Luis Valdez
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The Shrunken Head of Pancho Villa (drama) 1963
Las dos caras del patroncito (drama) 1965
La quinta temporada (drama) 1966
Los vendidos (drama) 1967
La conquista de México (drama) 1968
I Am Joaquín (screenplay) 1969
The Militants (drama) 1969
No saco nada de la escuela (drama) 1969
Bernabé (drama) 1970
Huelguistas (drama) 1970
Vietnam campesino (drama) 1970
Dark Root of a Scream (drama) 1971
La gran carpa de la familia Rascuachi (drama) 1971
Soldado razo (drama) 1971
Aztlan: An Anthology of Mexican American Literature [editor, with Stan Steiner]
(anthology) 1972
El fin del mundo (drama) 1972
Los vendidos (screenplay) 1972
Pensamiento serpentino: A Chicano Approach to the Theatre of Reality (poem) 1973
El baile de los gigantes (drama) 1974
El corrido [adaptor; from his drama La gran carpa de la familia Rascuachi] (television
script) 1977
Zoot Suit (drama) 1978
Bandido (drama) 1981
Corridos (drama) 1982
Zoot Suit (screenplay) 1982
I Don't Have to Show You No Stinking Badges (drama) 1986
*La Bamba (screenplay) 1987
Corridos! Tales of Passion and Revolution (television script) 1987
Luis Valdez--Early Works: Actos, Bernabé, Pensamiento serpentino (essays and dramas)
1990
Los mineros (television script) 1991
Zoot Suit, and Other Plays (dramas) 1992
Born June 26, 1940
The major accomplishment of Luis Valdez is his play Zoot Suit. He brings to light the major
issues people who wore zoot suits faced every time they stepped out of the house.
"Luis (Miguel) Valdez." Contemporary Literary Criticism Select. Detroit: Gale, 2008. Literature
Resource Center. Web. 15 Apr. 2015.
Valdez’s work is significant because he is the creator of modern chicano theater. He wanted to
present the language of the working class Chicanos to display a social or political message.
The major theme of his work is Chicano identity because through his plays he displays his own
views of his experiences. He also shows how the other side had to deal with the persecution of
being a minority trying to either work or express themselves.
The style of his writing is mainly English and Spanish in dialect. He has the ability to put the
Chicano experience within the universal American framework.
The thing that I would want to remember about Valdez is that he grew up in some situations that
make him better at putting his experiences into a visual aspect that others who have gone through
similar events can relate to.