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Paper #049415 :: Radical Theater of the 1960s: Of Chicanos and Puppets
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An analysis of American political theater in the 1960s.

Written in 2004; 1,870 words; 6 sources; MLA; $ 59.95

Paper Summary:

This paper discusses how political theatre in the 1960s, for all that it bucked convention and challenged the mores of society, was also deeply concerned with creating mythologies and moralities that would be comprehensible both within the scope of history and of the moment. It looks at how this can be seen as especially true in the work of Luis Valdez and the "El Treato Campesino" and Schumann?s "Bread and Puppet Theater".

From the Paper:

"The 1960s (beginning in the mid 1950s) were a time of massive decolonization of third world nations and of the broader human spirit. ?"The 60s was, then, the period in which all these 'natives' became human beings, and this internally as well as externally... 'minorities,' marginals, and women -- fully as much as its external subjects." (Jameson, 181) Radical theater at this time was much concerned with the creation of new identities and the just-emerging voices of minorities that had never been heard before in the mainstream discourse. It is against this background which one may set Luis Valdez?s radical political Chicano theater. "The 60s also saw the emergence of a new historical subjects, or at least groups that constituted themselves as subjects on the basis, for instance, of sex and race. Having formed social movements, these subjects contested institutional spaces but also declared a sort of counter-hegemony to the dominant social and ideological power." "

Tags: bread luis valdez

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