Selected Theater Productions January
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Jean Judith Xavier
Jean Judith Xavier ICACM International Casting & Creative Management Sydney, NSW 2010 Michael Turkic: +61 481 085 972 William Le (text): +61 405 539 752 E: [email protected] W: http://www.icacm.com.au Biography Jean Judith Javier is a singer, musical theatre performer and a film actor, who is unstoppable in bringing her heart to her audience, she draws courage from them. As a soprano, Jean Judith sings for opera and musical theatre but never limits her capacity by performing pieces from world arts songs. As a film actor, her roles are unconventional that manifest her embodied inner strength but mystical persona. She learns how to sing at an early age of nine performing in the church and villages. Coming from a humble beginning, Jean Judith captures the skill of fine singing from her mother and her sensitivity for arts was nurtured by being deeply connected to the expressive musical cultures of the Philippines, her motherland. Her tenacity to work as a full-time actor and the faith she puts to her craft gave her opportunities to perform in cities and provinces in the Philippines and South and East Asian countries like Korea, Indonesia, Macau, Hong Kong, Taiwan and various cities in China. She assumed self-title roles from many original musicales that have had impacted the history of Philippine contemporary theatre. In opera, she played Sisa for “Noli Me Tangere: The Opera”, a difficult role. But her portrayal of the most iconic Philippine fictive character and deranged woman captures her audience giving her standing ovations and critical acclaim from critics. -
The Oblation Ritualized
From the Sacred to the Profane: The Oblation Ritualized FROM THE SACRED TO THE PROFANE: THE OBLATION RITUALIZED Reuben Ramas Cañete ABSTRACT The study approaches the historical construction of the narratives surrounding the statue titled Oblation, deemed as the symbol of the University of the Philippines (UP), from the theoretical perspective of Eric Hobsbawn’s notion of “invented traditions,” as well as Judith Butler’s theory of performativity. The study looks at the genesis of this narrative as informed by the anti-colonial struggle of the late-19th and early 20th century, but amplified and “sacralised” through the symbolic power of the UP Presidency, particularly under Jorge C. Bocobo (1935-1939) under whose auspices the Oblation was erected on November 30, 1935. The study also foregrounds the key term “Sacrificial Body” as a determinant of the Oblation’s narrational focus of itself as subject, and its function as idealized model or template to be “followed” by the UP community. The ambivalence of this narrative, however, is central to the production of contradicting discourses throughout its history, from the “sacred” Pre-War image akin to a secular Crucifixion upon which rituals supervised by a “priesthood” composed of the University’s officials were enacted; to the Post- War secular (and thus “profane”) image of the Oblation as that “representing academic freedom” from the viewpoint of its progressive student body and faculty. The common assertion of a sacrificial representation of anti-colonial struggle, however, is intuited by -
Rockwell of Ages DESPITE Its Unassuming Moniker, the Garage in Rockwell Center Is a Hub of Activity, but Not of the Automotive Kind
MARCH 2013 www.lopezlink.ph See story on page 10 http://www.facebook.com/lopezlinkonline www.twitter.com/lopezlinkph Rockwell of ages DESPITE its unassuming moniker, the Garage in Rockwell Center is a hub of activity, but not of the automotive kind. Prospective sales executives in spiffy business attire wait to be called in for their appointments. Staff in uniform dress shorts and polo shirts flit around preparing the conference rooms and looking after guests. In the inner offices, twentysomethings type away at their computers. Even big boss Miguel L. Lopez, Rockwell Land Corporation senior vice Turn to page 6 Landslide Lea Salonga returns Power Plant Mall is ‘grad central’ …page 3 to TV …page 4 in Leyte …page 12 Lopezlink March 2013 BIZ NEWS NEWS Lopezlink March 2013 At the Pinoy Media Congress Landslide in Leyte FPH to redeem and Students urged to serve, ABS-CBN: GMA’S libel declare cash dividend love country; EL launches case has no basis EDC continues search on preferred shares ABS-CBN Corporation reiterat- THE board of directors of First shares starting on the fifth an- book of speeches ed its stand that the nine-year-old Philippine Holdings Corpora- niversary of the issue date. In his keynote address, EL3 libel case filed by GMA Network tion (FPH) has approved the Additionally, the board also against it has no basis. for missing workers company’s option to redeem approved payment of a cash ABS-CBN chairman Eugenio said the media’s role is to “serve ABS-CBN chairman Eu- A landslide possibly triggered while 10 were taken to the The workers were hired by families of the casualties and all of its 43,000,000 series B dividend on the series B preferred Lopez III (leftmost) with the people no matter what the genio Lopez III (EL3) and preferred shares. -
UNIVERSITY of CALIFORNIA RIVERSIDE Naming
UNIVERSITY OF CALIFORNIA RIVERSIDE Naming the Artist, Composing the Philippines: Listening for the Nation in the National Artist Award A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Neal D. Matherne June 2014 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. René T.A. Lysloff Dr. Sally Ann Ness Dr. Jonathan Ritter Dr. Christina Schwenkel Copyright by Neal D. Matherne 2014 The Dissertation of Neal D. Matherne is approved: Committee Chairperson University of California, Riverside Acknowledgements This work is the result of four years spent in two countries (the U.S. and the Philippines). A small army of people believed in this project and I am eternally grateful. Thank you to my committee members: Rene Lysloff, Sally Ness, Jonathan Ritter, Christina Schwenkel. It is an honor to receive your expert commentary on my research. And to my mentor and chair, Deborah Wong: although we may see this dissertation as the end of a long journey together, I will forever benefit from your words and your example. You taught me that a scholar is not simply an expert, but a responsible citizen of the university, the community, the nation, and the world. I am truly grateful for your time, patience, and efforts during the application, research, and writing phases of this work. This dissertation would not have been possible without a year-long research grant (2011-2012) from the IIE Graduate Fellowship for International Study with funding from the Andrew W. Mellon Foundation. I was one of eighty fortunate scholars who received this fellowship after the Fulbright-Hays Doctoral Dissertation Research Abroad Program was cancelled by the U.S. -
Place of Region in the Contemporary Catalogue
Place of Region in the Contemporary PHILIPPINE CONTEMPORARY ART NETWORK Place of Region in the Contemporary University of the Philippines Vargas Museum 8 December 2017 - 27 January 2018 Philippine Contemporary Art Network Patrick D. Flores Director Tessa Maria Guazon Coordinator, Exhibition and Curatorial Analysis Renan Laru-an Coordinator, Public Engagement and Artistic Formation Roberto G. Paulino Coordinator, Knowledge Production and Circulation Publication Patrick D. Flores Editing Carlos Quijon, Jr. Publication Coordination Dino Brucelas Design A.g. De Mesa Photography ©2019 Philippine Contemporary Art Network 4 PCAN: An Intro 18 Place of Region in the Contemporary Patrick D. Flores EXHIBITIONS 28 Ayco, Imao, Bose, Junyee Roberto G. Paulino 42 Traversals/Trajectories: Expansive Localities Tessa Maria Guazon 56 An Ecological, The Obligatory Renan Laru-an 70 Raymundo Albano: Texts Patrick D. Flores ESSAYS 86 Ayco, Imao, Bose, Junyee: A Historiography Roberto G. Paulino 122 Forays into Regions: Between, Beyond, and Not Quite There Tessa Maria Guazon 134 An Impossible Profession Renan Laru-an 150 By Way of Region Patrick D. Flores 160 Artist Profiles 172 PCAN Members 178 Object List 192 Acknowledgment 4 The project initiates the Philippine Contemporary Art Network Philippine Contemporary Art Network Philippine Contemporary (PCAN), which is temporarily based at the University of the Philippines Vargas Museum in Diliman. In this preliminary task, it dwells on three activities: Knowledge Production and Circulation; Exhibition and Curatorial Analysis; Public Engagement and Artistic Formation. It endeavors to activate a network to coordinate a range of interventions in contemporary art in the Philippines and to cast a sharper profile for it on an inter-local and trans-regional scale. -
ASIA PACIFIC DANCE FESTIVAL Stories
2015 ASIA PACIFIC DANCE FESTIVAL Stories LIVING THE ART OF HULA THURSDAY, JULY 16, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa LOCAL MOTION! SUNDAY, JULY 19, 2015 • 2:00PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa CHURASA – OKINAWAN DRUM & DANCE THURSDAY, JULY 23, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa WELCOMING CEREMONY FRIDAY, JULY 24, 2015 • 6:00PM East-West Center Friendship Circle STORIES I SATURDAY, JULY 25, 2015 • 7:30PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa STORIES II SUNDAY, JULY 26, 2015 • 2:00PM John F. Kennedy Theatre, University of Hawai‘i at Ma¯ noa HUMANITIES FORUM SUNDAY, JULY 26, 2015 • 4:45PM East-West Center Imin Center, Jefferson Hall A co-production of the University of Hawai‘i at Ma¯ noa Outreach College and East-West Center Arts Program with the support of the University of Hawai‘i at Ma¯ noa Department of Theatre and Dance. 2015 ASIA PACIFIC DANCE FESTIVAL ASIA PACIFIC DANCE FESTIVAL Director Tim Slaughter Associate Director Eric Chang Organizing Committee William Feltz Kara Miller Michael Pili Pang Amy Lynn Schiffner Yukie Shiroma Judy Van Zile Staff Margret Arakaki, Assistant to Director; Kay Linen, Grant Writer Production Staff M Richard, Production Coordinator; Camille Monson and Anna Reynolds, Festival Assistants; Justin Fragiao, Site Manager; Vince Liem, Lighting Designer; Todd Bodden, Sound Engineer; Samuel Bukoski and Maggie Songer, Production Crew; Stephanie Jones, Costume Crew; Margret Arakaki, Box Office Supervisor; -
The Philippines Illustrated
The Philippines Illustrated A Visitors Guide & Fact Book By Graham Winter of www.philippineholiday.com Fig.1 & Fig 2. Apulit Island Beach, Palawan All photographs were taken by & are the property of the Author Images of Flower Island, Kubo Sa Dagat, Pandan Island & Fantasy Place supplied courtesy of the owners. CHAPTERS 1) History of The Philippines 2) Fast Facts: Politics & Political Parties Economy Trade & Business General Facts Tourist Information Social Statistics Population & People 3) Guide to the Regions 4) Cities Guide 5) Destinations Guide 6) Guide to The Best Tours 7) Hotels, accommodation & where to stay 8) Philippines Scuba Diving & Snorkelling. PADI Diving Courses 9) Art & Artists, Cultural Life & Museums 10) What to See, What to Do, Festival Calendar Shopping 11) Bars & Restaurants Guide. Filipino Cuisine Guide 12) Getting there & getting around 13) Guide to Girls 14) Scams, Cons & Rip-Offs 15) How to avoid petty crime 16) How to stay healthy. How to stay sane 17) Do’s & Don’ts 18) How to Get a Free Holiday 19) Essential items to bring with you. Advice to British Passport Holders 20) Volcanoes, Earthquakes, Disasters & The Dona Paz Incident 21) Residency, Retirement, Working & Doing Business, Property 22) Terrorism & Crime 23) Links 24) English-Tagalog, Language Guide. Native Languages & #s of speakers 25) Final Thoughts Appendices Listings: a) Govt.Departments. Who runs the country? b) 1630 hotels in the Philippines c) Universities d) Radio Stations e) Bus Companies f) Information on the Philippines Travel Tax g) Ferries information and schedules. Chapter 1) History of The Philippines The inhabitants are thought to have migrated to the Philippines from Borneo, Sumatra & Malaya 30,000 years ago. -
'Bro' Takes Center Stage in 'Kapamilya' Christmas
Dec ‘09-Jan ‘10 Available online at www.Lopezlink.ph Season’s greetings from OML, MML and EL3…page 5 ‘Bro’ takes center stage in ‘Kapamilya’ Christmas Q3 financial results PASKO na, Kapamilya! ing Marketing’s company-wide Christmas ABS-CBN EBITDA You know it’s Christmas when décor in the tree lighting activity, Licensing’s Parol season’s colors start popping up on major thor- ni Bro, CCM’s tagline and station ID, reaches P5B...p.2 oughfares and the mall muzak is interspersed a Christmas bazaar and the Win sa with carols. And, for kapamilyas all over the world, Bituin viewers’ promo—into one Christmas is definitely around the corner when big campaign. the station ID featuring their favorite The core idea, in the beginning, singers, actors and other media personali- was simply to boost employee ties starts getting airplay on Channel 2. morale in the midst of the global For Christmas 2009, ABS-CBN came economic crisis and unite every- up with “Bro, Ikaw ang Star ng Pasko,” one in a ceremonial Christmas a “back-to-basics” campaign centered tree lighting ceremony. How- on “Bro,” as the child Santino calls Jesus ever, the idea was scrapped when Christ in the network’s sleeper hit “May they realized that there are “so many Bukas Pa.” Christmas tree lighting The campaign kicked off on Nov. events.” 4 with the launch of the Christmas station ID, and the lighting of an 18-foot parol led by ABS-CBN chairman Eugenio “Gabby” Lopez III, presi- dent Charo Santos-Concio and “ S o FPHC grants call other executives, and Kapamilya we said, why not talents, including Santino him- go back to the on half its Meralco self, Zaijian Jaranilla. -
2011 Annual Report.Pmd
CONTENTS A. The Cultural Center of the Philippines B. Vision, Mission, Objectives C. Functions D. Chairman’s Message E. President’s Report F. Artistic Programs • CCP Productions • Co- Productions • Resident Companies • Lessee Shows • Exhibitions • Film Showings • Arts Festivals • Film/Broadcast Arts/Video Productions • Training and Education -Summer Workshops • International Linkages • Special Events and Other Programs • Artistic Services G. Resource Development •Administrative Services Department •Human Resource Management Department •Theater Operations Department H. CCP Organizational Chart I. Financial Report J. CCP Board of Trustees & Officials CULTURAL CENTER OF THE PHILIPPINES The Cultural Center of the Philippines was The CCP rises on a 21-hectare piece of created under Executive Order No. 30 dated reclaimed land from Manila Bay. It remains one of June 23, 1966, and inaugurated on September 8, the most important landmarks in both the cultural 1969 by the former First Lady and CCP Founding and architectural history of the Philippines. Chairman Imelda Romualdez Marcos. CCP was established at a critical time in Philippine cultural In seeking to preserve, promote, and history as a trust for the benefit of the Filipino enhance the artistic and cultural heritage of the people. The Center’s founding objective was to Filipino people, the CCP showcases Filipino preserve and promote Philippine culture in all its artistic achievements, encourages the creation of varied aspects and phases and to provide original works inspired by authentic Filipino physical home for the promotion and themes and traditions, and helps make Filipino art development of Philippine art and culture. accessible to all sectors of Philippine society. VISION Arts as a way of life Arts and culture as a fundamental part of life of every Filipino MISSION The CCP is a home for culture and the arts that nurtures and promotes artistic excellence, Filipino creativity, positive values and identity in a humanistic, self-sustaining eco-friendly environment, towards a responsible global society. -
Where Is the Crown?: Dancing the Putong / Tubong on Stage1
Where is the Crown?: Dancing the Putong / Tubong on Stage1 Bryan Levina Viray Abstract The Putong/Tubong as ritual represents a complex form of expressive behaviour in which chant, music, poetry, magical act, and dance movement are entangled in signifcant social events. In Turnerian sense, these social events are “rite of passage” where the punsyon (honouree, celebrant) is crowned by the manunubongs (ritual initiators) with the visitors (Turner 1969). All participate in and witness the socio- cultural meanings embedded in its enactment – healing, veneration, and thanksgiving (Viray 2015b). As a product of nationwide feld dance research and documentation, National Artist for Dance Francisca Reyes-Aquino with composer Antonino Buenaventura included the Putong/Tubong in a collection of folk dance and music notation, Philippine Folk Dances Volume 1 (1953, 1996). As a result, the Tubong as a ritual has been included in the folk and traditional staged dance repertoire in the Philippines and abroad. This article investigates how dance companies like the PASACAT Philippine Performing Arts Company (San Diego, California) have translated the crown (Putong/Tubong) ritual into a staged choreography. The frst section presents the “structural units” of Putungan based on the company’s flmed dance2 taken from Youtube (Giurchescu and Krӧschlová 2007:22-23). The succeeding section relates the staged choreography or “a dance realization” with reference to its original ritualistic contexts and social function or “dance concept” (Bakka and Karoblis, 2010:172-173). 1 The author would like to express his gratitude to the Department of Speech Communication and Theatre Arts, College of Arts and Letters and the Ofce of the UP Diliman Chancellor for the Re- search Dissemination Grant AY2015. -
Quarter IV: 20Th and 21St CENTURY MULTIMEDIA FORMS
DOWNLOAD K-12 MATERIALS AT DEPED TAMBAYAN 20th and 21st Century Multimedia Forms richardrrr.blogspot.com Quarter IV: 20th AND 21st CENTURY MULTIMEDIA FORMS CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of 20th and 21st century opera, musical play, ballet, and other multi-media forms. 2. The relationship among music, technology, and media. PERFORMANCE STANDARDS The learner... 1. Performs selections from musical plays, ballet, and opera in a satisfactory level of performance. 2. Creates a musical work, using media and technology. DEPEDLEARNING COMPETENCIES COPY The learner... 1. Describes how an idea or story in a musical play is presented in a live performance or video. 2. Explains how theatrical elements in a selected part of a musical play are combined with music and media to achieve certain effects. 3. Sings selections from musical plays and opera expressively. 4. Creates/improvises appropriate sounds, music, gestures, movements, and costumes using media and technology for a selected part of a musical play. 5. Presents an excerpt from a 20th or 21st century Philippine musical and highlights its similarities and differences to other Western musical p l a y s . From the Department of Education curriculum for MUSIC Grade 10 (2014) 141 All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means - electronic or mechanical including photocopying without written permission from the DepEd Central Office. MUSIC Quarter IV OPERA IN THE PHILIPPINES he emergence of the Filipino opera started to take shape during the middle part of Tthe 19th century. Foreign performers, including instrumental virtuosi, as well as opera singers and Spanish zarzuela performers came to the country to perform for enthusiastic audiences. -
Producing Rizal: Negotiating Modernity Among the Filipino Diaspora in Hawaii
PRODUCING RIZAL: NEGOTIATING MODERNITY AMONG THE FILIPINO DIASPORA IN HAWAII A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES AUGUST 2014 By Ai En Isabel Chew Thesis Committee: Patricio Abinales, Chairperson Cathryn Clayton Vina Lanzona Keywords: Filipino Diaspora, Hawaii, Jose Rizal, Modernity, Rizalista Sects, Knights of Rizal 2 TABLE OF CONTENTS Acknowledgements……………………………………………………………………..…5 Chapter 1 Introduction: Rizal as a Site of Contestation………………………………………………………………………………………....6 Methodology ..................................................................................................................18 Rizal in the Filipino Academic Discourse......................................................................21 Chapter 2 Producing Rizal: Interactions on the Trans-Pacific Stage during the American Colonial Era,1898-1943…………………………..………………………………………………………...29 Rizal and the Philippine Revolution...............................................................................33 ‘Official’ Productions of Rizal under American Colonial Rule .....................................39 Rizal the Educated Cosmopolitan ..................................................................................47 Rizal as the Brown Messiah ...........................................................................................56 Conclusion ......................................................................................................................66