David Román creates excellent perspective into the haven and necessity of theatrical arts for homosexual Latino 's in Chapter 6 of Intervention entitled "Teatro Viva!" Román reveals that progressing as a community requires gay Latino men and women to use the theatre as a tool to break the socio-silence surrounding the idea of homosexuality and the AIDS virus. In this case, the region of Los Angeles, California is accounted for as having an enormous amount of input having to do with the de-marginalization of homosexual Hispanics in the world. "Teatro VIVA!" is the name of a Los Angeles county short-skit theatrical outreach program that provided a bilingual education of the gay Latino community confronted with AIDS during the early nineties. This chapter helps by providing the reader with a detailed record of many such performance acts in the Los Angeles around that time. The passage opens with the author 's account of "Culture Clash", a politically-minded collection of plays held in the summer of 1992 at the Japanese American Cultural Community Center. …show more content…
For instance, at the time it was written intravenous drug use accounted for a serious majority of AIDS transmissions among Hispanics. In response, the author insists there can be control. Quote, "For Latinos, this imperative to know, analyze, and wrest control, of the constructions of AIDS is of primary importance." Meaning, there is as much a problem as there’s a response within an ethnicity also plagued by deportation, gangs, health trouble, and under education. They will demand to fund and create organizations that manifest