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Northwestern University, Ph.D., 1977
Theater
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University Microfilms International, Ann Arbor, M ichigan 48106
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@ 1977
M AR IA DOLORES PONCE
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A DISSERTATION
Field of Theatre
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By
Evans t o n , Illinois
.June 1977
CJ^' A(xjL,
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J U n 4 .c to *lt (j& a s trv u s & t’ S . & G iJ & rt tu rb o -to i,
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w -c u i* a /n * /iii^^witw'n. ^
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/W'Axva^ mfoss* a, StM x44wuzm *>Q /,
Chapter Page
X. THE A R G U M E N T .................................... 1
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Ang mga K a g a l a n g - g a l a n g .................. 13
Ang Huling Kahilingan .................... 15
May Ningning ang K i n a b u k a s a n ......... .. .
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Maskara . .................................. 16
Isang Araw ng P a g h u h u k o m .................. 17
I sang K u n d i m a n ............................. 18
It's April, What Are We Doing Here? ... 19
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Ang Aking K a p a t i d ......................... 21
Aling Poleng ............................. 22
Human I n t e r e s t ............................. 23
Anino ng K a h a p o n ........................... 24
And a Happy Birthday 1 .................... 25
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Ang P o l i t i k o ........... 35
Justice Is But a S e e m i n g .................. 35
Mister Congressman ......................... 37
Rise, T e r r a c e s ............................. 38
Sa Kuko ng A g i l a ........................ 40
Hulyo 4, 1954, A. D .................... 41
Kamatayan sa Loob ng Isang K u t a ......... 42
0 Lamb . . . Poor Lamb! .................. 43
Run, David, R u n ........................... 46
The S t r i k e .................................. 48
Makapaghihintay ang A m e r i k a ............. 49
Apparitions . ........................... 50
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TABLE OF CONTENTS.— Continued
The D a n c e r s ................................ 56
The World Is an A p p l e .................... 60
Ikalawang Mukha ng Paninindigan ......... 63
Kamatayan: Iba't Ibang Anyo .............. 67
K i d n a p p e d .................................. 69
Knitting Straw ............................. 71
With Patches of Many H u e s ................ 72
Blood S p o o r ................................ 73
May Pangako ang Bukas . . . . . . ......... 75
Daloy ng B u h a y ............................. 76
The C o r r u p t i b l e s ........................... 79
B u r n i n g .................................... 80
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Baril at K a l i g t a s a n .................... . 83
Kamay na Bakal ........................... 84
Saan Papunta ang P a r u p a r o ? ................ 86
KaralitaanIE ......................... 87
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TABLE OF CONTENTS.— Continued
Chapter Page
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M u n t i n l u p a .................................. 205
No Sadder R a c e ............................. 206
Ang Huling P a s i y a ......................... 208
Ang U w a k ....................................
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Moses, Moses ............................... 215
V i d a ........................................ 218
N e o n ................................... 220
Flores para los m u e r t o s .................. 223
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IX. THE THEATRICAL P L A Y S ........................... 229
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TABLE OF CONTENTS.— Continued
Chapter Page
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Cultural Milieu ........................... 298
"Filipinized" Christianity ................ 300
The Filipino F a m i l y ...................... 309
Art in the P h i l i p p i n e s ....................
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CHAPTER I
THE ARGUMENT
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corporation.'*' The competitions began in 1954 and continue
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and forty-eight in English. Except for a few,1 they have not
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been published.
Not all the one hundred plays are available for this
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sought, but to no avail. As a consequence, only ninety-two
prize, 1969.
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writing competitions comprise the most comprehensive drama
plays has not seen any of the few Palanca plays that have
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scripts.
elements of setting and decor, line and color, light and shade,
that "a play really exists, lives and really lives, only when
its lifespark leaps from the stage and from the playwright's
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To ensure objectivity, a number of theatre artists and
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There is no craft of the theatre; there is only the
mastery of the material through language and the stage.5
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On Critics and Criticism
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is a crucial consideration.2
We are not judging the text/ but what the text makes the
actor make the audience do.^
Well-Made Plays, (4) The History Plays, C5) The Serious Plays,
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Plays. Many of the plays qualify for more than one classifi
nitude.
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history plays and the serious plays are of insufficient mag
condensed forms.
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CHAPTER II
OF INSUFFICIENT MAGNITUDE
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action. The definition of action is requisite to the c o n
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puted .
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If action cannot be abstractly defined, of what use
is the concept in the study of the dramatic arts? It
is to be used to indicate the direction which an analysis
of a play should take.
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dramatist is trying to show us, and we must in some sense
grasp that if we are to understand his complex art: plotting,
characterization, versification, thought, and their c o
herence. 2
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Mr. B. Roland Lewis' discourse on "The Nature of
2Ibid. 3Ibid.
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B. Roland Lewis, The Technique of the One-Act Play
(Boston: John W. Luce and Co., 1918), p. 163.
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ought to be are helpful in this study.
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incoherent. Each category is discussed in a separate section.
his two daughters, Boling and Nenet, the palatial house in which
2Ibid., p. 82.
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two orchestras) to honor Boling and Nenet who have just come
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great risks, assets and liabilities, journalistic ethics,
thousand pesos was lost in the arrest of Mrs. Bigay and the
in scene five.
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(The Last Request} <■ first prize, Pilipino Division, 1963, by
Sally was for her family never to know that she ever worked
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demise, everyone, from the matron who runs the business to the
Another boy comes around to ask the girl to dance with him.
The girl says no, the first boy says no, and the second boy
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says, after being knocked down by an uppercut, "You were
of scene one, the mayor and his wife sit discussing reasons
ransom; that one of the men guarding the mayor escaped from