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Chicano Teatro: A Background

  • Purpose of the Article:

    • Present a lesser-known theater movement in the United States, specifically in the Southwest.
    • Focus on "Los Teatros de Aztlan."
    • Reflect centuries of theatrical expression and social/political life and thought.

  • Definition of Los Teatros de Aztlan:

    • Chicano theater groups aimed at educating and politicizing Chicanos.
    • Enlightens other groups within the American social fabric.

  • Historical Context:

    • Chicano theater has roots in indigenous, Spanish, and African heritage.
    • Ancient Mexican codices survived the Spaniards’ destruction, providing records of pre-Conquest life.
    • Traditional drama involved recitals, song, dance, and music, creating a communal experience where spectators participated actively.

  • Maya Theatrical Practices:

    • Example: The surviving script of Rabinal Achi, illustrating ancient Maya dramatic rituals.
    • Francisco Monterde's account describes theater with musical ties and the predominance of gestures over spoken words.

  • Spanish Influence on Theatrical Practices:

    • Spanish theater introduced liturgical dramas as a tool for converting indigenous people.
    • In 1538, the Catholic Church conducted performances during the Corpus Christi festival, including a piece about Adam and Eve.
    • Definition: "Auto sacramental" - Combines morality plays and cycle dramas, featuring human characters alongside allegorical figures (Sin, Grace, etc.).

  • Early Spanish Language Plays in the US:

    • The first recorded Spanish play performed in the current United States took place on April 30, 1598, below El Paso.
    • Capt. Farfan’s comedic play on the conquest of New Mexico predates English-language theater in the area.

  • Historical Theatrical Events:

    • In 1856, Los Moros y Los Cristianos performed, depicting Moorish city conquests and the conversion of Moors to Christianity.

  • Decline of Spanish Theater:

    • The Golden Age of Spanish literature ended around 1680, causing a decline in theater prominence.
    • Missionaries brought liturgical drama to Nuevo Mexico, Colorado, Texas, and California as propaganda tools.
    • Example: Los Pastores—a known religious play, continually performed in the Southwest with many surviving versions.

  • 19th Century Theater in the Southwest:

    • By the 19th century, troupes were formed in New Mexico, traveling and performing religious dramas.
    • A shift occurred in the late 1840s, with troupes settling in towns rather than touring, creating localized theater scenes.

  • 1965: A New Direction:

    • Formation of Teatro Campesino by Luis Miguel Valdez, stemming from the United Farm Workers’ Organizing Committee.
    • Valdez’s background as a migrant farmworker influenced his eventual dedication to playwriting and theater.

  • Development of Teatro Campesino:

    • Teatro Campesino aimed to enlighten and entertain through performances that reflected the strikers' experiences.
    • The concept of "Actos" emerged as short, improvised scenes representing the socio-political climate.
    • Purpose: Inspire action, illuminate social issues, and express collective feelings.

  • Improvisation in Actos:

    • Defined as expressions of social realities experienced by the actors.
    • Use of archetype characters to symbolize group unity, embodying the Chicano struggle.

  • Impact of Comedy:

    • Valdez noted that comedy was an effective means of maintaining morale among strikers.
    • Engaged with topics surrounding labor struggles through humor and satire.

  • Separation from the Union:

    • As Teatro Campesino gained recognition, they faced a choice between league with the labor movement or independent theatrical growth.

  • Cultural Center Establishment:

    • El Centro Campesino Cultural was founded in Del Rey, California, providing workshops and art classes.
    • The Teatro Campesino later moved to a new space in Fresno in 1970.

  • Acclaim and Recognition:

    • Campesino received critical acclaim from major publications like the San Francisco Chronicle and Wall Street Journal highlighting their unique approach to theater.
    • Achieved international recognition with an invitation to perform at the Theatre des Nations in Paris.

  • Emergence of Other Theaters:

    • By 1968, additional theater groups like El Teatro Urbano and El Teatro Popular de la Vida y Muerte formed, inspired by Teatro Campesino.
    • Festival de los Teatros:
    • Sponsored by Teatro Campesino, this festival allowed for sharing, collaboration, and the growth of Chicano theater groups.

  • Journal of Chicano Theater:

    • The publication "El Teatro" was launched by the Campesino in summer 1970 to promote awareness.

  • Second Festival of Teatros:

    • Held at Cabrillo College in 1971, facilitating workshops and showcased the growth of the Chicano theater community.

  • Formation of TENAZ:

    • A coalition called El Teatro Nacional de Aztlan (TENAZ) was formed during a directors' conference, which allowed better communication and exchange among theater groups.

  • Chicano Corridos:

    • A new form of Chicano dramatic expression. Corridos are dramatized versions of traditional stories represented through performance and song.

  • Conclusion:

    • The Chicano theater movement is characterized by a focus on community identity, social justice, and cultural pride. Los Teatros de Aztlan unite Chicanos in their historical struggle for identity and equity in society, replacing the old propagandists with new cultural evangelists.