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Acknowledgments | ||
Introduction | ||
1 | El Teatro Campesino and the Mexican Popular Performance Tradition | 3 |
Oral Tradition: Human Memory, the Body, Community | 7 | |
The Political Economy of Chicana/o Comedy | 23 | |
Rasquachi Performance Aesthetic and Historical Memory | 35 | |
El Teatro Campesino and Mexican Sacroprofane Performance Genres | 58 | |
2 | Theater of the Sphere: Toward the Formulation of a Native Performance Theory and Practice | 79 |
On Formulating an Indigenous Alternative Performance Aesthetic | 79 | |
Theater of the Sphere: Affirming the Chicana/o Axis | 84 | |
The Formation of the Spherical Actor: A New Chicana/o Humanism | 90 | |
Theater of the Sphere: The Twenty Steps | 95 | |
Theater of the Sphere: The World of Performance | 108 | |
Theater of the Sphere: Liberation or Mystification? | 119 | |
3 | Toward a Re-Vision of Chicana/o Theater History: The Roles of Women in El Teatro Campesino | 129 |
Introduction | 129 | |
The Roles of Women in El Teatro Campesino | 135 | |
Breaking the Mold: Creating New Pathways | 148 | |
An Epilogue: Chicanas Onstage in the 1980s | 153 | |
4 | El Teatro Campesino: From Alternative Theater to Mainstream | 165 |
Introduction | 165 | |
El Teatro Campesino in the Mainstream | 170 | |
Rose of the Rancho: Validating Chicana/o Oppression | 174 | |
The New Professionalism: Zoot Suit in the Mainstream | 177 | |
Chicanas/os on Broadway: To Be or Not to Be? | 205 | |
Zoot Suit: The Film | 208 | |
Mainstreaming and the Dissolution of the Teatro Campesino Ensemble | 214 | |
Conclusion: Whither El Teatro Campesino? | 235 | |
Chronology | 241 | |
Notes | 247 | |
Bibliography | 255 | |
Index | 267 |
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