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Intercambio: A Visual History of Nuevo Teatro from the Ana Olivarez-Levinson Photography Collection
Theatre History Studies Pub Date : 2020-12-31 , DOI: 10.1353/ths.2020.0009
Ana Olivarez-Levinson , Eric Mayer-García

In lieu of an abstract, here is a brief excerpt of the content:

  • IntercambioA Visual History of Nuevo Teatro from the Ana Olivarez-Levinson Photography Collection
  • Ana Olivarez-Levinson (bio) and Eric Mayer-García (bio)

Archiving is Organizing and Communicating: How I Used My Camera to Raise Consciousness of the Chicano Movement

Ana Olivarez-Levinson

I started collecting materials related to Chicano/Latino Teatro as early as 1973. After graduating from high school, I returned to LA to reconnect with my grand-mother and extended family members for a temporary visit. My parents, siblings, and I had left LA in 1971 and moved to Houston, Texas. During one of my walks in East LA, I came across a Summer Park program while Chicano songwriter Agustín Lira was entertaining a group of children with his culturally empowering Spanish-language tunes. During the conversation, he introduced himself as having performed with a group of musicians during the Delano, California, grape strike headed by Cesar E. Chavez. I had been missing and yearning to reconnect with the thriving Chicano movement that I left behind in my hometown of LA. I was hungry for mexicano cultural information. At the park and rec center, I spotted a poster announcing a play titled La Gran Carpa de los Rasquachis, performed and written by El Teatro Campesino.1 I was so excited to [End Page 169] be able to witness something I strongly connected to on different levels. I took multiple pictures with my cheap Kodak, as was my hobby in LA, with the intention of sharing them with my friends and family in Texas. After seeing the performance of Teatro Campesino, I remember saying to myself, “That’s what I want to do in the future.” The consciousness-raising and cultural message transmitted in the art form was what stuck with me. I wasn’t inspired to become a great “actress.” It was the process, the way the message was delivered, that inspired me to later do exactly that.

However, the real sharing of the photos from the Campesino performance began a year later, in 1974, when I participated in a summer academic prep program for incoming Latino freshmen at the University of Houston. At the request of a Latina English instructor teaching Chicano literature, I agreed to share with the class my collection of East LA photos. The pictures included the Estrada Project murals painted on the walls of East LA housing projects as well as photos of Teatro Campesino’s performance. The experience of sharing these photos with my peers allowed me to see the value in the documentation process, in the sharing process, in the dissemination of information. The students and the staff all were interested and respectful of my early involvement and immersion in a dynamic cultural movement they had not yet experienced. As a nineteen-yearold, I became the messenger of Chicano culture from East LA to these incoming freshmen attending the University of Houston. My pictures became a tool for sharing information otherwise not seen or celebrated in mainstream media, much less in the university culture.

I started taking pictures and eventually collecting them. My early teatro experiences date back to my first freshman semester, fall 1974. The same instructor that had asked me to share my LA photos requested my assistance in helping to direct two plays, both by Teatro Campesino. The work of Luis Valdez, director and playwright of Teatro Campesino, had a major influence on all aspiring Chicano theatre beginners, including myself. The instructor agreed to give me a well-deserved credit in the next semester once I registered in her Chicano literature class.

Since I was directing, I was able to take photos as the action was unfolding. In 1975, at age twenty, I attended the TENAZ (Teatros Nacionales de Aztlán) teatro festival (aka the Chicano Theatre Festival) in San Antonio, Texas. I was the only person able to attend the festival from the teatro I was involved with at the time, Teatro Tejano. I took photos of all the performances, workshops, and social interactions in late-night jam sessions. The primary goal was not only to return to the Houston group to share this rich historical experience reflected [End Page 170] by the multiple...



中文翻译:

Intercambio:Ana Olivarez-Levinson摄影作品集的Nuevo Teatro的视觉历史

代替摘要,这里是内容的简要摘录:

  • Intercambio Ana Olivarez-Levinson摄影作品集的Nuevo Teatro的视觉历史
  • Ana Olivarez-Levinson(生物)和EricMayer-García(生物)

存档正在组织和沟通:我如何使用相机提高奇卡诺运动的意识

安娜·奥利瓦雷斯·莱文森(Ana Olivarez-Levinson)

早在1973年,我就开始收集与Chicano / Latino Teatro有关的资料。高中毕业后,我回到洛杉矶与我的祖母和大家庭重新建立联系,以进行临时访问。我的父母,兄弟姐妹和我于1971年离开洛杉矶,搬到德克萨斯州的休斯敦。在我在洛杉矶东部的散步中,我遇到了一个夏日公园节目,而奇卡诺(Chicano)歌手阿古斯丁·里拉(AgustínLira)则以其具有文化影响力的西班牙语音乐来招待一群孩子。在交谈中,他介绍自己是在加利福尼亚州德拉诺(Cesar E. Chavez)领导的葡萄罢工期间与一群音乐家一起演出的。我一直想念和渴望与在我的家乡洛杉矶留下的兴旺的Chicano运动重新建立联系。我饿了墨西哥文化信息。在公园和娱乐中心,我发现了一张海报,宣布由El Teatro Campesino表演和创作的名为La Gran Carpa de los Rasquachis的戏剧。1我很激动[End Page 169]能够亲眼目睹我在不同层次上紧密相连的事物。我和我在洛杉矶的爱好一样,是用便宜的柯达(Kodak)拍了多张照片,目的是与德克萨斯州的朋友和家人分享这些照片。看过Teatro Campesino的表演后,我记得对自己说:“那是我将来要做的。” 以艺术形式传递的提高意识和文化的讯息一直困扰着我。我没有被激励去成为一名出色的“女演员”。正是过程,即消息传递的方式,激发了我后来做到这一点的能力。

但是,真正的分享Campesino表演的照片始于一年后的1974年,当时我参加了休斯敦大学即将到来的拉丁裔新生的夏季学术预备课程。应拉丁裔英语老师讲授奇卡诺文学的要求,我同意与班级分享我的东洛杉矶照片集。这些图片包括在东洛杉矶房屋项目的墙壁上绘制的Estrada Project壁画以及Campesino剧院的表演照片。与同行共享这些照片的经验使我看到了文档编制过程,共享过程和信息传播中的价值。学生和教职员工都对我的早期参与和沉浸感到兴趣并表示敬意,他们沉浸在他们尚未经历过的充满活力的文化运动中。十九岁的时候 我从东洛杉矶成为了奇卡诺文化的使者,来到了休斯敦大学的这些新生。我的照片成为了一种共享信息的工具,而这些信息在主流媒体中是看不到或无法欣赏的,而在大学文化中则更少。

我开始拍照,并最终收集它们。我的早期剧院经历可以追溯到1974年秋季我的第一届大一学期。同一位要求我分享我的洛杉矶照片的教练要求我协助导演两部戏剧,这两部作品均由Campesino剧院执导。坎佩斯诺剧院的导演兼编剧路易斯·瓦尔德斯(Luis Valdez)的作品对所有有志向的奇卡诺剧院初学者都产生了重大影响,包括我自己。一旦我在她的Chicano文学课上注册,老师同意在下学期给我应得的荣誉。

自从我执导以来,随着动作的进行,我能够拍照。1975年,二十岁的时候,我参加了在得克萨斯州圣安东尼奥市举办的TENAZ(Teatros Nacionales deAztlán)戏剧节(又名Chicano戏剧节)。我是当时参与的剧院中唯一能够参加音乐节的人,Tejano Tejano。我在深夜果酱会议中拍摄了所有表演,工作坊和社交互动的照片。主要目标不仅是返回休斯敦小组,以分享由多... [End Page 170]反映的丰富历史经验。

更新日期:2020-12-31
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