EL TEATRO CAMPESINO DE LUIS VALDEZ, 1965 - 1980. (SOUTHWEST, UNITED STATES, CHICANO).

Persistent Link:
http://hdl.handle.net/10150/188145
Title:
EL TEATRO CAMPESINO DE LUIS VALDEZ, 1965 - 1980. (SOUTHWEST, UNITED STATES, CHICANO).
Author:
FLORES, ARTURO CONRADO.
Issue Date:
1986
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
Since its formation in 1965, Luis Valdez' El Teatro Campesino has evolved through various stages, always addressing the sociopolitical struggles and perspectives of the Chicano. In the present doctoral dissertation, entitled El Teatro Campesino de Luis Valdez, 1965-1980, we examine the various transitions which this theatrical group has undergone, and concurrently, analyze some of the plays corresponding to each of the troupe's evolutionary stages. Our textual analysis is focused on the parameters which are aluded to in each play, and also is based on a structural approach of examining the dramatic text itself. In the first chapter, which includes a general introduction to Chicano Theater, we outline historical and thematic characteristics of the theater in the Southwest of the United States. At the same time, we define the term "Aztlan" as a national and cultural entity since 1969. In the second chapter we postulate the following periodic classification of El Teatro Campesino. A first stage of Social Consciousness Raising (1965-1970); a second of Return to Cultural Origins and Self Identity (1971-1975); and a third of Commercialization (1975-1980). In addition, we redefine some of the theoretical and technical concepts previously interpreted by critics regarding the troupe's period of Social Consciousness Raising. In the third chapter we discuss and analyze some of the theoretical considerations involved in the dichotomy present in studying the representational act (live theater) as opposed to the dramatic text. In this chapter we offer a textual analysis of four Actos: Las dos caras del patroncito; La conquista de Mexico; No saco nada de la escuela; and Soldado Razo. In our analysis we examine, in accordance to the theories proposed by Tzvetan Todorov, the "historia" and the "discurso" of each Acto, while studying the social message each conveys. In the last two chapters--four and five--we study and analyze the plays Bernabe and Zoot-Suit and conclude that El Teatro Campesino has not completely lost its social character encompassing the Chicano cultural environment, contrary to what many critics have maintained.
Type:
text; Dissertation-Reproduction (electronic)
Degree Name:
Ph.D.
Degree Level:
doctoral
Degree Program:
Spanish and Portuguese; Graduate College
Degree Grantor:
University of Arizona

Full metadata record

DC FieldValue Language
dc.language.isoesen_US
dc.titleEL TEATRO CAMPESINO DE LUIS VALDEZ, 1965 - 1980. (SOUTHWEST, UNITED STATES, CHICANO).en_US
dc.creatorFLORES, ARTURO CONRADO.en_US
dc.contributor.authorFLORES, ARTURO CONRADO.en_US
dc.date.issued1986en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractSince its formation in 1965, Luis Valdez' El Teatro Campesino has evolved through various stages, always addressing the sociopolitical struggles and perspectives of the Chicano. In the present doctoral dissertation, entitled El Teatro Campesino de Luis Valdez, 1965-1980, we examine the various transitions which this theatrical group has undergone, and concurrently, analyze some of the plays corresponding to each of the troupe's evolutionary stages. Our textual analysis is focused on the parameters which are aluded to in each play, and also is based on a structural approach of examining the dramatic text itself. In the first chapter, which includes a general introduction to Chicano Theater, we outline historical and thematic characteristics of the theater in the Southwest of the United States. At the same time, we define the term "Aztlan" as a national and cultural entity since 1969. In the second chapter we postulate the following periodic classification of El Teatro Campesino. A first stage of Social Consciousness Raising (1965-1970); a second of Return to Cultural Origins and Self Identity (1971-1975); and a third of Commercialization (1975-1980). In addition, we redefine some of the theoretical and technical concepts previously interpreted by critics regarding the troupe's period of Social Consciousness Raising. In the third chapter we discuss and analyze some of the theoretical considerations involved in the dichotomy present in studying the representational act (live theater) as opposed to the dramatic text. In this chapter we offer a textual analysis of four Actos: Las dos caras del patroncito; La conquista de Mexico; No saco nada de la escuela; and Soldado Razo. In our analysis we examine, in accordance to the theories proposed by Tzvetan Todorov, the "historia" and the "discurso" of each Acto, while studying the social message each conveys. In the last two chapters--four and five--we study and analyze the plays Bernabe and Zoot-Suit and conclude that El Teatro Campesino has not completely lost its social character encompassing the Chicano cultural environment, contrary to what many critics have maintained.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
thesis.degree.namePh.D.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineSpanish and Portugueseen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.identifier.proquest8613430en_US
All Items in UA Campus Repository are protected by copyright, with all rights reserved, unless otherwise indicated.