In the fields of Delano. Califomia.
　　In 1965. Luis Valdez started the
　　Teatro Campesino (Farm worker's
　　Theater), and with it initiated
(5) 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
(10) 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.
(15) Valdez early actos were composed of
　　a series of scenes about the strike
　　experience acted by campesino volun-
　　teers. His later actos were presented
　　by a newly constituted professional
(20) 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
(25) Mexican Americans as well as to
　　campesinos. All Valdez' actos con-
　　tained elements of song and dance,
　　relied little on stage effects or
　　props, and featured the use of masks.
(30) 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.
(35) which realistically capture the
　　flavor of Mexican American conver-
　　sation,are still characteristic
　　both of the acto and of most other
　　forms of Mexican American theater
(40) today.
　　　Innovative as it is, the acto owes
　　much to the theater traditions or
　　other periods and regions. Like early
　　Spanish American religious dramas,
(45) 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
(50) 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
(55) 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:
(60) 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
(65) 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
(70) 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
(75) 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
(80) 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
(85) American heritage itself than does the
　　acto of Luis Valdez and the Teatro
　　Campesino.

According to the passage , the
original impetus behind the esta-
blishment of the Teatro Campesino
was which of the following?
To help urban Mexican Americans