[Blueboard] Symposium on Philippine Theater

jchua at ateneo.edu jchua at ateneo.edu
Thu Jan 5 16:03:11 PHT 2012


The Department of Interdisciplinary Studies, with the support of the  
Office of the Dean of the School of Humanities, invites you to a  
Symposium on Philippine Theater in honor of Dr. Nicanor G. Tiongson  
(College, class of 1965) on January 12, 2012, at the Faura AVR.

The Symposium is open to all faculty members and students interested  
in Philippine theater history and criticism.

Seats are limited and are on a first-come-first-served basis, so  
interested parties are requested to call the I.S. department at  
426-6001, loc. 5340 to signify their intention.

Below is the schedule of the talks.  Thank you.

===========================
9:00-9:15 Registration
9:15-9:30 Opening Ceremonies
9:30-10:00 Keynote Address by Bienvenido Lumbera, Ph.D., National  
Artist for Literature
10:00-10:30 Coffee break

Panel 1
10:30-10:45
?Buhay! Sa Patuloy na Pagkilatis ng Dulang Filipino?
Glecy Atienza, Ph.D.
University of the Philippines
Layunin ng pag-aaral na itong pagyamanin ang nasimulang pagmamarka ng  
dulang Filipino ni Nicanor Tiongson sa mga salitang luwal ng karanasan  
sa dulang Filipino. Mula sa pagsusuri ng mga kahulugan ng mga salita,  
kikilitasin ang mga katawagang kakabit ng mga karaniwang salitang dula  
na ukol sa teksto, pagtatanghal at proseso ng palikha ng dula upang  
makabuo ng isang balangkas ng pagkilala sa dulang Filipino. Gagamitin  
sa pag-aaral ang mga tekstong uminog sa ibat ibang panahon at mula sa  
iba?t ibang proseso ng paglikha ng mga dula.  Tampok na batis ng mga  
materyal ang mga dulang mula sa mga hugpungan ng dantaon at mula sa  
mga ginintuang panahon ng dulang Filipino, sapagkat narito ang  
mayamang talasalitaang pandula.

10:45-11:00
?Displacement and Hope, Despair and Redemption: The Utopian  
Performative in the Fluvial Procession for San Clemente?
Ma. Jovita E. Zarate
University of the Philippines Open University
The study will examine and frame the fluvial procession of devotees in  
honor of San Clemente, patron saint of Angono, Rizal, using Jill  
Dolan?s notion of a utopian performative.  Dolan, taking off from  
Victor Turner?s symbolic ritual action and communitas, cites ?small  
but profound moments in which performance calls the attention of the  
audience in a way that lifts everyone slightly above the present, into  
a hopeful feeling of what the world might be like if every moment of  
our lives were as emotionally voluminous, generous, aesthetically  
striking, and intersubjectively intense.?
How does the fluvial procession?a grand display of devotion to San  
Clemente marked by, among other activities, street dancing, role  
playing, the rosario cantada, and recitation of the novena prayers in  
the pagoda?speak of a utopia, literally a ?no place? as Dolan has  
cited, amidst the emerging dystopia: a town once defined by the  
bountiful harvests that emerged from a lake that is now heavily silted  
and polluted? How is devotee agency exercised through a tradition that  
is clearly a critical part of the colonial apparatus but has now been  
appropriated to provide glimpses of hope in a time of displacement and  
despair?  I see an intense desire to preserve and uphold a tradition  
because it bears the agency by which they can negotiate powerful  
structures and unequal relations that continue to shatter their  
imaginaries of a once bountiful town sustained by the alignment of the  
forces of nature and the forces of faith.

11:00-11:15
?Komedya Music from the Roman Maulawin Collection?
Elena Rivera Mirano, Ph.D.
University of the Philippines
While much has been written about the komedya as a cornerstone of  
Philippine theater, very little is known about one very important  
element of this complex theater form: its music. This paper will focus  
on a manuscript/score of music for an untitled komedya from Pakil,  
Laguna, completed in 1925 by the composer Roman Maulawin and  
rediscovered in 2004 by Fe Maulawin and Inigo Vito. The paper will  
present a publishable edition of the songs and will provide a context  
for their performance in an attempt to understand the dynamics of  
Pakil society and the place of the komedya in this community.

11:15-11:30
?Ang Entablado ng Pamumusong ni Amado V. Hernandez at ang Taga sa  
Panahong Kabuluhan?
Rosario Torres-Yu, Ph.D.
University of the Philippines
Itinanong ng kritikong si Epifanio San Juan, Jr., sa okasyon ng  
paggunita sa sentenaryo ng pagsilang ni Amado V. Hernandez, kung bakit  
wala pang panunuring istorikal, liban sa isinulat ni Agoncillo at  
Lumbera, sa mga kuwento, dula at sanaysay ng  Pambansang Alagad sa  
Panitikan.  Isang tugon ang panunuring ito sa mga dula ni Hernandez.   
Susuriin ang kahalagahang panlipunan at pangkasaysayan ng mga dula  
niya: (1) sa lente mismo ng dalumat ni Hernandez sa relasyon ng  
panitikan at ng lipunan, (2) sa konteksto ng tagisang ideolohikal ng  
mga dula niya at ng panahong nasulat/naitanghal ang mga dula, at (3)  
sa pangkasalukuyang sipat sa mga ito bilang diskurso na may diin sa  
usapin ng kapangyarihan at ?katotohanan.?  Sa apat na dula, higit na  
malapitang susuriin, kaugnay ng pangatlong pagbasa, ang dulang  
Magkabilang Mukha ng Isang Bagol (1961), dahil sa palagay ng  
tagapagsuri na dito sa dulang ito higit na makikita na nagpapatuloy  
ang kabuluhan ni Hernandez sa kasalukuyan, at dito lumulutang ang  
lakas at kapangyarihan ng kanyang kritika sa sistemang pampolitika.

11:30-11:50 Open Forum
11:50-1:30 Lunch Break

Panel 2
1:30-1:45
?Mayukmok: Militant Theatre from the Margins, Liberating Theatre for  
the Marginalized?
Karl M. Gaspar, CSsR
Ateneo de Davao University
Just before the declaration of martial rule in 1972, there arose a  
militant theatre group in Davao named the Mga Magdudulang Mayukmok  
(The Anawim Players).  The group mounted productions in Digos, Davao  
del Sur, and later in Mati, Davao Oriental, and in Davao City at the  
height of martial rule.
This paper is an account of its origins, objectives, and activities as  
a theater from the margins.  Originally meant to target the peasant  
and ordinary folks as its main audience, it later repositioned itself  
during martial law as a theater aimed at the liberation of all victims  
of oppressive structures, using such forms and aesthetics as could  
circumvent the restrictions of martial law.

1:45-2:00
?Orihinales: Ang Pagkahulma at Pag-Inog ng mga Dulang Tradisyunal at  
Historikal ng Panahon ng Batas Militar?
Apolonio B. Chua, Ph.D.
University of the Philippines
Nagkapuwang nang mga panahon ng batas militar ang pagtatanghal ng mga  
dulang Pilipino na hinugot sa tradisyon at kasaysayan.  Naipakita sa  
mga manonood, partikular sa Kamaynilaan at sa hanay ng mag-aaral, ang  
mga anyong tradisyunal, tulad ng senakulo, drama simboliko, sainete,  
at iba pa.
Layunin ng presentasyon na suriin ang naturang kalakaran sa inog ng  
pag-iral din ng awtoritaryanismo, malay man o hindi, ang mga sangkot  
na artistang pandulaan sa pulitikal na kondisyon.  Gayundin, ninanais  
ng presentasyon alamin ang mga taktika ng pagtatanghal partikular sa  
usapin ng mga teknikal na kondisyon ng pagtatanghal ng mga historikal  
at tradisyunal na dula. Paano umangkop ang mga kontemporaryong  
pagtatanghal sa mga teknikal, dramaturhikal at pananaw ng mga dulang  
sinulat at nilikha nang nakaraang mga panahon?
Bagamat pinakatampok ang grupong Dulaang Babaylan sa kalakarang ito,  
may iba pang inisyatiba at danas, U.P. Anak Tibawan, at iba pang  
produksyon.  Mananangan ang presentasyon sa mga panayam sa mga susing  
artista at iskolar:  Nicanor G. Tiongson, Anton Juan, atbp.

2:00-2:15
?When the Plot Is Another: Detention Theatre during Martial Law?
Lilia Quindoza Santiago, Ph.D.
University of Hawaii at Manoa
My paper narrates the ?dramatic adventures? of political detainees at  
Fort Bonifacio during the early years of martial law and argues that  
sometimes what is not said, what is not revealed, is more important  
than what is unfolding on stage.  As a political detainee at Fort  
Bonifacio, I co-wrote a play which was staged inside the detention  
center and in full view of our military guards.  On the surface the  
play was about being rehabilitated in Marcos?s New Society.  Yet the  
play was really an excuse for the detainees to hatch another plot?to  
escape from detention, a plot which succeeded for Lorena Barros and  
Judy Taguiwalo.   The play was an attempt at what Bienvenido Lumbera  
has called a ?theatre of circumvention,? and it was circumvention on  
many layers.
My paper will have two parts: a recollection of the context  
surrounding the detention at Fort Bonifacio and the narrative of the  
actual drama on stage and the broader drama of martial law.

2:15-2:30
?Dancing Decentralization?
Basilio Esteban S. Villaruz
University of the Philippines
After Edsa I in 1986, reforms were made not only in politics but also  
in cultural policies. The National Commission for Culture and the Arts  
(NCCA) was established, and the Cultural Center of the Philippines  
(CCP) was reformed. One of the Center?s new key policies was  
decentralization, formulated by its artistic director Nicanor Tiongson.
We can now look back at how this policy reformed the CCP?s operations  
in contrast to how the NCCA has subsequently been bureaucratized. This  
is an ironic development, because the latter?s structure of  
representation was meant to fulfill that very idea of  
decentralization?equitable empowerment. This discourse refers to these  
two entities and the problem of sustaining reforms.
An account of the production of UP-Visayas Teatro Amakan?s dance-drama  
Ang Babaylan exemplifies how the emphasis on decentralization at the  
CCP was meaningful and still prevails. Otherwise, the author thinks  
reforms have been compromised in hegemonic moves elsewhere. Inasmuch  
as he was actively involved in the call for reforms at the CCP in 1986  
(when there was still no NCCA), in some of the Center?s subsequent  
projects, in NCCA committee work, and in Ang Babaylan, his narrative  
could be considerably significant.

2:30-2:50 Open Forum
2:50-3:00 Break

Panel 3
3:00-3:15
?The Theatricality of Translation in Rolando Tinio?s Hamlet, Prinsipe  
ng Dinamarka?
J. Pilapil Jacobo, Ph.D.
Ateneo de Manila University
If translation should aspire to demonstrate a tropic choreography, the  
itinerary of such a procedure must at least premise itself on an  
understanding of language as a thought-edifice where the dialectic  
between interiority and extensity could be staged. This paper argues  
that Tinio?s translation of Shakespeare?s Hamlet is an instructive  
case on how a cosmopolitan Tagalog aesthetic transfigures a  
particularly Anglophone worldliness into a kind of earth where the  
intimate ?interval? between the inside and the outside could be  
anticipated: as saloobin (habitus) and palabas (performance) and  
luwalhati (jouissance) and dalamhati (sufferance). Such conjunctures  
constitute a moment in the tropic where theater is always already  
translatable and translation inevitably theatrical.

3:15-3:30
?Transcreation from Source to Stage?
Steven Patrick C. Fernandez, DFA
Iligan Institute of Technology-Mindanao State University
	When performing artists dance, play, and perform the creative  
expressions of other cultural communities, they ?appropriate? or  
?borrow.? Appropriation is using other peoples? creative  
expressions?like dance, music, and literature?for another purpose like  
a performance on a stage to an audience, most likely without the  
permission of the ?owners.?  Artists who appropriate should depict  
faithfully the culture of their sources. This allows audiences  
insights into the essential features of the culture depicted. Artists  
?borrow? expressions to reflect the source these expressions manifest,  
and this action is called transcreation.
The paper examines transcreation, the process that transforms original  
creative expressions from their indigenous origins to a space and  
context different from those of the original. It also suggests  
procedures on how correct transformations may be achieved.  
Transcreation is necessary because the functions, values, and  
aesthetics informing the original differ from those of the  
transformed. Staged productions require a separate entity (the  
audience) with a different set of expectations and a specific  
engagement that is distinct from that practiced by indigenous cultures.
Careless appropriation can demean a culture because expressions reveal  
the identity of a community from where the expressions originate. From  
these borrowed expressions (which are collectively shaped and  
nurtured), audiences learn about a peoples? life ways.  Cultural  
expressions include gestures, music, manners of dress, ways of eating,  
processes of worship, engagements between the genders, use of space,  
and the like.  Dances, music, visual arts, and literature of  
indigenous communities manifest values and a system of behavior and  
belief that can identify one culture from the other.

3:30-3:45
?Rizal X as Historiographic Meta-Theater and the Unfinished Revolution?
Priscelina Patajo Legasto, Ph.D.
University of the Philippines
This paper/presentation problematizes Jose Rizal as Text in Philippine  
Theater by analyzing Rizal X, a production of Dulaang U.P. in 2011,  
conceptualized and directed by Dexter Santos. Rizal X is an  
instantiation of ?Rizal? the man/the hero/the myth as open text.  
Moreover, this study inquires into the nature and significance of  
theater as a cultural practice that can be called ?historiographic  
meta-theater? (my own take on Linda Hutcheon?s historiographic  
meta-fiction).   Historiography, or the art of writing history, and  
meta-theater, or a play about the nature of theater, are the embedded  
structures and the raison d?etre of Rizal X since the play attempts to  
go beyond traditional, canonical, official, pedagogical, and even  
?millenarian? interpretations of Jose Rizal in order for it to make  
his life, his novels, his poetry, and other accomplishments relatable  
to the youth of this generation.  With re-figurations of Rizal  
biographies and his literary texts, through flashbacks and  
flashforwards, the various vignettes from his life, the  
concretizations of biographical ?facts,? historical ?events,?  
fictional characters from his writings, and the tele-transport of  
Rizal from the nineteenth century to today are re-presented and given  
a new multimedia theater figuration using popular music, film, audio  
visuals, for us, but especially for a youthful generation, to  
apprehend his continuing significance in our lives as Filipinos and in  
our struggle to push the unfinished revolution in the twenty-first  
century.

3:45-4:20 Open Forum



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