1,720,961 research outputs found
Interview with Onofre R. “Pagsi” Pagsanghan on October 8, 2002 at Loyola Heights, Quezon City
Get PDFExcerpt: Onofre R. “Pagsi” Pagsanghan is a well-loved, multi-awarded teacher in his alma mater, the Ateneo High School, where he has been teaching English and Filipino since he graduated college in 1951. Pagsi founded the Ateneo High School Dramatics Society in 1956, which was renamed Dulaang Sibol in 1966. As both a teacher-formator and a cultural icon, Pagsi has won numerous awards since the 1960s, among them the prestigious Metrobank Foundation Outstanding Filipinos Award for Teachers in 1985, the first year the awards were ever given. More recently he has received awards like the Gawad Paz Marquez Benitez For Outstanding Educator in Literature from Unyon ng mga Manunulat sa Pilipinas (2002), Bayaning Gurong Pilipino Award from the ABS-CBN Foundation (2003), and the Natatanging Gawad Buhay (Life Achievement Award) from Philstage (2015)
Interview with Baby Barredo on July 14, 2017 at Barredo’s home, Magallanes Village, Makati City
Get PDFInterview with Anton Juan on July 12, 2017 at Abe, McArthur Avenue, Bonifacio Global City, Taguig City
Get PDFExcerpt: Anton Juan, Jr. is an actor, director, playwright, and teacher. He is currently a full professor and theater director at the University of Notre Dame du Lac in Indiana. His work, spanning more than four decades, has been known to challenge conventional stage production, combine movement and sound-sense, and engage politically fraught subjects. Among them are Taong Grasa (1981), Bread of Angels (1994), Tuko! Tuko! (The Princess of the Lizard Moon) (1997), The Price of Redemption (1998), Shadows of the Reef (2004), and Hinabing Pakpak ng Ating Mga Anak (The Winged Fragments of our Children) (2009). He is also the founding Artistic Director of the Step of Angels Theatre in Athens, Greece, and was the Director General of Dulaang UP at the University of the Philippines, where he taught for more than 30 years
Theater, Trauma, and the Rehearsal to Recovery
Get PDFUsing theoretical concepts, Missy talks about the ways that theater provides a platform for healing.
Speaker: Missy Maramara holds a Master of Fine Arts in Drama (Performance) from the University of Arkansas in Fayetteville through the International Fulbright Scholarship Program. She also trained at the L\u27École Internationale de Théâtre Jacques Lecoq in Paris and at Tectonic Theater Project in New York City. A Filipino actress with television and film credits, Missy is primarily a theater actress with local and international performances. She has worked with Tanghalang Pilipino, New Voice Company, Repertory Philippines, PETA and Dulaang UP. She performed her solo shows Love Liz and Clytemnestra in the New York United Solo Festival, and toured Clytemnestra around Europe and the United States. Missy has performed in festivals and conferences in New York, Paris, Berlin and Prague. She is a tenured Assistant Professor in the Fine Arts and English Departments of the Ateneo de Manila University, where she is currently pursuing a PhD in English Language and Literature. An alumna of Tanghalang Ateneo and Dulaang Sibol, she is currently the moderator of Ateneo Blue Repertory and Dulaang Sibol JHS. She has directed several plays dealing with sensitive issues regarding mental health for blueREP (Next to Normal 2020, Spring Awakening 2019, Real Life Fairytales 2017/2016), gender sensitivity (Squaddies Shrew 2.0 2018) for Tanghalang Ateneo, and social justice (Ang Paglilitis ni Mang Serapio 2018) for Dulaang Sibol. She is also a member of SPIT (Silly People’s Improv Theater) and a faculty of TWI (Third World Impro Missy is a tenured Assistant Professor in the Fine Arts and English Departments of the Ateneo de Manila University, a candidate for a PhD in English Language and Literature, and the moderator of Ateneo Blue Repertory and Dulaang Sibol JHS.https://archium.ateneo.edu/magisterial-lectures/1016/thumbnail.jp
Lady Macbeth and Queen Gertrude
Get PDFA collection of essays which were originally meant for Dulaang Sibol\u27\u27s 50th anniversary... There is a lot in this collection about the Sibol classics -- Sa Kaharian ng Araw, Adarna, and of course, Sinta! -- and reading first-hand accounts of how some of these and other plays came to be written is a special treat. But Sibol has never been just about the stage performances or the songs, beautiful as they all are. Many of the writers here insist that in Sibol, unlike in Hamlet, the play\u27\u27s not the thing, the person is
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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