Romeo and Juliet, Sintang Dalisay and Igal from Sama Bajau in the southern Philippines. We also changed the names of the places: Verona became Semporna (the words rhyme) and Mantua, the place of exile, was Dapitan (an allusion to José Rizal). These notes appeared in the playbooks for the two productions, both of which were produced by Tanghalang Ateneo.
Mangrugitayo iti sosial a konteksto: pakabuklan ti relasion dagiti Muslim-Kristiano iti Filipinas ken ti sosial a kasasaad dagiti Sama. 2 Cesar Adib Majul, “Ti Akem ti Islam iti Pakasaritaan ti Tattao ti Filipinas,” Asian Studies 46, nos. 5 Patricio Abinales, Panagaramid iti Mindanao: Cotabato ken Davao iti pannakabukel ti Nasion-Estado ti Filipinas (Siudad ti Quezon: Ateneo de Unibersidad ti ManilaPress, 2000).
Valiente also notes the literary appropriation of national memory in the play's postcolonial discourse. In psychiatry and psychology, the term schizophrenia refers to the confusion of the real and the imagined. Fernandez, “From the Original to the Stage,” in Making Theatre: The Craft of the Stage, 2nd ed.
The suppressed history of Romeo and Juliet in the Philippines offers a powerful counter-reading of Shakespeare's influence as a colonial text and icon. 5 Vicente Rafael, The Promise of Foreigners: Nationalism and Translation Techniques in the Spanish-speaking Philippines (Pasig City: Anvil Publishing, 2006), 20. The Promise of Foreigners: Nationalism and Translation Techniques in the Spanish-speaking Philippines.
Ang magkabilang panig ay tatahimik, ngunit sina RASHIDDIN at JAMILA ay mananatiling nahuhumaling sa paghawak sa isa't isa. Si RASHIDDIN at JAMILA ang gaganap sa sayaw ng. pagpapakamatay, at magtatapos sa paglabas o pagpapatalsik ni JAMILA sa KORET. Hahawakan ni DATU PIAN-DAO ang kamay ni JAMILA, habang si RASHIDDIN naman ay mapipilitang makipagsabayan sa ROSMAWATTI.
Ang KORO 3, bilang TAUPAN, ay lumalabas din ngunit huminto nang makita si RASHIDDIN. Lumipas ang oras habang sinusubukan ni RASHIDDIN na umakyat sa mga dingding ng bahay ng mga Kalimuddin, na ipapakita ng tatlong banig sa entablado. Kung balak mong salubungin ang aking panginginig. r a s h i d di n Huwag ilagay sa panganib ang kanilang mga magulang ng poot, maging ningas man, ang ating minamahal na tubig, ay magiging mamamatay-tao ng matinding poot.
Isasara na sana ni JAMILA ang bintana, ngunit inilahad ni RASHIDDIN ang kanyang kamay para pigilan siya sa pag-alis. r a s h i ddi n O Magandang mandaragat na manliligaw, Nawala sa alaala, puso. Kung ikaw ay naiinip, sumunod ka At ngayo'y pagbibigyan ko ang hiling ng puso, Ang palad ko't palad mo'y sa altar. r a s h i ddi n Kung gayon, gawin mo rin bukas. Papasok na si JAMILA at bababa na si RASHIDDIN sa bintana ng bigla itong bumalik.
Oo M i l a nakalimutan ko kung bakit kita tinawag. r a s h i ddi n Iwan mo ako dito habang naaalala mo. Si RASHIDDIN ay sasayaw sa sobrang saya, sa pagsisimula ng susunod na eksena—lalabas ang dalawang KORO at maiiwan ang NARATOR na gumanap bilang IMAM.
Betrothal of Datu Pian-Dao. n a r r at or In the great house of the Kalimuddin family. RASHIDDIN enters and BADAWI pushes him to the middle of the dance floor where he bumps into ROSMAWATTI. RASHIDDIN dares to climb the walls of Kalimuddin's palace, as indicated by the carpets on the stage.
Along the way he attracts a SERVANT. DANCER, drops the letter and starts dancing with it to the music of MUSICIANS. During the dance, the DANCER stumbles and drags the SERVANT behind her, whose body falls on the DANCER, who is lying on the floor. He rests in the crypt of the Kalimuddins. Her soul joined the heavenly angels.
From the entrance to the crypt enter the CHORUS, relatives and relatives of MUSTAFAH and KALIMUDDINOV. Ninth World Congress of the International University Theater Association and Teatralny Koufar International Student Theater Festival, Minsk, Belarus. Featured Production, First International University Theater Association (IUTA) Philippine Conference/Workshop, Rizal Mini Theater, Ateneo de Manila University (July 20, 2011), one performance.
Featured Production, Pesta Igal, GT-Toyota Auditorium, University of the Philippines Asian Center (February 28, 2012), one show. Featured Production, International University Theater Association (IUTA) Second Philippines Conference/Workshop, University of San Agustin Auditorium, Iloilo City (February 13, 2013), two performances. Featured Production, SeventhTanghal: National University Theater Festival 2013, Bulwagang Balagtas, Polytechnic University of the Philippines (February 18, 2013), one performance.
The twelve photographs in this folio follow the chronological order of the play's narrative framed by a prologue and an epilogue. The first photo, showing the full cast in an opening dance sequence, was shot during the 4th National Theater Festival at the Cultural Center of the Philippines. After his secret wedding to Jamila, Rashiddin sees his friend Badawi in a fight with Taupan of the Kalimuddins and gets entangled with the law.
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