In the fields of Delano, California, in 1965, Luis Valdez started the

Question

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1993 10 SECTION B 21-27

In the fields of Delano, California, in 1965, Luis Valdez started the Teatro Campesino (Farmworker’s Theater), and with it initiated the renaissance of Mexican American theater. The Teatro Campesino had an avowedly political purpose: to rally campesinos (farmworkers) in support of the farm workers’ strike then being organized by Cesar Chavez. Valdez’ dramatic presentations, called actos, spoke to a campesino audience and addressed topics and themes directly related to the strike. Valdez’ early actos were composed of a series of scenes about the strike experience acted by campesino volunteers. His later actos were presented by a newly constituted professional company, still called the Teatro Campesino, and addressed such themes as the impact of the Vietnam War on Mexican Americans and the dangers of assimilation, themes relevant to urban Mexican Americans as well as to campesinos. All Valdez’ actos contained elements of song and dance, relied little on stage effects or props, and featured the use of masks. These dramatic elements, along with an intensely social or political purpose and the use of a mixture of Spanish, English, and Mexican American dialects in the dialogues, which realistically capture the flavor of Mexican American conversation, are still characteristic both of the acto and of most other forms of Mexican American theater today.

Innovative as it is, the acto owes much to the theater traditions of other periods and regions. Like early Spanish American religious dramas, secular folk dramas, and the Mexican carpas of a somewhat later period, actos are usually performed outdoors by traveling groups of players or by local theater groups. The improvised comic satire of the actos is often attributed to Valdez’ study of the Italian commedia dell’ arte of the sixteenth century, although some critics see it as a direct reflection of the comic and improvisational qualities of the more contemporary and local carpas of Mexican theater. The Italian influence is likely, whatever Valdez immediate source: the Mexican carpas themselves are said to have originated from the theater pieces of a sixteenth-century Spanish writer inspired by encounters with Italian commedia dell’ arte troupes on tour in Spain. The English-language theater has provided elements as well: Valdez himself has acknowledged his debt to the agitprop socialist theater that appeared in the United States during the 1920’s and 1930’s. In particular, his actos contain the same assortment of semiallegorical characters and the same blend of music, chorus, and dialogue found in some of the agitprop pieces, as well as the same fierce spirit of social and political critique. Finally, many of Valdez’ later theater pieces freely incorporate characters, plots and symbols drawn from the indigenous myths and rituals of the pre-Hispanic peoples of Latin America. In fact, no other art form illustrates more clearly the depth and complexity of the Mexican American heritage itself than does the acto of Luis Valdez and the Teatro Campesino.    1 
 1. ​​According to the passage, the original impetus behind the establishment of the Teatro Campesino was which of the following?

(A) To help urban Mexican Americans understand the problems confronting striking campesinos in California
(B) To promote an attitude of pride in the depth and richness of the Mexican American heritage among striking campesinos
(C) To provide striking campesinos an opportunity to use their creative talents to express their political opinions
(D) To allow its founder to express his personal support of the campesinos’ strike effort
(E) To mobilize campesinos to support the farm workers’ strike in California

2 
 2. The author cites all of the following as probable influences on Valdez’ development of the acto EXCEPT the

(A) theater of sixteenth-century Italy
(B) carpas of Mexico
(C) drama of classical Greece
(D) English-language theater of the United States
(E) myths and rituals of pre-Hispanic America

3 
 3. The passage suggests that which of the following was true of the later actos of the Teatro Campesino?

(A) They were more politically effective than were earlier actos.
(B) They were presented primarily outdoors, whereas earlier actos were presented inside theaters.
(C) They used a greater mixture of dialects than did the earlier actos.
(D) They addressed a broader audience than did the earlier actos.
(E) They differed from earlier actos in that they contained fewer improvisational elements.

4 
 4. ​​Which of the following best describes the author’s evaluation of the views of the critics cited in lines 36-39?

(A) Their views, if correct, do not preclude the existence of an Italian influence on the acto.
(B) Their views are unlikely to be correct, given the differences existing between Mexican and Mexican American theater.
(C) Their views concerning the Mexican carpas are essentially correct, but they lack familiarity with the acto.
(D) Their views are probably more correct than the views of those who have attributed the comic and improvisational elements of the acto to earlier sources.
(E) Their views betray a lack of familiarity with the commedia dell’ arte.

5 
 5. ​The passage suggests that which of the following explains the characteristic use of a mixture of Spanish, English, and Mexican American dialects in the works of Mexican American playwrights?

(A) Mexican American playwrights wish to include in their works elements drawn from the traditions and history of pre-Hispanic America.
(B) Mexican American playwrights try to guarantee that their works are fully understood by the broadest possible audience, including those who may speak only one language.
(C) Such a linguistic mix faithfully reflects the linguistic diversity of Mexican American culture, and is easily understood by most Mexican Americans.
(D) Many Mexican American playwrights are quite familiar with both the Spanish-language and the English-language theater traditions.
(E) Many different languages are still spoken within the confines of the United States, although English is still the most common first language of its citizens.

6 
 6. ​​According to the passage, which of the following elements characteristic of the acto are also found in some agitprop theater pieces?

(A) The use of masks
(B) Comic improvisation
(C) An outdoor setting
(D) Minimal use of complex stage effects or props
(E) An assortment of semiallegorical characters

7 
 7. Which of the following, if true, most strengthens the author’s argument concerning the debt of the acto to the theater traditions of other periods and regions?

(A) Many popular forms of theater rely heavily on improvisation.
(B) Plays resembling the acto in structure were written in the 1970’s by West African playwrights who are interested in dramatizing the richness of their own cultures.
(C) The use of masks has, at one time or another, been characteristic of the theater traditions of almost all cultures, even those most isolated from outside influences.
(D) During a strike, it is common for union members to present musical skits dramatizing the values of solidarity and resistance.
(E) Before 1965 Luis Valdez had attended many performances of traditional Mexican theater groups touring the western United States.

arora1 · Answer

14 minutes, all correct. Not sure what shall be the idea time for a passage such as this...

1. ​​According to the passage, the original impetus behind the establishment of the Teatro Campesino was which of the following?

(A) To help urban Mexican Americans understand the problems confronting striking campesinos in California
(B) To promote an attitude of pride in the depth and richness of the Mexican American heritage among striking campesinos
(C) To provide striking campesinos an opportunity to use their creative talents to express their political opinions
(D) To allow its founder to express his personal support of the campesinos’ strike effort
(E) To mobilize campesinos to support the farm workers’ strike in California  to rally campesinos (farmworkers) in support of the farm workers’ strike then being organized by Cesar Chavez

2. The author cites all of the following as probable influences on Valdez’ development of the acto EXCEPT the 
 All of them mentioned except c 
(A) theater of sixteenth-century Italy
(B) carpas of Mexico
(C) drama of classical Greece
(D) English-language theater of the United States
(E) myths and rituals of pre-Hispanic America

3. The passage suggests that which of the following was true of the later actos of the Teatro Campesino?

(A) They were more politically effective than were earlier actos.
(B) They were presented primarily outdoors, whereas earlier actos were presented inside theaters.
(C) They used a greater mixture of dialects than did the earlier actos.
(D) They addressed a broader audience than did the earlier actos. His later actos were presented by a newly constituted professional company, still called the Teatro Campesino, and addressed such themes as the impact of the Vietnam War on Mexican Americans and the dangers of assimilation, themes relevant to urban Mexican Americans as well as to campesinos. 
(E) They differed from earlier actos in that they contained fewer improvisational elements.

4. ​​Which of the following best describes the author’s evaluation of the views of the critics cited in lines 36-39?

(A) Their views, if correct, do not preclude the existence of an Italian influence on the acto. The Italian influence is likely, whatever Valdez immediate source... italian influence is difficult to say NO to 
(B) Their views are unlikely to be correct, given the differences existing between Mexican and Mexican American theater.
(C) Their views concerning the Mexican carpas are essentially correct, but they lack familiarity with the acto.
(D) Their views are probably more correct than the views of those who have attributed the comic and improvisational elements of the acto to earlier sources.
(E) Their views betray a lack of familiarity with the commedia dell’ arte.

5. ​The passage suggests that which of the following explains the characteristic use of a mixture of Spanish, English, and Mexican American dialects in the works of Mexican American playwrights?

(A) Mexican American playwrights wish to include in their works elements drawn from the traditions and history of pre-Hispanic America.
(B) Mexican American playwrights try to guarantee that their works are fully understood by the broadest possible audience, including those who may speak only one language.
(C) Such a linguistic mix faithfully reflects the linguistic diversity of Mexican American culture, and is easily understood by most Mexican Americans. In fact, no other art form illustrates more clearly the depth and complexity of the Mexican American heritage itself than does the acto of Luis Valdez .    Could eliminate other options so this one seemed right.. though not to sure about "easily understood" aspect 
(D) Many Mexican American playwrights are quite familiar with both the Spanish-language and the English-language theater traditions.
(E) Many different languages are still spoken within the confines of the United States, although English is still the most common first language of its citizens.

6. ​​According to the passage, which of the following elements characteristic of the acto are also found in some agitprop theater pieces?

(A) The use of masks
(B) Comic improvisation
(C) An outdoor setting
(D) Minimal use of complex stage effects or props
(E) An assortment of semiallegorical characters In particular, his actos contain the same assortment of semiallegorical characters and the same blend of music, chorus, and dialogue found in some of the agitprop pieces

7. Which of the following, if true, most strengthens the author’s argument concerning the debt of the acto to the theater traditions of other periods and regions?

(A) Many popular forms of theater rely heavily on improvisation.
(B) Plays resembling the acto in structure were written in the 1970’s by West African playwrights who are interested in dramatizing the richness of their own cultures.
(C) The use of masks has, at one time or another, been characteristic of the theater traditions of almost all cultures, even those most isolated from outside influences.
(D) During a strike, it is common for union members to present musical skits dramatizing the values of solidarity and resistance.
(E) Before 1965 Luis Valdez had attended many performances of traditional Mexican theater groups touring the western United States.     the acto owes much to the theater traditions of other periods and regions... shows that Luis Valdez saw many theaters and therfore likely to be influenced by them and use them in his own

PhantomAY · Answer

13min, all correct.

Notes:

Paragraph 1: introduction of "acto", a artistic theater presentation created by LV. Highlight forms and importance. 
Paragraph 2: acto borrow elements from other theater traditions (SA, Italian, US, Latin America...). It's the best (depth and complexity)

refer to  "The Teatro Campesino had an avowedly political purpose: to rally campesinos (farmworkers) in support of the farm workers’ strike then being organized by Cesar Chavez."

A) might be one the purposes, but not the "original impetus" 
B) same as A
C) didn't mention campesinos actually played
D) same as A
E) "mobilize campesinos to support strike" = "rally in support the strike", correct answer

Use the country name to quickly filter through last paragraph, "Greece" is not mentioned at all in last paragraph, so C is the correct answer

Refer to  "His later actos were presented by a newly constituted professional company,  still called the Teatro Campesino , and addressed such themes as the impact of the Vietnam War on Mexican Americans and the dangers of assimilation,  themes relevant to urban Mexican Americans as well as to campesinos. " , it implies the audience group was enlarged

A) "effective" is not mentioned
B) "outdoor" is not mentioned
C) "greater mixture of dialects" is not metnioned
D) correct
E) "fewer improvisation" is not mentioned

Refer to  "The improvised comic satire of the actos is often attributed to Valdez’ study of the Italian commedia dell’ arte of the sixteenth century,  although some critics see it as a direct reflection  of the comic and improvisational qualities of the more contemporary and local carpas of Mexican theater.  The Italian influence is likely, whatever Valdez immediate source : the Mexican carpas themselves are said to have originated from the theater pieces of a sixteenth-century Spanish writer inspired by encounters with Italian commedia dell’ arte troupes on tour in Spain."  the critics argued against the Italian influence and attributed to Mexican influence. While author still think Italian influence is likely given the Mexican influence originated from Italian influence

A) correct, author didn't object o their view, but rather emphasized their connection with his/her
B) "unlikely to be correct" is not mentioned
C) "essentially correct" and "lack familiarity with the acto" are unwarranted
D) "more correct" is not mentioned"
E) same as C

Refer to  "These dramatic elements, along with an intensely social or political purpose and the use of a mixture of Spanish, English, and Mexican American dialects in the dialogues, which realistically capture the flavor of Mexican American conversation, are still characteristic both of the acto and of most other forms of Mexican American theater today." , the use eventually captures what MA wants and still exist today

A) not mentioned until later in the next paragraph
B) not mentioned
C) correct, warranted by "the use eventually captures what Mexican American wants and the form still exist in most forms today"
D) not mentioned
E) not mentioned

Refer to  "In particular, his actos contain the  same assortment of semiallegorical characters  and the s ame blend of music, chorus, and dialogue  found in some of the agitprop pieces, as well as the  same fierce spirit of social and political critique ." , 3 elements in common

A, B, C and D are not mentioned, E is the right answer

Basically you have to strengthen the argument that "Acto borrow stuff from traditions of other periods and regions"

A) this doesn't strengthen the point - many does so improvisation is probably some "common sense" rather than something owned by traditions in certain periods or regions
B) 1970 is after 1965 when when Valdez started the Acto, so can't tell which one copied from the other
C) "almost all cultures" exclude something owned specifically by certain traditions, incorrect answer
D) same issue as for A and C
E) correct answer, the fact that Valdez attended many other performance before his creation of acto is a good supporting evidence to statement that he did learn from others

GDT · Answer

1. ​​According to the passage, the original impetus behind the establishment of the Teatro Campesino was which of the following?

This can be inferred from the following:

(A) To help urban Mexican Americans understand the problems confronting striking campesinos in California  The main purpose was to gather suppoert for the strike not just to highlight the difficulties in doing so 
(B) To promote an attitude of pride in the depth and richness of the Mexican American heritage among striking campesinos  Incorrect 
(C) To provide striking campesinos an opportunity to use their creative talents to express their political opinions  Incorrect 
(D) To allow its founder to express his personal support of the campesinos’ strike effort  More than express it ws to gather support from other farmworkers for the strike 
(E) To mobilize campesinos to support the farm workers’ strike in California   Correct

2. The author cites all of the following as probable influences on Valdez’ development of the acto EXCEPT the

(A) theater of sixteenth-century Italy  This can inferred from this excerpt "The improvised comic satire of the actos is often attributed to Valdez’ study of the Italian commedia dell’ arte of the sixteenth century" 
(B) carpas of Mexico  This can inferred from the relevant excerpt "although some critics see it as a direct reflection of the comic and improvisational qualities of the more contemporary and local carpas of Mexican theater." 
(C) drama of classical Greece   Correct  
(D) English-language theater of the United States  Mentioned "English, and Mexican American dialects in the dialogues, which realistically capture the flavor of Mexican American conversation" 
(E) myths and rituals of pre-Hispanic America  This can be inferred from the following excerpt " Valdez’ later theater pieces freely incorporate characters, plots and symbols drawn from the indigenous myths and rituals of the pre-Hispanic peoples  "

3. The passage suggests that which of the following was true of the later actos of the Teatro Campesino?

(A) They were more politically effective than were earlier actos. 
(B) They were presented primarily outdoors, whereas earlier actos were presented inside theaters.  Can't be inferred 
(C) They used a greater mixture of dialects than did the earlier actos.
(D) They addressed a broader audience than did the earlier actos.   Correct. As later themes included not only mobilising people for strike but also subjects like effect of Vietnam War on Mexican Americans and farmworkers  
(E) They differed from earlier actos in that they contained fewer improvisational elements.

4. ​​Which of the following best describes the author’s evaluation of the views of the critics cited in lines 36-39?

This can be inferred from the following excerpt:

(A) Their views, if correct, do not preclude the existence of an Italian influence on the acto.   Correct  
(B) Their views are unlikely to be correct, given the differences existing between Mexican and Mexican American theater.
(C) Their views concerning the Mexican carpas are essentially correct, but they lack familiarity with the acto.
(D) Their views are probably more correct than the views of those who have attributed the comic and improvisational elements of the acto to earlier sources.
(E) Their views betray a lack of familiarity with the commedia dell’ arte.

5. ​The passage suggests that which of the following explains the characteristic use of a mixture of Spanish, English, and Mexican American dialects in the works of Mexican American playwrights?

(A) Mexican American playwrights wish to include in their works elements drawn from the traditions and history of pre-Hispanic America.
(B) Mexican American playwrights try to guarantee that their works are fully understood by the broadest possible audience, including those who may speak only one language.
(C) Such a linguistic mix faithfully reflects the linguistic diversity of Mexican American culture, and is easily understood by most Mexican Americans.   Correct. Para 1 mentions that use of various languages " realistically capture the flavor of Mexican American conversation , are still characteristic both of the acto and of most other forms of Mexican American theater today."  
(D) Many Mexican American playwrights are quite familiar with both the Spanish-language and the English-language theater traditions.
(E) Many different languages are still spoken within the confines of the United States, although English is still the most common first language of its citizens.

6. ​​According to the passage, which of the following elements characteristic of the acto are also found in some agitprop theater pieces?

This can be inferred from the following excerpt:

(A) The use of masks
(B) Comic improvisation
(C) An outdoor setting
(D) Minimal use of complex stage effects or props
(E) An assortment of semiallegorical characters   Correct

7. Which of the following, if true, most strengthens the author’s argument concerning the debt of the acto to the theater traditions of other periods and regions?

In Para 2, the author says that Acto owes to the theater traditions of other periods and regions and then elaborates on things that were inspired from these other traditions and theaters

(A) Many popular forms of theater rely heavily on improvisation. 
(B) Plays resembling the acto in structure were written in the 1970’s by West African playwrights who are interested in dramatizing the richness of their own cultures.
(C) The use of masks has, at one time or another, been characteristic of the theater traditions of almost all cultures, even those most isolated from outside influences.
(D) During a strike, it is common for union members to present musical skits dramatizing the values of solidarity and resistance.
(E) Before 1965 Luis Valdez had attended many performances of traditional Mexican theater groups touring the western United States.   Correct

VerbalBot · Answer

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In the fields of Delano, California, in 1965, Luis Valdez started the

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