PT139.S2.P3.Q18 > 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

18.

Based on the passage, it ███ ██ █████████ ████ ███ ██████ ███ █████████████████ ████ ███████████ ███ ████ ████████ ██████

Question Type

Author’s perspective

Implied

The author tells us that Broyles-Gonzalez “rightly” criticizes theater historians for having credited Valdez with inventing actos by himself. This indicates that both the author and Broyles-Gonzalez think that it’s wrong to credit Valdez alone for having invented actos. The author also agrees with Broyles-Gonzalez that carpas had some influence on actos.

the influences that ██████ ██████ ██ █ ████████ █████

We have no evidence the author has any thoughts on what shaped carpas as a dramatic genre.

the motives of ███████ ██████████ ██ ████████████ ███ ███████████ ██ ██████

We don’t know what the author thinks about the motives of the theater historians.

11%

the significance of ██████ ███ ███ ███████████ ██ ███ █████ ██ ███ ████

Supported, because we know that the author agrees with Broyles-Gonzalez that carpas had some influence on actos.

72%

the extent of ████████ ████████████ ████ ██████ ██ █ ████████ ████

The author doesn’t indicate that Valdez himself had acquaintance with carpas. Some participants in the Teatro had cultural links to carpas, but we don’t know whether Valdez himself did. Even if he did, we don’t know that the author agrees with Broyles-Gonzalez concerning the level of knowledge Valdez had about the carpas.

the role of ███ ████████ █████████ ██ ███████ ████████ ████████████ ██ ███ ███████████ ██ █████

We don’t know Broyles-Gonzalez’s opinion about European influence.

PrepTest 139 - Section 2 - Passage 3 - Question 18

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