MARC Record from marc_columbia

LEADER: 04013fam a2200457 a 4500
001 1526701
005 20220602053723.0
008 940113s1994 txua b s001 0 eng
010 $a 94000935
020 $a0292720823 (alk. paper)
020 $a0292708017 (pbk. : alk. paper)
035 $a(OCoLC)29753675
035 $a(OCoLC)ocm29753675
035 $9AJZ0586CU
035 $a(NNC)1526701
035 $a1526701
040 $aDLC$cDLC$dNNC
043 $an-us-ca
050 00 $aPN3307.U6$bB76 1994
082 00 $a792/.022$220
100 1 $aBroyles-González, Yolanda,$d1949-$0http://id.loc.gov/authorities/names/n82079952
245 13 $aEl Teatro Campesino :$btheater in the Chicano movement /$cby Yolanda Broyles-González.
250 $a1st ed.
260 $aAustin :$bUniversity of Texas Press,$c1994.
263 $a9412
300 $axviii, 286 pages :$billustrations ;$c24 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
504 $aIncludes bibliographical references (p. [255]-265) and index.
505 0 $a1. El Teatro Campesino and the Mexican Popular Performance Tradition. Oral Tradition: Human Memory, the Body, Community. The Political Economy of Chicana/o Comedy. Rasquachi Performance Aesthetic and Historical Memory. El Teatro Campesino and Mexican Sacroprofane Performance Genres -- 2. Theater of the Sphere: Toward the Formulation of a Native Performance Theory and Practice. On Formulating an Indigenous Alternative Performance Aesthetic. Theater of the Sphere: Affirming the Chicana/o Axis. The Formation of the Spherical Actor: A New Chicana/o Humanism. Theater of the Sphere: The Twenty Steps. Theater of the Sphere: The World of Performance. Theater of the Sphere: Liberation or Mystification? -- 3. Toward a Re-Vision of Chicana/o Theater History: The Roles of Women in El Teatro Campesino. The Roles of Women in El Teatro Campesino. Breaking the Mold: Creating New Pathways. An Epilogue: Chicanas Onstage in the 1980s -- 4. El Teatro Campesino: From Alternative Theater to Mainstream.
505 0 $aEl Teatro Campesino in the Mainstream. Rose of the Rancho: Validating Chicana/o Oppression. The New Professionalism: Zoot Suit in the Mainstream. Chicanas/os on Broadway: To Be or Not to Be? Zoot Suit: The Film. Mainstreaming and the Dissolution of the Teatro Campesino Ensemble. Conclusion: Whither El Teatro Campesino?
520 $aBorn 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.
520 8 $aThis pioneering work 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 practices.
520 8 $aYolanda Broyles-Gonzalez corrects many of the widely held 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.
520 8 $aWriting within contemporary cultural studies theory, Broyles-Gonzalez sheds light on class, gender, race, and cultural issues, showing how they traverse and inform the Chicana/o performance aesthetic embodied by El Teatro Campesino. Her work situates the Teatro within working-class Mexican performance history, the Chicano movement, gender relations, and contemporary attempts to mainstream.
610 20 $aTeatro Campesino (Organization)$xHistory.
650 0 $aWorkers' theater$zCalifornia$xHistory.
650 0 $aMexican American theater$zCalifornia$xHistory.
852 00 $bglx$hPN3307.U6$iB76 1994
852 00 $bbar$hPN3307.U6$iB76 1994