Self-study
P1
Most scholars of Mexican American history mark César Chávez's unionizing efforts among Mexican and Mexican American farm laborers in California as the beginning of Chicano political activism in the 1960s. ██ █████ █████████ ██████ ████ ███████ █████ ██████ █████████████ ███████████ ██ ██████████ █ █████████ ███████ ██ ██████ ██ ██ ██████ ██ ███ ███████ ██ ██████████ ██ ████ █████ ██████████ ███ ████ ████ ████ █████ ███ █████ ██ ████████████ ███████ ████████ ███ ████ ██ ███ ████ ████ ██████ ██████████ ███████ █████ █████ ███████ ██ ████████ ████ ████████ ██████ ███ ███ ███████ ██ ███ █████████ ██████ █████████ ███ █████████ ████████ ██ ████████ ██ ██████ █████████ ███ ███████ ███████ █████████ █ ████████ ████ █████ █████ ███ ████ ██ ███ ██████
Into topic ·
Teatro Campesino theater company and Chicano theater movement
Valdez, who wanted to use theater for worker activism, connected with Chávez, a union leader for Mexican farm workers, and created the Teatro Campesino
P2
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Origins of Chicano theater movement ·
Valdez created "actos" (skits) with striking farm workers
Note the analogy drawn between farm work and theater: author references "players" in the "drama" of fieldwork
Characteristics of actos ·
Satirical, propose solutions, and inspire to action
P3
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Three perspectives ·
Theater historians', critic's, and author's
Theater historians say Valdez invented actos; critic Broyles-González says historians are wrong and the farm workers also deserve credit; and author says Broyles-González is right
Elaborate on origin of actos ·
Likely influenced by "carpas," an earlier form of satirical theater
Main point ·
Teatro Campesino's actos were a fusion of carpas and European-style theater thanks to the combined influences of farm works and Valdez
Passage Style
Critique or debate
Spotlight
13.
Which one of the following ████ ██████████ █████████ ███ ████ █████ ██ ███ ████████
a
Some theater historians ████ █████ ██ █████████ ███ ████ ██████ ████████ ████ ████ ██ ████████ ███ ██████ ██████████ ████ ██████ ███ ███████ ████████████ ██ ███████ ██████████ ██████
The author’s point isn’t that Valdez wasn’t influenced by earlier forms. The author’s point is that Valdez was a crucial factor in the development of actos and Chicano theater.
b
In crediting Luis ██████ ████ ████████ ███ ███████ ███████ █████████ ███████ ██████████ ████ █████████ ███ ████ ██ ██████ ███████ ██ ███ █████ ████████████
The main point is about Valdez’s contribution, not about Cesar Chavez.
c
Although the creation ██ ███ █████ ████████ ██ ███ ██████ █████████ ███ █ ██████████ ███████████████ ████ ████████ ███████ ███ █████████ ████ █████████ ███████ ██ ███████████ ███ ████ ██ █████
This best captures the main point, which is that
d
The success of ███ █████ ██████ █████████ ████████ ██ ███ ███████ ████████ ███ ███████ ██ ███ ███████ ██████████ ███ ████ █████████ ██ ████ ██████ ██ ███████████ ██ ████████ ██████
(D) emphasizes the contributions of the people recruited by Valdez. But the author emphasizes the contributions of Valdez himself.
e
Although, as Yolanda █████████████████ ███ ███████ ████ ███ ██████ █████████ ███ █ ██████████ █████████ ████ ████████ █████████ ███ ████████ ███████████ ██████ █████ ██ ████████████
The author’s main point is not about the recognition that Valdez brought to Teatro Campesino. It’s that Valdez played a crucial role in the development of actos, Teatro Campeison, and Chicano theater. There’s a difference between bringing recognition to something and being a crucial part of its artistic development.