Download ACTO - Stanford University

Chicano Teatro Workshop 10/24/06
Teatrista: Daniel C. Chavez
ACTO
DEFINITION: A form of Chicano Teatro (Mexican-American Theater) created by El Teatro Campesino
in the 1960’s during the United Farm Worker’s struggle and the Chicano Movement. It is a short 8-10
minute theatrical narrative that presents a social problem to its audience and ends by providing a solution
to the problem. It calls the audience to ACTION!
PURPOSE:
Educate the public, your audience
When creating an ACTO for your community, think about:
WHO is your TARGET AUDIENCE?
WHERE will you perform?
WHAT is the beginning, middle, and end of your Acto?
WHAT is the Problem? WHAT is the Solution?
HOW do you want to represent your community? (Rural? Urban?); RELATE to real issues, real locations
WHEN is your ACTO taking place (what is your setting)?
WHAT symbols will you use? (examples: El Diablo, La Muerte)
POSSIBLE FORMAT:
Introduction: Main character introduces himself and answers: Who? What? Where? Why? How?
A. A conflict is presented
B. Character is forced to make a choice arising out of the conflict
C. Character either makes the right choice or the wrong one and the audience is shown the
consequences
Conclusion: A solution to the problem is provided
HELPFUL TOOLS:
 Use archetypes (Who is the “Farm worker,” “Contractor,” the “Boss” in the scene?)
 Utilize Symbols (bodies, hands, objects, universal symbols like La Virgen, El Diablo, La Muerte)
 Pauses help to create tension
 Use tableau’s: create several powerful images that without dialogue put your point across
 Use short, clean dialogue
 Signs can help signify characters to the audience (you are trying to make your point clear)
REMEMBER:
 An ACTO is not a skit—since it calls the audience to ACTION! (Hence the name, ACTO.)
 Deal with the environment you are performing in—improvise, integrate this environment
 Teatro is based on a circle—so think circular and reaching a state of harmony
 Movements have to be calculated. Move to a beat, a rhythm.
 The conventional fourth wall doesn’t exist, you can speak to the audience to make a point clearer
 Humor is a weapon
 The simpler the better
 Be comfortable with your own skin. Have confidence, believe in yourself
 Make clear decisions. Decision = Action
 Make sure you have a strong argument.
 Grab the audience’s attention upon your entrance!
 Lastly: “Don’t take the play so seriously!!!”