The possibilities and problems of entanglement in contemporary manila theatre

BUHOL-BUHOL: THE POSSIBILITIES AND PROBLEMS OF ENTANGLEMENT IN CONTEMPORARY MANILA THEATRE SIR ANRIL PINEDA TIATCO NATIONAL UNIVERSITY OF SINGAPORE 2014 ! BUHOL-BUHOL: THE POSSIBILITIES AND PROBLEMS OF ENTANGLEMENT IN CONTEMPORARY MANILA THEATRE SIR ANRIL PINEDA TIATCO (M.A. Theatre Arts, University of the Philippines Diliman) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY THEATRE STUDIES PROGRAMME DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE NATIONAL UNIVERSITY OF SINGAPORE 2014 ! "! Thesis Summary This thesis proposes entanglement as a useful idiom for understanding the contemporary theatre scene in Manila, capital of the Philippines. Drawing on its Tagalog counterpart, buhol-buhol, I conceive entanglement not only as a juxtaposition between or among elements, but also a process of enmeshing, muddling, and snaring. Taken together, these manifestations of buhol-buhol enable me to affirm the entangled character of contemporary Manila theatre in overlapping representations, histories, relationships, and genres, while at the same time marking some problematic limitations in their treatment of their chosen subjects. This is because, while these entanglements render Manila theatre far more complex than the accusations of mimicry and inauthenticity frequently leveled at contemporary Filipino culture, theatre-makers are often caught up in a more intractable buhol-buhol than they are willing or able to recognize. Four models of buhol-buhol are identified in this thesis: pista (fiesta), kapuluan (archipelago), patibong (trap), and nangingibang-bayan (overseas-worker). Each is discussed in a separate chapter. In Chapter Two, I interrogate how artists create performances via mixing and matching of representations, histories, relationships and genres, which are also activated during the celebration of pista. In Chapter Three, the model of kapuluan reflects how the distinctions of islands in an archipelago may be conceived as a starting point of integration and entanglement. Since the national constitution states that the Philippines should be thought of as Kapuluang Pilipinas (Philippine Archipelago), I also inquire how kapuluan and the nation are lumped together in a conceptualization of a national theatre as a reaction against the proposal of theatre scholars in Manila to institutionalize komedya as a ! ""! national theatre. In Chapter Four, patibong is reflected by relating Manila theatre to globalization. In this inquiry, I argue that theatre artists imagine globalization as a trap onstage. In this entrapment, theatre artists propose that agents of globalization (wealthy countries, particularly the United States) lure poor countries to embrace a global reality by a dismissing a sense of local time, space and identity. But since entrapment is also related to the Tagalog concepts lambat (net) and bihag (captivation), the theatre also becomes a model of the patibong where theatre artists may be likened to the hunter and audience members to the victims. Finally, in Chapter Five, nangingibang-bayan is argued to entangle the sending or home country and the receiving or host country of overseas workers. Here, barriers and restrictions in both the home and host country often increase, block, minimize or send the entanglement in a different direction. This entanglement is also a favorite issue in contemporary theatre works with the Overseas Filipino Worker as subject. In the final section of the chapter, the nangingibang-bayan is proposed to be a useful analogy for understanding contemporary musicals in Manila. These models are some analogies of entanglement found in the Philippine setting. In conceptualizing these models of entanglement, I start by illustrating their materiality and performativity and then I reflect how these are directed towards the complexity of Manila theatre. ! """! Declaration I hereby declare that this thesis is my original work and it has been written by me in its entirety. I have duly acknowledged all the sources of information, which have been used in the thesis. This thesis has also not been submitted for any degree in any university previously. Sir Anril Pineda Tiatco ! "#! Acknowledgement This thesis would not be possible without the help and support of so many people. Some may not even be mentioned here. My sincerest apologies if your name is not in this list. Rest assured that you have my gratitude. I must commence by expressing my heartfelt thanks to the theatre artists in Manila who occupy most of the pages of this thesis. Their theatre works have given me so much to think about buholbuhol and contemporary Manila theatre. My profound gratitude is given to my supervisor, Dr. Paul Alexander Rae. His valuable insights from the first day, his overwhelming guidance and undying patience paved the way for me to be a humble “servant of the academia.” Paul has given me the best opportunity to develop my own critical ideas not only about Manila theatre but also about the theatre in general. I am also thankful to Dr. Jacqueline Stacey and Dr. Felicia Chan of the University of Manchester Research Institute for Cosmopolitan Cultures (RICC). Jackie and Felicia have challenged me to “sing my own music.” Their guidance and support during my short stay in the United Kingdom helped me restructure the direction of my research work. I also extend my deepest gratitude to Dr. Robin Loon and Dr. Philip Holden for reading the very first draft of my research project. Robin’s and Philip’s very insightful comments were instrumental to finish this project on time. Thank you to my examiners during the viva voce: Dr. William Peterson (Centre for Theatre and Performance, Monash University) and Dr. Julius Bautista (Department of Southeast Asian Studies, NUS and Center for Southeast Asian Studies, Kyoto University). I am grateful that two renowned intellectuals (whose ! "! research interests intersect performance, Philippine culture and society) engaged my study in a more nuanced and in a more critical direction. My journey was also made meaningful because of the different opportunities provided by various institutions. First, I am thankful to the National University of Singapore for the Research Scholarship (2010 – 2014) and the research grant to finish this thesis (November 2011 – July 2012). Second, thank you – the University of Manchester (U Man) for the opportunity granted by the RICC as a visiting scholar. My short stint in the United Kingdom was really significant in the intellectual formation of my career as a postgraduate student. Third, I am indebted to the International Federation for Theatre Research (IFTR) for providing travel grants to Osaka in 2011, Santiago de Chile in 2012 and to Barcelona in 2013. Although my travel to Santiago de Chile was cancelled (due to an unavoidable circumstance), participating in your New Scholar’s Forum twice (in Osaka and in Barcelona) paved the way for me to present my research works before an audience of theatre studies intellectuals, whose comments and suggestions were significant in strengthening my arguments. Fourth, I am thankful to Dr. Kathy Foley, editor of Asian Theatre Journal, Dr. Alan Ackerman, editor of Modern Drama and Dr. Jose Buenconsejo, editor of Humanities Diliman. Thank you for the opportunity of publishing excerpts of my research project in your journals. A version of Chapter Three was published in the Modern Drama (Volume 57, Number 1). A version of Chapter Four will be published in the Humanities Diliman: A Journal on Philippine Humanities (2014, Volume 11, Number 1). A version of Chapter Five was published in the Asian Theatre Journal (Volume 30, Number 2). The comments and suggestions of the referees assigned to ! "#! read my papers helped me re-think my own writing – critically, methodologically and stylistically. Finally, my sincerest gratitude to the Office of the Chancellor, College of Arts and Letters, Department of Speech Communication and Theatre Arts in the University of the Philippines Diliman (UPD) for allowing me to temporary leave my post as a faculty member in UPD to finish Ph. D. at NUS. I should also thank three important individuals who made this journey possible through their recommendations to the Faculty of Arts and Social Sciences of NUS for a research scholarship: National Artist of the Philippines for Literature and former Dean of the College of Arts and Letters, Dr. Virgilio S. Almario; Dulaang Unibersidad ng Pilipinas Artistic Director and Professor of Theatre Arts at the UPD Department of Speech Communication and Theatre Arts, Dr. Alexander Cortez; and University of the Philippines Assistant Vice President for Public Affairs and Professor of Creative Writing and Comparative Literature, Dr. Jose Wendell P. Capili. I am also thankful to my “unofficial” Filipino advisers about “academic” work in Singapore: Dr. Rommel Curaming, Dr. Ruanni Tupas and Dr. Gene Navera. Thank you also to Prof. Ramona Flores, Dr. Veronica Caparas, Carlo Garcia de Pano and Oscar Serquiña for reading the very first drafts of my earlier works. Throughout the four years of my Ph. D. studies, I have established friendships, which I will forever treasure wherever I may be in the future. These people made my “diasporic” journey as a scholar vibrant and gay. The Pinoy community at NUS made me feel very home in the island-city-state: Dazzie Zapata, Jayeel Cornelio, Manuel Sapitula, Wen Batocabe, Dina Delias, Bubbles Asor, Liberty Chee, Resty Tocmo, Raymund Vitorio, Chen San Pascual, Ruel Pagunsan, Grace Concepcion and Conrad Pantuja. ! "##! My thesis buddies, thank you for never giving up and the reminder that “we are all in this together!” – our bond is forever, Nidya Shanthini Manokara and How Ngean Lim. My NUS friends and colleagues, I thank you for making life outside the Philippines a very sane one: Matt Yoxall, Felipe Cervera, Nora Samosir, Shreyosi Mukherjee, Denise Lee, Edson Chen and Hwang Ha Young. I am also thankful that I had a “family” in the United Kingdom even if my stay there was very brief. A very special thank you to the Azicate family – Tito Rico, Tita Mia and Gabe for making me part of their family. Thanks to Elisa Pieri and her husband Richard; Mark Louie Ingal and his family; Harry and Liezel LongboanKretchmer,; Ana Raissa Trinidad; Iris Gonzales and Mark Oliver Llangco for making my cold days in the United Kingdom very warm. I should also thank my mentors, friends and colleagues from the University of the Philippines Diliman for lessons and conversations about theatre, performance and Philippine culture. I am mostly indebted for the life lessons they have inspired and thought me: Dr. Amihan Bonifacio Ramolete, Dr. Floro Quibuyen, Dr. Michael Tan, Dr. Neil Garcia, Dr. Boi Abaya, Dr. Mercedes Planta, Regina Banaag, Melanie Moraga Leaño, Eileen Relao, Bryan Viray, Victor Villareal and most especially to Dr. Alonzo Gabriel. Finally, I am thankful to have a very supportive and loving family – my dad Prudencio, my mom Lirna, my siblings – Kayce, Nyril, Jayril and Daril (and my two beautiful nieces – Ella and Meeka). These beautiful individuals have always inspired me to be the best that I can ever be. ! "###! Table of Contents Cover Page Thesis Summary Declaration Acknowledgement Table of Contents List of Figures i ii iv v ix xi Chapter 1: Introduction Historical Persistency of Inauthenticity and Mimicry in Philippine Theatre Manila Theatre as Inauthentic and a Product of Mimicry – Pastiche? Conceiving Entanglement Buhol-Buhol and Contemporary Manila Theatre Buhol-Buhol as Affirmation and Critique Chapter 2: Pista 20 25 34 41 51 The Catholic and the Pista Pista and the Affirmation of Buhol-Buhol Performing Buhol-Buhol in Rizal X Denying Buhol-Buhol in Rizal X Postscript: Carlos Celdran as Jose Rizal in Damaso Chapter 3: Kapuluan 53 58 73 87 97 102 Entangling Islands in an Archipelago Performing Kapuluan in the Capital Komedya: On Being National Theatre Entanglement in the Making of National Theatre The Love Motif and Nationalism Orosman at Zafira and Performing Kapuluan Chapter 4: Patibong 104 114 123 131 141 146 156 Patibong, Lambat and Bihag: Entrapment of Time and Space From Time and Space to Identity in Patibong Performing the Hunter and the Prey But the Patibong is Empty Enchantment, Fascination and Captivation as Patibong ! "#! 161 167 175 179 184 Noli me Tangere, by Felipe de leon, Sr. Directed by Alexander Cortez. UP Office of the Initiative for the Culture and the Arts, Wilfrido Ma. Guerrero Theatre, Quezon City. July 2011. Noli me Tangere, by Bienvenido Lumbera, music by Ryan Cayabyab. Directed by Audie Gemora. Tanghalang Pilipino, Little Theatre, Cultural Center of the Philippines, Pasay City. August 2011. Pamana, by Rody Vera, music by Ryan Cayabyab and Manoling Francisco. Directed by Maribel Legarda. Philippine Educational Theatre Association, Meralco Theatre, Mandaluyong City. August 2013. Pasaporte, by Jenekke Agustin. Philippine Educational Theatre Association Virgin Labfest 2005. Rajah Sulayman Theatre, Manila. November 2005. Perlita ng Silangan, by Felicidad Mendoza, additional words by Jose Corazon de Jesus and Rodante Hernandez, music by Roy del Valle. Directed by Soxie Topacio. Komedya Filipinas Foundation, Paranaque Gymnasium, Paranaque City. October 2005. Phantom of the Opera (touring production), by Richard Stilgoe and Charles Hart, music by Andrew Lloyd Webber. Directed by Harold Prince. Lunchbox Productions and Cameron Mackintosh Productions, Main Theatre, Cultural Center of the Philippines. August – October 2012. Prinsipe Rodante, by Max Allanigue. Directed by Angel Mendoza. Komedya ng San Dionisio, UP Komedya Fiesta 2008, UP Amphitheatre. February 2008. _____, Komedya ng Don Galo, UP Komedya Fiesta 2008, UP Theatre, February 2008. Sabat, by Jacinto Pineda. Directed by Jacinto Pineda. Community Theatre Performance, Angeles City. May 1990. Sanag Batok sa Sugal, by Alex delos Santos. Directed by Alex delos Santos. Hiraya Theatre Company, UP Komedya Fiesta 2008, UP Amphitheatre. February 2008. Sandosenang Sapatos, by Layeta Bucoy. Directed by Tuxqs Rutaquio. Tanghalang Pilipino, Studio Theatre, Cultural Center of the Philippines, Pasay City. July 2013. Sa Wakas, by Andrei Pamintuan and Inna Abuan, music by Ebe Dencel (Sugarfree). Directed by Andrei Pamintuan. FringeMNL, Quezon City, PETA Theatre. April 2013. The Joyluck Club, by Susan Kim. Directed by Anton Juan, Jr. Repertory Philippines, Onstage at Greenbelt, Makati City. January – February 2011. ! 264 ZsaZsa Zaturnnah, ze muzical, by Cris Martinez, lyrics and music by Vince de Jesus. Tanghalang Pilipino, Studio Theatre, Cultural Center of the Philippines, Pasay City. February – March 2006. Other Sources Agoncillo, Teodoro. 1974. Filipino Nationalism, 1872 – 1970. Quezon City: R. P. Garcia Pub. Co. Agoncillo, Teodoro and Oscar M. Alfonso. 1960. A Short History of the Filipino People. Quezon City: University of the Philippines Press. Alaras, Consolacion R. 1988. Pamathalaan: Ang Pagbubukas sa Tipan ng Mahal na Ina. Quezon City: Bahay Saliksikan ng Kasaysayan. Alcedo, Patrick. 2007. “Sacred Camp: Transgendering Faith in a Philippine Festival.” In Journal of Southeast Asian Studies 38 (1): 107 – 132. Alladeen Project. n.d. http://www.alladeen.com/content.html, accessed 15 October 2012. Almario, Virgilio S. 2009/2010. “Tungo sa Pagbuo ng Pambasang Dulaan” [Towards the Establishment of a National Theatre]. In Philippine Humanities Review 10/11: Special Issue on the Komedya and Sarsuwela, – 14. Ancheta, Maria Rhodora G. 2010 / 2011. “Halakhak: Defining the “National” in the Humor of Philippine Popular Culture.” In Thammasat Review 14: 35 – 60. _____. 2011. “Phantasmatic Constructions: Language and Humor and the Interrogation of Identity in Contemporary Filipino Comic Plays.” In Humanities Diliman (2): – 29. Anderson, Benedict. 2003. Imagined Communities: Reflections on the Origin and Spread of Nationalism, revised edition. Pasig City: Anvil Publishing House. Ang, Walter. 2011. “24th Aliw Awards 2011 Theatre and Performing Arts Categories Nominees and Winners.” In Theatrebator November. http://theaterbator.blogspot.sg/2011/11/24th-aliw-awards-2011-theaterand.html, accessed 10 December 2013. Anzaldúa, Gloria. 1987. Borderlands / La Frontera: The New Mestiza. California: Aunt Lute Books. Appadurai, Arjun. 2006. Fear of Small Numbers: An Essay on the Geography of Anger. Durham and London: Duke University Press. Aurelio, Julie M. 2011. “Body of OFW who Saved Child in Hong Arrives Home.” In Philippine Daily Inquirer Online. http://globalnation.inquirer.net/4588/bodyof-ofw-who-saved-child-in-hong-kong-arrives-home, accessed 14 May 2012. ! 265 Badiou, Alain. 2003. Saint Paul: The Foundation of Universalism. Trans. Ray Brassier. Stanford: Stanford University Press. Badiou, Alain with Nicolas Truong. 2012. In Praise of Love. Trans. Peter Bush. London: Serpent’s Tail. Bello, Walden. 2002. Deglobalization: Ideas for a New World Economy. London: Zed. Bhabha, Homi. 1994. Location of Culture. London and New York: Routledge. Bhagwati, Jagdish. 2004. “Anti-globalization: Why?” In Journal of Policy Modeling 26: 439 – 463. BBC News Entertainment and Arts. 2013. “Miss Saigon to Return to West End in 2014.” In BBC News Online. http://www.bbc.co.uk/news/entertainment-arts22974584, accessed September 2013. Bicolano Penguin. 2013. “Dulaang UP: Adarna.” In Bicolano Penguin’s Wonderlog: Exploring the Philippines One at a Time. http://bicolanopenguinswonderlog.wordpress.com/2013/07/23/dulaang-upadarna/, accessed September 2013. Blair, Emma Helen and James Alexander Robertson (eds). 1973 [1903]. The Philippine Islands, 1493 – 1898. Mandaluyong: Cacho Hermanos. Boudreau, Vincent. 2004. Resisting Dictatorship: Repression and Protest in Southeast Asia. Cambridge: Cambridge University Press. Brandon, James R. 1967. Theatre in Southeast Asia. Cambridge: Harvard University Press. _____. 1993. The Cambridge Guide to Asian Theatre. Cambridge: Cambridge University Press. Briones, Nikki S.2010. “From War Dance to Theatre of War: Moro-Moro Performances in the Philippines.” Ph. D. Thesis. National University of Singapore. Brown, Wendy. 2006. Regulating Aversion: Tolerance in the Age of Identity and Empire. New Jersey: Princeton University Press. Burns, Lucy Mae San Pablo. 2013. Puro Arte: Filipinos on the Stages of Empire. New York: New York University Press. Cadizz, Gibbs. 2011. “2011 Aliw Awards – Complete List of Nominees and Winners.” Gibbs Cadizz Blogpost, 14 November. http://gibbscadiz.blogspot.sg/2011/11/2011-aliw-awards-complete-list-of.html, accessed 10 December 2013. ! 266 Cagoco, Josefa Labay. 2006. “A Fiesta Culture.” In Business World, 16 May 2006. S3/3. Cannell, Fenella. 1995. “The Power of Appearances: Beauty, Mimicry, and Transformation in Bicol.” In Discrepant Histories: Translocal Essays on Filipino Cultures. Ed. Vincente Rafael, 223 – 258. Philadelphia: Temple University Press. _____. 1999. Power and Intimacy in the Christian Philippines. Quezon City: Ateneo de Manila University. Catseye. 2004. “The Variety of Visayan Cuisine.” In Camperspoint Philippines Online. http://www.camperspoint.com/The-Variety-Of-Visayan-Cuisine, accessed 28 October 2013. Chanda, Nayan and Susan Froestschel (eds). 2012. A World Connected: Globalization in the 21st Century. New Haven: Yale Center for the Study of Globalization. Cheah, Pheng. 2006. Inhuman Conditions: Cosmopolitanism and Human Rights. Cambridge, Massachusetts: Harvard University Press. Chotirawe, Carina. 2010 / 2011. “Humor and Pathos: Filipino Diaspora Drama (Carlos Bulosan’s The Romance of Magno Rubio and Chris D. Martinez’s Welcome to IntelStar). In The Thammasat Review 14: 61 – 76. Chow, Broderick. 2012. “Two Dogs and a Maid: Theatriciality, Visibility, an the Royal Shakespeare Company’s The Orphan of Zhao.” In Broderick Chow + Dangerology, 19 October 2012. http://dangerology.wordpress.com/2012/10/19/two-dogs-and-a-maidtheatricality-visibility-and-the-royal-shakespeare-companys-the-orphan-ofzhao/, accessed 30 October 2012. Chow, Rey. 2012. Entanglements, or Transmedial Thinking About Capture. Durham: Duke University Press. Chua, Apolonio. 2012. “Lingon sa Iskolarsyip sa Pilipinas (1948 – 2007).” In Humanities Diliman (2): 89 – 111. Chua, Sir Michael Charleston B. 2011. “Ang Panginoong Diyos, ang Inang Bayan, at si Jose Rizal ay Iisa: Ang Diwang Katutubo na Nanatili sa mga Kapatrian Rizalista.” Paper presented during the International Conference on Rizal, Asian Center, University of the Philippines Diliman, 23 – 24 June. [also available: http://bangkanixiao.files.wordpress.com/2012/10/chua-diwangkatutubo-na-nanatili-sa-kapatirang-rizalista.pdf, accessed 10 October 2012. College of Arts and Letters. 2008. “UP Komedya Fiesta 2008: Terminal Report.” Unpublished Official Document. _____. 2009. “UP Sarsuwela Festival 2009: Terminal Report.” Unpublished Official Document. ! 267 Constable, Nicole. 1997. “Sexuality and Discipline Among Filipino Domestic Helpers in Hong Kong.” In American Ethnologist 24 (3): 539 – 558. Constantino, Renato. 1970. Dissent and Counter-Consciousness. Quezon City: Malaya Books. Covar, Prospero. 1998. Larangan: Seminal Essays on Philippine Culture. Manila: Sampaguita Press. Cruz, Isagani. 1998. “The Zarsuela in the Philippines.” In A Filipiniana Reader: A Companion Anthology to Filipiniana Online. Ed. Priscelina Legasto, 21 - 43. Quezon City: University of the Philippines Open University Press. Cundangan, Lee. 2013. “BWW Review: ADARNA by Dulaang UP; Closes Today, / 11.” In Broadwayworld.com Philippines, 10 August 2013. http://www.broadwayworld.com/philippines/article/BWW-ReviewsADARNA-by-Dulaang-UP-Show-Closes-Today-811-20130810, accessed September 2013. Davidson, Michael. 2009. “On the Outskirts of Form: Cosmopoetics in the Shadow of NAFTA.” In Diasporic Avant-Garde: Experimental Poetics and Cultural Displacements. Eds. Carie Noland and Barrett Watten, 115 – 136. New York: Palgrave Mc Millan. De Guzman, Odine Maria M. 2008. “A Cultural Biography of Overseas Domestic Workers: Letters and Auto/Biographical Narratives of Women OFWs, 1995 – 1997.” Ph. D. Thesis. University of the Philippines Diliman. De Leon, Jr., Felipe. 2006. “Philippine Culture and Sustainable Tourism.” Lecture delivered at the Asian Institute of Tourism during the meeting of the Interdisciplinary Research on Sustainable Tourism, 25 October. _____. 2011. “The Cultural Matrix of Philippine Traditional Arts.” In National Commission for Culture and the Arts Website, 29 July 2011. http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-na/article.php?subcat=13&i=381, accessed 29 August 2013. Delias, Dina Marie. 2014 (forthcoming). “Non-Mobile Labor and Transnational Subjectivity: Call Center Workers in Global Call Centers in the Philippines.” Ph. D. Thesis, National University of Singapore. Dennison, Jean. 2012. Colonial Entanglement: Constituting Twenty-First Century Osage Nation. Chapel Hill: The University of North Carolina Press. Devitt, Amy J. 2004. Writing Genres. Carbondale: Southern Illinois University Press. Diamond, Catherine. 1996. “Quest for the Elusive Self: The Role of Contemporary Philippine Theatre in the Formation of Cultural Identity.” In TDR: The Drama Review 40 (1): 141 – 169. ! 268 _____. 2012. Communities of Imagination: Contemporary Southeast Asian Theatres. Hawaii: University of Hawaii Press. Donoso, Isaac J. 2009 / 2010. “The Hispanic Moros Y Cristianos and the Philippine Komedya” In The Philippine Humanities Review 11 / 12 (Special Issue on the Komedya and the Sarsuwela), 87 – 120. Doyo, Ma. Ceres P. 2013. “Mother of All Devotion.” In Positively Filipino Online Magazine, 22 May 2013. http://positivelyfilipino.com/magazine/2013/5/mother-of-all-devotions, accessed 18 September 2013. Dyer, Richard. 2007. Pastiche. New York and London: Routledge. Dulaang Unibersidad ng Pilipinas. 2007. “The Silent Soprano.” Program. _____. 2011a. “Rizal X Play Dates and Synopsis.” In Dulaang UP Tumblr. http://dulaangup.tumblr.com/, accessed 10 September 2013. _____. 2011b. “Rizal X” Program. _____. 2012. “House Management Report: Rizal X.” Official Unpublished Document. Enano, Jhesset Trina. 2011. “Rizal Redux: A Review of Dulaang UP’s ‘Rizal X’” In Tinig ni Plaridel, 26 July 2011. http://www.tinigngplaridel.net/features/2011/07/26/rizal-redux-a-review-ofdulaang-ups-rizal-x/, accessed 23 September 2013. Enriquez, Virgilio G. (ed). 1990. Indigenous Psychology: A Book of Readings. Quezon City: Akademiya ng Sikolohiyang Pilipino. _____. 2008. From Colonial to Liberation Psychology: The Philippine Experience, centennial edition. Quezon City: University of the Philippines Press. “Filipino Singers: Whole world is their stage” 2012. Bangkok Post, July. http://www.bangkokpost.com/learning/learning-from-news/301266/filipinosingers-whole-world-is-their-stage, accessed 25 December 2012. Florendo, Abe and Zardo A. Austria (eds). 2006. Sagala: The Queen of Philippine Festivals. Manila: The Fashion Designers Association of the Philippines. Fernandez, Doreen G. 1996. Palabas: History of Philippine Theatre. Quezon City: Ateneo de Manila University Press. Frow, John. 2006. Genre. London and New York: Routledge. Garcia, J. Neil. 2004. Postcolonialism and Filipino Poetics: Essays and Critiques. Quezon City: University of the Philippines Press. ! 269 _____. 2008 [1996]. Philippine Gay Culture: Binabae to Bakla, Silahis to MSM. Quezon City: University of the Philippines Press. _____. 2012. “Postcolonial Camp: Hybridity and Performative Inversions in ZsaZsa Zaturnnah.” In Plaridel: A Philippine Journal of Communication, Media and Society (2): 41 – 62. Gell, Alfred. 1996. “Vogel’s Net: Traps as Artworks and Artworks as Traps.” In Journal of Material Culture (1): 15 – 38. Glick-Schiller, Nina. 2005. “Transborder Citizenship: An Outcome of Legal Pluralism within Transnational Social Fields.” In Mobile People, Mobile Law: Expanding Legal Relations in a Contemporary World, ed. Franz von Benda-Beckman, Keebet von Benda-Beckman and Anne Griffiths, 27 – 50. Hants: Ashgate Publising Limited. _____. 2007. “Beyond the Nation State and its Units of Analysis: Towards a New Research Agenda for Migration Studies.” In Concepts and Methods in Migration Research, a Conference Reader, ed. Karen Schittenhelm, 39 – 72. Available at http://www.cultural-capital.net, accessed 15 September 2011. Hannerz, Ulf. 1996.Transnational Connections: Culture, People, Places. New York: Routledge. Hardt, Michael. 1999. “Affective Labor.” In Boundary 2: An International Journal of Literature and Culture 26 (2): 89 – 100. Held, David. 2011. Cosmopolitanism: Ideas and Realities. Cambridge. Polity Press. Held, David and Paul Hirst. 2002. “Globalisation: The Argument of Our Time.” In Open Democracy: Free Thinking About the World Online. http://www.opendemocracy.net/globalizationvision_reflections/article_637.jsp, accessed 10 January 2011. Hornby, Richard. 1999. “The Social Problem Play.” In The Hudson Review 51 (4): 751 – 758. Hornedo, Florentino H. 2000. Culture and Community in the Philippine Fiesta and other Celebrations. Manila: University of Sto. Tomas Press. Iyer, Pico. 1988. Video Nights in Kathmandu and Other Reports from the Not so Far East. New York: Vintage. Jameson, Fredric. 1991. Postmodernism, or the Cultural Logic of Late Capitalism. London: Verso. Joaquin, Nick. 1966. The Portrait of the Artist as Filipino (An Elegy in Three Scenes). Manila: Alberto S. Florentino. ! 270 Jocano, Felipe Landa. 1975. The Philippines at the Spanish Contact: Some Major Accounts of Early Filipino Society and Culture. Manila: MCS Enterprises. _____. 1998. Filipino Prehistory: Rediscovering Pre-colonial Heritage. Quezon City: Punlad Publications. Jose Rizal University. 2004. “Republic Act No. 1425.” http://www.joserizal.ph/lw02.html, accessed 19 September 2013. Kamman O. 2012. “Maids and Domestic Helpers in Hong Kong”. Orient Expat [Blog]. http://www.orientexpat.com/hong-kong-expat/maids, accessed 24 December 2012. Karnow, Stanley. 1989. In Our Image: America’s Empire in the Philippines. New York: Random House. Kessler, Richard John. 1989. Rebellion and Repression in the Philippines. New Haven: Yale University Press. Keys, Tracy. 2013. “Review A World Connected: Globalization in the 21st Century.” In Global Trends Blog, February. http://www.globaltrends.com/blog/entry/review-a-world-connectedglobalization-in-the-21st-century-1, accessed September 2013. Kish. 2011. “Rizal X.” http://kish.ph/pages/rizal-x, accessed 20 September 2013. Kwan, SanSan. 2013. Kinesthetic City: Dance and Movement in Chinese Urban Spaces. Oxford: Oxford University Press. La Naval de Manila. 2011. “About La Naval.” http://www.lanavaldemanila.com/about_la_naval/, accessed 18 September 2013. Legasto, Priscelina Patajo. 2012. “Rizal X and the Unfinished Philippine Revolution.” Lecture presented at the Philippine Study Group Seminar, Asian Research Institute, National University of Singapore, 26 January. Lehmann, Hans-Theis. 2006. Postdramatic Theatre. London and New York: Routledge. Leviste, Enrique Niño P. 2011. “Catholic Church Hegemony Amidst Contestation: Politics and Population Policy in the Philippines.” Ph. D. Thesis, National University of Singapore. Li, Kay. 2007. “Performing the Globalized City: Contemporary Hong Kong Theatre and Global Connectivity.” In Asian Theatre Journal 24 (2): 440 – 469. Lim Joyce. 2011“Amusement or a Nuisance? New Paper Asia One News. March. http://www.asiaone.com/News/AsiaOne%2BNews/Singapore/Story/A1Story2 0110308-267087.html, accessed 28 December 2012. ! 271 Lugtu, Reynaldo. 2012. “What Makes Filipino Happy?” In Manila Standard Today Online, 17 June. http://manilastandardtoday.com/2013/06/17/what-makesfilipinos-happy/, accessed September 2013. Lumbera, Bienvenido. 1986. Tagalog Poetry 1570 – 1898: Tradition and Influences in its Development. Quezon City: Ateneo de Manila University Press. Lyons, John and Karl Wilson. 1987. Marcos and Beyond: The Philippines Revolution. Kenthrust: Kangaroo Press. Macairan, Evelyn. 2010. “Tour Guide Disrupts Mass, Protests Church’s Opposition to RH Bill.” In Philippine Star Online, October. http://www.philstar.com/metro/616549/tour-guide-disrupts-mass-protestschurchs-opposition-rh-bill, accessed December 2012. Magtoto, Liza. 2011. The Care Divas. Philippine Educational Theatre Association, Unpublished typescript. Mallat, Jean. 1994 [1864]. The Philippines: History, Geography, Customs of the Spanish Colonies in Oceania. Trans. Pura Santillan-Castrene with Lina S. Castrene. Manila: National Historic Institute. Manalansan IV., Martin. 2006. Global Divas: Filipino Gay Men in the Diaspora. Quezon City: Ateneo de Manila University Press. Maquiddang, Maureen.2008.“Filipino Talent and Appeal Wow Audiences Abroad.” abs-cbnnews.com. http://www.abs-cbnnews.com/specialreport/05/25/08/filipino-talent-and-appeal-wow-audiences-abroad, accessed 24 December 2012. Martin, Hans-Peter and Harold Schumann. 1997. The Global Trap: Globalization and the Assault on Democracy and Prosperity. London: Zed Books. Martinez, Chris. 2006. Laughing Trip. Quezon City: Milflores Publishing House. Martinez, David. 2004. A Country of Our Own: Partitioning the Philippines. California: Bisaya Books. McKenzie, Jon. 2008. “The Performative Matrix: Alladeen and Disorientalism.” In Performance Research 13 (2): 26 – 36. Medina, Andrei. 2012. “Philippines Part of 10 Happiest Countries – Survey.” In GMA News Online, 22 December. http://www.gmanetwork.com/news/story/287439/lifestyle/peopleandevents/phi lippines-part-of-10-happiest-countries-survey, accessed 15 June 2013. Medina, B.S. 1990. Francisco Baltazar’s Orosman at Zafira. Manila: De La Salle University Press. ! 272 Meskimmon, Marsha. 2011. Contemporary Art and the Cosmopolitan Imagination. New York and London: Routledge. Ministry of Manpower, Singapore. 2013. “Work Permit.” http://www.mom.gov.sg/foreign-manpower/passes-visas/work-permitfdw/before-you-apply/Pages/default.aspx#levy, accessed 20 August 2013. Mokhtar, Faris. 2011. “Maids’ Street-Party: Entertainment or Nuissance?” In Yahoo Singapore News Online, http://sg.news.yahoo.com/blogs/what-isbuzzing/maids-street-party-entertainment-nuissance-20110309-203933563.html?fb_acton_ids=10150690935558119&fb_action_types=news.reads&f b_source=feed_news, accessed February 2012. Mol, Annemarie. 2002. The Multiple Body: Ontology in Medical Practice. Durham: Duke University Press. Moore-Gilbert, Bart. 1999. Postcolonial Theory: Contexts, Practices, Politics. London: Verso. National Geographic Channel. 2011, “Hong Kong to the World” (advertisement) http://natgeotv.com/asia/Hong-Kong-To-the-World, accessed 10 January 2012. Ng, Stephanie. 2005. “Performing the “Filipino” at the Crossroads: Filipino Bands in Five Star Hotels Throughout Asia.” In Modern Drama 48 (2): 272 – 296. Obieta, Pam. 2009. “Bicolano Cuisine: A Bicol Food Trip Part 1.” In Cooking Class: A Journey on Teaching and Learning about Food. http://pamobieta.wordpress.com/2009/04/30/bicolano-cuisine-a-bicol-foodtrip-part-1/, accessed 28 October 2013. Ocampo, Nilo S. 2011. Bagon Kristo: Pananampalataya kay Jose Rizal. Quezon City: Bagong Kasaysayan. Occupy Reproductive Health Bill. 2011. http://rhbill.org/, accessed September 2013. O’Connor, Karyn. 2014. “’Belting’ Technique” In SingWise. http://www.singwise.com/cgibin/main.pl?section=articles&doc=BeltingTechnique&page=1, accessed 17 April 2014. Odon, Resty S. 2007. “Reviews: Welcome to Intelstar; Gee-Gee at Walterina.” In Restyo Blogpost, July. http://restyo.blogspot.sg/2007/07/review-tptwinbill.html, accessed 10 August 2012. Official Gazette Online. 2011 [1937]. “Executive Order No. 134, s. 1937.” In Official Gazzette, 15 November. http://www.gov.ph/1937/12/30/executive-order-no134-s-1937/, accessed 10 October 2013. ! 273 _____. 2012 [1956]. “Republic Act Number 1425.” In Official Gazette, 12 June. http://www.gov.ph/1956/06/12/republic-act-no-1425/, accessed 10 January 2012. Okamura, Jonathan. 1998. Imagining the Filipino American Diaspora: Transnational Relations, Identities and Communities. New York: Garland. Ozeki, Erino. 1997. “Migration Frontier of Filipino Women: Ethnic Relations of Filipino Domestic Helpers with Chinese Employers in Hong Kong.” In Southeast Asian Studies 34 (4): 676 – 695. Pahiyas Festival. 2012. “Pahiyas Festival.” http://www.pahiyasfestival.com/home/thepahiyas/about-the-pahiyas.html, accessed 20 September 2013. Papastergiadis, Nikos. 1998. Dialogues in the Diasporas: Essays and Conversations on Cultural Identity. London: Rivers Oram Press. Parreñas, Rhacel Salazar. 2005. Children of Global Migration: Transnational Families and Gendered Woes. California: Stanford University Press. Patanñe, Eufemio P. 1996. The Philippines in the 6th to 16th Centuries. San Juan, Manila: LSA Press. Paterson, James. 1998. The American Boy. London: Granada Books. Patterson, Christopher B. 2012. “Cosmopolitanism, Ethnic Belonging, and Affective Labor: Han Ong’s Fixer Chao and the Disinherited.” In WorkingUSA: The Journal of Labor and Society 15 (1): 87 – 102. Pavis, Patrice (ed). 1996. The Intercultural Performance Reader. New York: Routledge. Peterson, William. 2007. “Holy Week in the “Heart of the Philippines”: Spirituality, Theatre and Community in Marinduque’s Moriones Festival. In Asian Theatre Journal 24 (2): 309 – 337. _____. 2011a. “Ati-atihan Festival: Dancing with Sto. Niño at the “Filipino Mardi Gras.”” In Asian Theatre Journal 28 (2): 505 – 528. _____. 2011b. “Amazing Show in Manila: ‘Fantasy Production’ and Filipino Labor in a Transnational, Transcultural, Transgendered Theatre Enterprise.” In Theatre Journal 63 (4): 587 – 605. Phelan, John Leddy. 1959. The Hispanization of the Philippines: Spanish Aims and Filipino Responses 1565 – 1700. Madison: University of Wisconsin Press. Pineda, Jacinto. n.d. Sabat. Unpublished typescript. ! 274 Pineda, Maida. 2005. Dos & Donts in the Philippines. Bangkok: Book Promotion and Service Company. Quibuyen, Floro. 1992. “Gender and History: The Discourse of Cuidad Mistica de Dios.” In Diliman Review 40 (1): 41 – 58. _____. 2008 [1999]. A Nation Aborted: Hegemony, Rizal and Philippine Nationalism. Quezon City: Ateneo de Manila University Press. Rae, Paul Alexander. 2006. “Where is the Cosmopolitan Stage?” In Contemporary Theatre Review 16 (1): – 22. _____. 2011. “Archipelagic Performance.” Keynote Address delivered during the International Federation for Theatre Research Annual Conference held at the Osaka University in Osaka, Japan on – 12 August 2011. Rafael, Vincente L. 2005. The Promise of the Foreign: Nationalism and the Technics of Translation in the Spanish Philippines. Durham and London: Duke University Press. Ranciere, Jacques.2004. The Politics of Aesthetics. Trans. Gabriel Rockhill. London: Continuum. _____. 2005. The Emancipated Spectator. Trans. Gregory Elliott. London and New York: Verso. Rebellato, Dan. 2009. Theatre and Globalization. Hampshire: Palgrave Macmillan. Relos, Gel Santos. 2013. “Prison Term for “Offending Religious Feelings”?” In The Fil-Am Perspective Online, 28 January. http://gelsantosrelos.typepad.com/myblog/2013/01/-prison-term-for-offending-the-religious-feelings-.html, accessed 11 December 2013. Repertory Philippines. 2013. “Our Story.” http://repertoryphilippines.com/aboutrep/history/, accessed December 2013. “Republic Act No. 7104.” 1991. In The Lawphil Project Online. http://www.lawphil.net/statutes/repacts/ra1991/ra_7104_1991.html, accessed 10 October 2013. Respeto, Jerry C. 2007. “Komedya at ang Kontemporanyong Panahon.” Lecture presentation during the Seminar-Workshop on the Komedya held at the University of the Philippines on December 2007. Riggs, Arthur. 1981 [1904]. The Filipino Drama. Manila: Ministry of Human Settlements, Intramuros Foundation. Rizal, Jose. 2006 [1887]. Noli Me Tangere. Trans. Harold Augenbraum. London: Penguin Classics. ! 275 Robinson, Fiona. 1999. Globalising Care: Ethics, Feminist Theory and International Relations. Colorado and Oxford: Westview Press. _____. 2006. “Care, Gender and Global Social Justice: Rethinking ‘Ethical Globalization.’” In Journal of Global Ethics (1): – 25. Rodriguez, Filemon. 1985. The Marcos Regime: Rape of the Nation. New York: Vantage Press. Roncesvalles, Carina I. 2012. “Prepare Your Balikbayan Box On Time.” In Hong Kong News, 15 November. http://hongkongnews.com.hk/prepare-yourbalikbayan-boxes-on-time/, accessed December 2013. Roopanarine, Les. 2012. “Philippines Only a Signature Away from Passing Reproductive Health Bill into Law.” In The Guardian, Global Development, 21 December. http://www.theguardian.com/globaldevelopment/2012/dec/21/philippines-reproductive-health-bill, accessed December 2013. Sabate, Katherine and Chic San Agustin. 2011. “Rizal X.” Performance Typescript, Dulaang UP. Said, Edward. 1993. Culture and Imperialism. New York: Vintage Books. Salonga, Aileen Olimba. 2010. “Language and Situated Agency: An Exploration of the Dominant Linguistic and Communication Practices in the Philippine Offshore Call Centres.” Ph. D. Thesis. National University of Singapore. Salter, Chris. 2010. Entangled: Technology and Transformation of Performance. Massachusetts: Massachusetts Institute of Technology Press. Saludo, Ricardo. 2007. “The Silent Soprano.” Typescript for Dulaang Unibersidad ng Pilipinas. San Juan, Jr., E. 2008. “Globalized Terror and the Postcolonial Sublime.” In The Postcolonial and the Global. Eds. Revathi Krishnaswamy and John C. Hawley, 157 – 165. Minneapolis: University of Minnesota Press. _____. 2009. “Overseas Filipino Workers: The Making of an Asian-Pacific Diaspora.” In Global South (2): 99 – 129. Santiago, Katrina Stuart. 2011. “Rizal X: Little More than Good Musical Moments.” In GMA News Online, 12 August 2011. http://www.gmanetwork.com/news/story/229231/lifestyle/artandculture/rizalx-little-more-than-good-musical-moments, accessed 10 January 2012. Santos, Dexter. 2012. “Revitalized Komedya in Francisco Baltazar’s Orosman at Zafira: An Auto Critique on the Process of a Director.” M.A. Thesis. University of the Philippines Diliman, Quezon City. ! 276 Schumacher, John N. 1991. The Making of a Nation: Essays in the NineteenthCentury Filipino Nationalism. Quezon City: Ateneo de Manila University Press. Scott, Adolph Clarence. 1972. The Theatre in Asia. London: Weidenfeld and Nicolson. Scott, William Henry. 1994. Barangay: Sixteenth-Century Philippine Culture and Society. Quezon City: Ateneo de Manila University Press. Sevilla, Fred. 1997. Poet of the People, Francisco Baltazar and the Role of Filipino Nationalism: Life and Times of the Great Filipino Poet and his Legacy of Literary Excellence and Political Activism. Manila: Trademark Publications Sky. 2011. “My Fake American Accent: Ang Buhay na Walang Tulugan.” In Definitely Filipino Online. http://definitelyfilipino.com/blog/2011/12/17/myfake-american-accent-ang-buhay-na-walang-tulugan/, accessed 12 December 2012. Smith, Neil. 1984. Uneven Development: Nature, Capital and the Production of Space. Athens, Georgia: The University of Georgia Press. Soco, Maria Andrea Medina. 2010. “Identities in Mobility: Cosmopolitanism among ‘Return’ Migrant Filipino Domestic Workers.” Ph. D. Thesis. National University of Singapore. Sonntag, Selma. 2009. “Linguistic Globalization and the Call Center Industry: Imperialism, Hegemony or Cosmopolitanism?” In Language Policy 8: 5-25 Sontag, Susan. 1964. “Notes on Camp.” http://www9.georgetown.edu/faculty/irvinem/theory/sontag-notesoncamp1964.html, accessed December 2013. Sternfeld, Jessica. 2006. The Megamusicals. Bloomington and Indianopolis: Indiana University Press. Syjuco, Miguel. 2010. Illustrado: A Novel. New York: Farrar, Strauss and Giroux. Tadiar, Neferti Xina M. 1995. “Manila’s New Metropolitan Form.” In Discrepant Histories: Translocal Essays on Filipino Cultures. Ed. Vicente L. Rafael, 285 – 313. Pasig: Anvil Publishing House. Tanghalang Pilipino. 2006. ZsaZsa Zaturnnah, ze Muzical. Souvenir Program. _____. 2013. “27th Theatre Season.” http://tanghalangpilipino.org.ph/main/futureperformances/tanghalang-pilipinos-27th-theatre-season.html, accessed September 2013 ! 277 Thompson, Irene. 2013. “Austronesian Language Family.” In About World Languages Online, 18 April. http://aboutworldlanguages.com/austronesianlanguage-family, accessed September 2013. Tiatco, Sir Anril P. 2009. “Postscript to University of the Philippines Komedya Fiesta 2008: Prelude to a Discourse on a National Theatre.” In Asian Theatre Journal 26 (2): 281 – 302. _____. 2010. “Libad nang Apung Iru and Pamamaku King Krus: Performances of Ambivalences in Two Kapampangan Cultural Spectacles.” In TDR: The Drama Review 54 (2): 91 – 102. _____. 2013a. “The Silenced Body of the Silent Soprano: The Overseas Filipino Worker as Silenced and Erased in a Global City.” In Asian Theatre Journal 30 (2): 415 – 444. _____. 2013b. “Lear Dreaming (Performance Review).” In Asian Theatre Journal 30 (2): 532 – 538. Tiatco, Sir Anril P. and Amihan Bonifacio-Ramolete. 2010. “Performing the Nation Onstage: An Afterthought on the University of the Philippines Sarsuwela Festival 2009.” In Asian Theatre Journal 27 (2): 307 – 332. Tiongson, Nicanor G. 1979. “Kasaysayan at Estetika ng Komedya ng Parañaque.” Ph. D. Dissertation. University of the Philippines Diliman. _____. 1998. “What is Philippine Drama?” In A Filipiniana Reader: An Anthology Companion of Filipiniana Online. Ed. Priscelina Patajo Legasto, - 20. Quezon City: University of the Philippines Open University Press. _____. 1999. Komedya: Philippine History and Anthology. Volume 2. Quezon City: University of the Philippines Press. _____. 2009/2010. “The Philippine Komedya: History, Indigenization, Revitalization.” In Philippine Humanities Review 10/11: Special Issue on the Komedya and Sarsuwela, 57 – 94. Tomada, Natalie. 2013. “Time to get Wicked! Opening Date: Jan. 22, 2014.” In Philippine Star Online, 15 August 2013. http://www.philstar.com/entertainment/2013/08/15/1092041/time-get-wickedopening-date-jan.-22-2014, accessed September 2013. Torres, Cristina Evangelista. 2010. The Americanization of Manila, 1898 – 1921. Quezon City: University of the Philippines Press. Torres, Estrella. 2011. “Restoring Intramuros.” In Global Heritage Fund [GHF] In the News Online. http://globalheritagefund.org/in_the_news/2011_news_archives/restoring_intr amuros, accessed 30 October 2013. ! 278 Tyner, James A. 2004. Made in the Philippines: Gendered Discourses and the Making of Migrants. London and New York: Routledge. United Nations. 2001. “Part IV: Archipelagic States.” United Nations Convention on the Law of the Sea. http://www.un.org/depts/los/convention_agreements/texts/unclos/part4.htm, accessed August 2011. _____. 2013. The Universal Declaration of Human Rights. http://www.un.org/en/documents/udhr/index.shtml. Watkins, Lee. 2009. “Minstrelsy and Mimesis in the South China Sea: Filipino Migrant Musicians, Chinese Hosts, and the Disciplining of Relations in Hong Kong.” In Asian Music 40 (2): 72 – 99. Whaley, Floyd. 2012. “Bill to Expand Birth Control is Approved in the Philippines.” In New York Times, Asia Pacific, 17 December. http://www.nytimes.com/2012/12/18/world/asia/philippine-lawmakers-passreproductive-health-bill.html?_r=0, accessed December 2013. Whitehouse, Harvey. 2006. “Appropriated and Monolithic Christianity in Malenesia.” In The Anthropology of Christianity. Ed. Fenella Cannell, 295 – 307. Durham: Duke University Press. Yamsuan, Cathy C., Christian V. Esguerra and Leila B. Salaverria. 2012. “Congress Passes RH Bill.” In Philippine Daily Inquirer Online, 18 December. http://newsinfo.inquirer.net/326013, accessed December 2013. Young Critics Circle Film Desk. 2013. “Statement of the YCC Film Desk on the Responses to Frisson Break.” In Young Critics Circle Film Desk Official Website, 12 September 2013. http://yccfilmdesk.wordpress.com/2013/09/12/statement-of-the-ycc-film-deskon-the-responses-to-frisson-break/, accessed 17 September 2013. Young, James O. 2001. Art and Knowledge. London and New York: Routledge. Zaide, Gregorio F. and Sonia M. Zaide. 1997. Jose Rizal: Life, Works and Writings of a Genius, Writer, Scientist and National Hero. Manila: All Nations Publishing Company, Inc. Zulueta, Francisco M. 2004. Rizal: Life, Works and Ideals. Manila: National Bookstore. ! 279 [...]... framings of Filipino bodies concerns the laman Where does the laman come from? Who puts the laman inside the jar or inside the interiority of the Filipino performing body? It is as if the interiority and the laman are omnipotently placed inside the jar and the performing body of the Filipino Is the laman or the interiority a direct manifestation of the labas? And in the process of labas (read as exiting),... fascinating approach in this invocation of palabas is the idea of contrast, which does not deny the relevance of the colonizers or the foreign in understanding theatre in the Philippines Other than Tiongson and Fernandez, there are also a number of non-Filipino scholars who have sought to theorize Philippine Theatre For instance, Catherine Diamond, who despite her alignment of Philippine theatre with Western... one of the important theoretical foundations for 12 Introduction! the practice and discourse of theatre in the Philippines.4 In the essay, Tiongson makes two general points First, he identifies a problem in Philippine theatre scholarship, stating that the evolution of drama and theatre in the Philippines is “obviously shaped by the evolution of European and American drama” and “it is clear that the. .. opposition – the paloob, literally going inside Burns is convinced that the performing body of the Filipino is contextualized by this dynamic of interiority and exteriority both in creative acts and as part of everyday life She explains that in the case of palabas, the exterior becomes a space of resistance and ambiguity, equally reflecting and deflecting the landscape of 18 Introduction! the interior Akin to... diversity, there is a kind of limitation on what counts as contemporary Manila theatre The theatre scene in Manila is undoubtedly interesting since several theatrical activities are happening Also, looking at the list above, the Manila theatre scene is composed of distinguishable patterns or trends: an indication that Manila theatre productions are indebted to certain Western dramatic traditions In particular,... exiting), is there a way to get back to the loob? What about the audience? Where are they located in this dichotomy of the loob and the labas? Is it also possible that the audience is part of the interiority of the Filipino performing body? Is the Filipino individual not a social being considering there is no indication of his or her relationship with others in the jar analogy? 19 Introduction! Manila Theatre. .. in his hourglass model of intercultural performance As implied in the list above, there is difficulty in pointing the source or origin of culture in the case of Manila (or the entire Philippines) due to the prominence of colonial influences In short, Filipino culture is linked with the Hispanic and the American, therefore not exciting as a reference point in comparison with the most !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!... development, theatre and politics, to name a few The series is part of the nationalist project of PETA amidst the political and social turmoil under the regime of then president and dictator Ferdinand Marcos Tiongson’s essay served as the general introduction to all other essays in the series Other essays in the series refer to Tiongson in discussing the relationship of nationalism and theatre practice 13 Introduction!... imitation and this experience of “noteperfect as the original.” How can it be cheap when it is the same as the original? Historical Persistency of Inauthenticy and Mimicry in Philippine Theatre In the 20th century scholarship on Philippine theatre, two significant modes of inquiry can be identified One is a dismissive tendency by some scholars who think of Philippine Theatre as lacking in substance The other... theatre scene in Manila is “derivative” of certain trends found in modern Western culture Because of this, there are aspects of contemporary Manila theatre that provides reasons for circumspection especially since this notion of “derivative” brings forth issues of inauthenticity and cheap imitation For instance, in Theatre in Southeast Asia (1967), James Brandon explains that “to the average Filipino, . Persistency of Inauthenticity and Mimicry in Philippine Theatre 9 Manila Theatre as Inauthentic and a Product of Mimicry – Pastiche? 20 Conceiving Entanglement 25 Buhol-Buhol and Contemporary. example of theorization on Philippines theatre as inauthentic, due to the “dearth of indigenous theatre in the islands” (78). Nevertheless, it should be noted that Brandon’s discussion of Philippine. outside the city, but also these are the most interrogated theatre forms in local theatre and drama scholarship. In a descriptive essay on the development of theatre scholarship in the Philippines,