ABSTRACT
Chicano theatre, in existence for well over a decade, is rooted firmly in the popular culture of the barrio and campo. It has also drawn heavily upon many international forms and styles. It is most often compared with Brechtian theatre and the Brechtian theatre movement, since this also has a popular base. If the mid and late 1970s are a time for reflection, as some say, then perhaps now is the time to examine and define the influence of the German writer and theoretician on Chicano theatre.
