Abstract
This article will focus on the theme of community and on the forms stemming from oral literature and musical tradition in Chicano theatre, while drawing comparisons with similar developments in South Africa. I will argue that the re-appropriation of traditional modes and their integration into stage performance replaced the formerly “Eurocentric definition of theatre” with a more indigenous specificity, a development that has been observed in South Africa as well (Hauptfleisch, 1988:40). We can thus speak of a certain divergence from standard contemporary Western traditions in both the Chicano and the black South African community theatre, a trend that is notable in both their themes and forms.
Highlights
I will argue that the reappropriation o f traditional modes and their integration into stage performance replaced the form erly "Eurocentric definition o f theatre" with a more indigenous specificity, a development that has been observed in South Africa as well (Hauplfleisch, 1988:40)
I will not refer to international successes abroad, but to the current community theatre that predominately targets its own audience on the home turf
Christiane Rafiner values, community theatres continuously stress the ethnicity of their own population group, clarifying those cultural marks that are common to the group as a whole
Summary
The concept “community” is usually meant to emphasise the political purpose o f this type of theatre; in some instances, it is used to draw attention to the presumed grassroots background of the theatre practitioners themselves (Vargas, 1973:20-24). “Community”, identifies a ll the participants in the communicative event that is community theatre Because of its refusal to accommodate to the fashion of the dominant (Anglo-American) market, Chicano theatre has continued to operate outside the establishment theatre - there have been some exceptions, most notably the Teatro Campesino’s appearances in Hollywood and on Broadway during the last decade (Rahner, 1991:115-117)
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