PT139.S2.P3.Q17 > Analytics

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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

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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

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Characteristics of actos · Satirical, propose solutions, and inspire to action

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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

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Elaborate on origin of actos · Likely influenced by "carpas," an earlier form of satirical theater

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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

17.

It can be inferred from ███ ███████ ████ ██████ ████ ██████ ████ █████ ███ ██ ███ █████████ ██████

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Not supported, because Valdez was influenced by the carpas. We have no reason to think he thought the carpas model wouldn’t be appropriate for his artistic goals.

César Chávez should ████ ████ ████ ██ ███████ ███ ███████ ██ ███ ██████ █████████ ██ ███ ███████ ██ ████████ ████████ ████ ████████

We have no reason to think Valdez would have wanted Chavez to do more to support the Teatro Campesino.

Avant-garde theater in ███ ████████ █████████ ██ ███████ ██████████ ██ ███ ██████████ ██████████ ██ ███ ████████ ██ █ ██████ █████████████ █████████

We have no evidence of Valdez’s thoughts regarding avant-garde theater.

Actors do not ███████ ██████ ████████ ██ █████ ██ ███████ █████████ ███ ████████████ ██████████ ██████████ █████████████

Supported, becauase Valdez used farmworkers for his initial actos, and it’s reasonable to think the farmworkers didn’t have formal training.

91%

The aesthetic aspects ██ █ ██████████ ████ ██████ ██ █████████ █████████████ ██ ███ █████████ ██████████████

We have no reason to think Valdez thought aesthetic parts of a work should be evaluated separately from political aspects.

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PrepTest 139 - Section 2 - Passage 3 - Question 17

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