentieth Century Theatre
...and to a lesser extent, in El Salvador, Honduras and Nicaragua, affirming age-old cultures and identities. Donald H. Frischmann See also Caribbean ; Hispanic theatre in the United States ; South America . Gabriel Careaga , Sociedad y teatro modern en México (1994) José Ramón Enríquez , ed. and intr., Teatro para la escene (1996) Escenarios de dos mundos: Inventario teatral de Iberoamérica , vols 1–4 (1988) Donald H. Frischmann , El Nuevo Teatro Popular en México (1990) ——, ‘Misiones Culturales, Teatro Conasupo, and Teatro Cominidad: The Evolution of...
