1. Which one of the following most accurately expresses the main point of the passage?(A) Some theater historians have begun to challenge the once widely accepted view that in creating the Teatro Campesino, Luis Valdez was largely uninfluenced by earlier historical forms.
(B) In crediting Luis Valdez with founding the Chicano theater movement, theater historians have neglected the role of César Chávez in its early development.
(C) Although the creation of the early material of the Teatro Campesino was a collective accomplishment, Luis Valdez’s efforts and expertise were essential factors in determining the form it took.
(D) The success of the early Teatro Campesino depended on the special insights and talents of the amateur performers who were recruited by Luis Valdez to participate in creating actos.
(E) Although, as Yolanda Broyles-González has pointed out, the Teatro Campesino was a collective endeavor, Luis Valdez’s political and academic connections helped bring it recognition.
2. The author uses the word “immediacy” (line 39) most likely in order to express(A) how little physical distance there was between the performers in the late 1960s actos and their audiences
(B) the sense of intimacy created by the performers’ technique of addressing many of their lines directly to the audience
(C) the ease with which the Teatro Campesino members were able to develop actos based on their own experiences
(D) how closely the director and performers of the Teatro Campesino worked together to build a repertoire of actos
(E) how vividly the actos conveyed the performers’ experiences to their audiences
3. The second sentence of the passage functions primarily in which one of the following ways?(A) It helps explain both a motivation of those who developed the first actos and an important aspect of their subject matter.
(B) It introduces a major obstacle that Valdez had to overcome in gaining public acceptance of the work of the Teatro Campesino.
(C) It anticipates and counters a possible objection to the author’s view that the actos developed by Teatro Campesino were effective as political theater.
(D) It provides an example of the type of topic on which scholars of Mexican American history have typically focused to the exclusion of theater history.
(E) It helps explain why theater historians, in their discussions of Valdez, have often treated him as though he were individually responsible for inventing actos as a genre.
4. The passage indicates that the early actos of the Teatro Campesino and the carpas were similar in that(A) both had roots in theater in the European tradition
(B) both were studied by the San Francisco Mime Troupe
(C) both were initially performed on farms
(D) both often involved satire
(E) both were part of union organizing drives
5. It can be inferred from the passage that Valdez most likely held which one of the following views?(A) As a theatrical model, the carpas of the early twentieth century were ill-suited to the type of theater that he and the Teatro Campesino were trying to create.
(B) César Chávez should have done more to support the efforts of the Teatro Campesino to use theater to organize striking farm workers.
(C) Avant-garde theater in the European tradition is largely irrelevant to the theatrical expression of the concerns of a mainly working-class audience.
(D) Actors do not require formal training in order to achieve effective and artistically successful theatrical performances.
(E) The aesthetic aspects of a theatrical work should be evaluated independently of its political ramifications.
6. Based on the passage, it can be concluded that the author and Broyles-González hold essentially the same attitude toward(A) the influences that shaped carpas as a dramatic genre
(B) the motives of theater historians in exaggerating the originality of Valdez
(C) the significance of carpas for the development of the genre of the acto
(D) the extent of Valdez’s acquaintance with carpas as a dramatic form
(E) the role of the European tradition in shaping Valdez’s contribution to the development of actos
7. The information in the passage most strongly supports which one of the following statements regarding the Teatro Campesino?(A) Its efforts to organize farm workers eventually won the acceptance of a few farm owners in California.
(B) It included among its members a number of individuals who, like Valdez, had previously belonged to the San Francisco Mime Troupe.
(C) It did not play a major role in the earliest efforts of the United Farm Workers Union to achieve international recognition.
(D) Although its first performances were entirely in Spanish, it eventually gave some performances partially in English, for the benefit of non-Spanish-speaking audiences.
(E) Its work drew praise not only from critics in the United States but from critics in Mexico as well.
8. The passage most strongly supports which one of the following?(A) The carpas tradition has been widely discussed and analyzed by both U.S. and Mexican theater historians concerned with theatrical performance styles and methods.
(B) Comedy was a prominent feature of Chicano theater in the 1960s.
(C) In directing the actos of the Teatro Campesino, Valdez went to great lengths to simulate or recreate certain aspects of what audiences had experienced in the carpas.
(D) Many of the earliest actos were based on scripts composed by Valdez, which the farm-worker actors modified to suit their own diverse aesthetic and pragmatic interests.
(E) By the early 1970s, Valdez was using actos as the basis for other theatrical endeavors and was no longer directly associated with the Teatro Campesino.