Teatro Campesino (Organization)

El corrido( Visual )

6 editions published between 1976 and 2000 in English and held by 9 WorldCat member libraries worldwide

A story in song and dance, parallels a Mexican bracero's illegal entry into the United States until his death in the slums of a barrio

Corridos! : Tales of passion and revolution by Ildefonso Méndez Martínez( Visual )

2 editions published in 1987 in English and held by 6 WorldCat member libraries worldwide

Examines the influence of Corridos, Mexican and Mexican American ballads, which celebrate popular heroes and folk tales and provide a sense of history and standards of public morality. Includes performances of Corridos in a program originally produced for stage, with historical and critical commentary between performances

El Teatro notes : the quarterly newsletter of El Teatro Campesino( )

in English and held by 6 WorldCat member libraries worldwide

El teatro : el Teatro Campesino newsletter( )

in English and held by 5 WorldCat member libraries worldwide

La Virgen del Tepeyac by Teatro Campesino (Organization)( Recording )

1 edition published in 2000 in Spanish and held by 4 WorldCat member libraries worldwide

La pastorela( Visual )

1 edition published in 1995 in English and held by 4 WorldCat member libraries worldwide

Founded in 1965 by Luis Valdez, El Teatro Campesino was initially the cultural wing of the United Farm Workers union in California's central valley. With a pointed political mission, ETC performed their actos in the fields, agitprop improvisations communicated eloquently with the workers, who could neither read nor write, but recognized themselves and their values in the actos. By 1970 ETC had gained an international reputation, with major contributions to Chicano culture in the U.S. and to the development and expansion of the boundaries of theater everywhere. Theirs is a popular theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism, all geared toward expression of social, political and cultural perceptions. This video documents the piece La Pastorela, which is performed biannually by El Teatro Campesino during the Christmas holidays, alternating with La Virgen del Tepeyac, in the historic Mission of San Juan Bautista, established in 1797. Pastorelas, or Shepherds Plays, originated in medieval Europe as religious dramas and were later brought to the new world and Alta California by the Spanish missionaries. La Pastorela recreates the long trek of those first pastores to the holy site of the Nativity. This adaptation of La Pastorela was originally created in 1975, under the direction of Luis Valdez, based on a traditional version from San Luis Potosi in Mexico. The Lucifer character of Luzbel and his demons attempt to thwart the shepherds from reaching Bethlehem and the Holy Manger. However, in a dynamic clash of good against evil, San Miguel, the Archangel, and an army of angels overpower the demonic powers of Luzbel and the shepherds are at last free to complete their journey. This particular production, staged in 1995 by Kinan Valdez, is a youthful and vibrant reincarnation of this ETC popular classic

Solidarity por vida( Visual )

1 edition published in 2001 in English and held by 3 WorldCat member libraries worldwide

Founded in 1965 by Luis Valdez, El Teatro Campesino was initially the cultural wing of the United Farm Workers union in California's central valley. With a pointed political mission, ETC performed their actos in the fields, agitprop improvisations communicated eloquently with the workers, who could neither read nor write, but recognized themselves and their values in the actos. By 1970 ETC had gained an international reputation, with major contributions to Chicano culture in the U.S. and to the development and expansion of the boundaries of theater everywhere. Theirs is a popular theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism, all geared toward expression of social, political and cultural perceptions. This video documents their piece Solidarity por Vida. Like Power to the People, this piece takes after the original ETC tradition of performing actos in the fields of Delano, California during the farmworkers strikes during the 1960s. It represents ETCs newer generations interpretation of the acto style and was created through the structured writing of Kinan Valdez and Luis Juarez in addition to improvisational methods involving the cast. Solidarity por Vida deals with issues of migration, border crossing and the militarization of the Mexican-American border (particularly in Arizona) during the beginning of 2001. The plays theme would prove to be prophetic, having been written before the issue garnered major media attention in 2006. This production was performed outdoors in San Isidro, Mexico on the border of San Diego, California in April 2001, in the context of a day-long program of political performance that brought together multiple performance groups including ETC

La carpa de los Rasquachis( Visual )

3 editions published in 2001 in English and held by 3 WorldCat member libraries worldwide

Founded in 1965 by Luis Valdez, El Teatro Campesino was initially the cultural wing of the United Farm Workers union in California's central valley. With a pointed political mission, ETC performed their actos in the fields, agitprop improvisations communicated eloquently with the workers, who could neither read nor write, but recognized themselves and their values in the actos. By 1970 ETC had gained an international reputation, with major contributions to Chicano culture in the U.S. and to the development and expansion of the boundaries of theater everywhere. Theirs is a popular theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism, all geared toward expression of social, political and cultural perceptions. La Carpa de los Rasquachis was originally produced in 1974, and underwent several revisions until 1976, when it was locked into the definitive version seen in this revival performed by a new generation of ETC actors more than twenty years after its premiere. The carpa (itinerant tent show) presents the epic life story of the farmworker in America. Told through the struggles, frustrations and ultimate victory of a single Chicano, the Rasquachi saga (working-class, underdog) comes alive in corridos (Mexica ballads) that tell of lifes tragedies with an ironic, rollicking earthy good humor. The story follows Jesus Pelado Rasquachi, leaving his own mother and brother in Mexico as he heads for the United States, in hopes of getting rich as a bracero. Misfortune and fate, however, stalks his every footstep, in the guise of El Diablo and La Calavera. Tricked and betrayed at every turn, Jesus Pelado becomes a pathetic comic figure in the hands of the growers, contractors, bar owners, and social workers, and ultimately, the undertaker

The four roads( Visual )

1 edition published in 1990 in English and held by 3 WorldCat member libraries worldwide

Founded in 1965 by Luis Valdez, El Teatro Campesino was initially the cultural wing of the United Farm Workers union in California's central valley. With a pointed political mission, ETC performed their actos in the fields, agitprop improvisations communicated eloquently with the workers, who could neither read nor write, but recognized themselves and their values in the actos. By 1970 ETC had gained an international reputation, with major contributions to Chicano culture in the U.S. and to the development and expansion of the boundaries of theater everywhere. Theirs is a popular theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism, all geared toward expression of social, political and cultural perceptions. Valdez believes in a total theaterone where an elevation of sensation is achieved through a trinity of music, dance and drama to stimulate a New American Audience, a celebration of cultural diversity. The Four Roads is a documentary celebrating El Teatro Campesinos 25th anniversary. A retrospective showcasing the groups broad spectrum of theater projects, it contains a rich array of archival footage and interviews. The documentary is organized by the Mayan myth of the Four Roadscentral to ETCs philosophy and aesthetichere presented as the four roads of creation: the Road of the Heart, the Road of the Body, the Road of the Mind, and the Road of the Soul. It is a fitting homage to the outstanding artistic contributions of El Teatro Campesino to Chicano culture and to popular theater around the world

El fin del mundo( Visual )

1 edition published in 1987 in English and held by 3 WorldCat member libraries worldwide

Founded in 1965 by Luis Valdez, El Teatro Campesino was initially the cultural wing of the United Farm Workers union in California's central valley. With a pointed political mission, ETC performed their actos in the fields, agitprop improvisations communicated eloquently with the workers, who could neither read nor write, but recognized themselves and their values in the actos. By 1970 ETC had gained an international reputation, with major contributions to Chicano culture in the U.S. and to the development and expansion of the boundaries of theater everywhere. Theirs is a popular theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism, all geared toward expression of social, political and cultural perceptions. Valdez believes in a total theaterone where an elevation of sensation is achieved through a trinity of music, dance and drama to stimulate a New American Audience, a celebration of cultural diversity. This video documents ETCs Young Actors Ensemble workshop-created piece El Fin del Mundo. Created specifically for the Día de los Muertos (Day of the Dead), Fin del Mundo tells the story of character Mundo Mata (from the eponymous ETC play), who overdoses on drugs and goes to the land of the dead where he encounters his former acquaintances. They are all stuck in the afterworld repeating the vices and sins of their lives. Mundo's friends try to convince him to take over the world of the dead. This workshop was attended by children and teenagers ranging from ages 9 to 17. In some ways, then, in the context of its young performers, the production can be seen as an anti-drug piece. The training and style related to this piece left an indelible mark on later works by workshop participants, including Kinan Valdez, who has since then directed a number of ETC productions