Essa pesquisa constrói uma reflexão sobre o trabalho de El Teatro Campesino, grupo fundado em 1965 na Califórnia com o objetivo de criar peças de agit-prop, chamadas de actos, que propunham discutir temas pertinentes à sociedade camponesa chicana. Dois actos, formulados a partir de criações coletivas, são analisados nessa tese: Quinta Temporada cujo tema central são as greves organizadas na década de 1960 pelo sindicato United Farm Workers (Trabalhadores Agrários Unidos), liderado por César Chávez, militante de enorme importância ao Mexican American Civil Rights Movement (Movimento pelos Direitos Civis dos Mexicano-Americanos) e Vietnam Campesino, marco do teatro militante norte-americano, que discute temas não só relativos à Guerra do Vietnã, mas também a inúmeras outras questões caras à comunidade chicana. Além dos actos, nossa pesquisa também analisa o musical Zoot Suit, de autoria individual de Luis Valdez, fundador do Teatro Campesino, e que alcançou grande projeção ao se tornar a primeira peça de temática chicana escrita por um chicano a ser produzida na Broadway. / This research analyses the work of El Teatro Campesino, a theater group founded in 1965 in California, in order to perform agit-prop plays, called actos. The actos aimed at discussing themes which were relevant to rural chicano society. Two collectivelly created actos are analyzed in this thesis: Quinta Temporada in which the central theme is the strikes organized in the 1960s by the United Farm Workers, conducted by César Chávez, a militant of great importance to the Mexican American Civil Rights Movement and Vietnam Campesino, a milestone of the North-American political theater, which discusses themes related not only to the Vietnam War, but also many other pertinent issues to chicano society. Besides the actos, our research also analyses the musical Zoot Suit, written by Luis Valdez, founder of the Teatro Campesino, which became widely known as the first play concerning chicano themes written by a chicano to be produced on Broadway.

Essa pesquisa constrói uma reflexão sobre o trabalho de El Teatro Campesino, grupo fundado em 1965 na Califórnia com o objetivo de criar peças de agit-prop, chamadas de actos, que propunham discutir temas pertinentes à sociedade camponesa chicana. Dois actos, formulados a partir de criações coletivas, são analisados nessa tese: Quinta Temporada cujo tema central são as greves organizadas na década de 1960 pelo sindicato United Farm Workers (Trabalhadores Agrários Unidos), liderado por César Chávez, militante de enorme importância ao Mexican American Civil Rights Movement (Movimento pelos Direitos Civis dos Mexicano-Americanos) e Vietnam Campesino, marco do teatro militante norte-americano, que discute temas não só relativos à Guerra do Vietnã, mas também a inúmeras outras questões caras à comunidade chicana. Além dos actos, nossa pesquisa também analisa o musical Zoot Suit, de autoria individual de Luis Valdez, fundador do Teatro Campesino, e que alcançou grande projeção ao se tornar a primeira peça de temática chicana escrita por um chicano a ser produzida na Broadway. / This research analyses the work of El Teatro Campesino, a theater group founded in 1965 in California, in order to perform agit-prop plays, called actos. The actos aimed at discussing themes which were relevant to rural chicano society. Two collectivelly created actos are analyzed in this thesis: Quinta Temporada in which the central theme is the strikes organized in the 1960s by the United Farm Workers, conducted by César Chávez, a militant of great importance to the Mexican American Civil Rights Movement and Vietnam Campesino, a milestone of the North-American political theater, which discusses themes related not only to the Vietnam War, but also many other pertinent issues to chicano society. Besides the actos, our research also analyses the musical Zoot Suit, written by Luis Valdez, founder of the Teatro Campesino, which became widely known as the first play concerning chicano themes written by a chicano to be produced on Broadway.

No other population has contributed more to American society and received so little in return."1 Until recently the Mexican-Americans had remained quietly in the background, apparently accepting their station in life with little or no desire to improve it--a "sleeping giant," as some politicians have called this politically potential group. Statistics show that relatively few Mexican-Americans have become acculturated and assimilated into Anglo-American society (See page 9). The great majority have retained their Spanish language and their family traditions, and have remained more or less static in their economic position and isolated from the mainstream of life in the United States. While most ethnically differentiated groups in United States have used the educational system as a "major vehicle for social mobility," Mexican-Americana either have not taken full advantage of the opportunity, or it has been inaccessible to them.

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