Born in 1965 as an organizing tool within Cesar Chavez's United
Farm Workers union, El Teatro Campesino became the premier
Chicana/o performance ensemble to emerge out of the Chicano
movement of the 1960s and 1970s. This study demythologizes and
reinterprets the company's history from its origins in California's
farm labor struggles to its successes in Europe and on Broadway
until the disbanding of the original collective ensemble in 1980
with the subsequent adoption of mainstream production
techniques.
Yolanda Broyles-Gonzalez corrects many misconceptions concerning
the Teatro's creation and evolution. She draws from a rich
storehouse of previously untapped material, such as interviews with
numerous ensemble members, production notes, and unpublished
diaries, to highlight the reality of the collective creation that
characterized the Teatro's work.
Writing within contemporary cultural studies theory,
Broyles-Gonzalez sheds light on class, gender, race, and cultural
issues. Her work situates the Teatro within working-class Mexican
performance history, the Chicano movement, gender relations, and
recent attempts to mainstream.
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