Hello, everyone. It's good to be back, or at least some semblance of it.
Thus far... I'm glad to say I've finally submitted my new thesis proposal (with major modifications from the last hapless one)and abstracts, and finally completed that incomplete grade. Gld to be done, we are. ;)
At present, I'm still struggling about my play. (Thank you, Dean, I still think of you.) A different locale, a different, closer time, the addition of a third essential character, but still the same two main characters. For now, it'll still be the same story, but I hope I can manage to coaxe it into better form. Or at least, something better. Well, we'll see.
How does a research facility based in desolate Antartica in the year 2025 sound?
Sunday, June 26, 2005
Friday, June 10, 2005
Winding down.
Hello everyone.
I've spent my late afternoon today here at the Library, researching, jotting down thesis notes on index cards. I must confess something: I beleive I work better here in the Library than at home. sure, there's my oft-undisturbed room with a crane-lamp-lighted study table, but I find the Library so much more conducive to working on scholarly, er, work. The General Referrence Section is a favorite spot: High white walls, large open space high and wide enough for people's thoughts to swim freely inside the room without bumping into each other. and the quiet. Oh yes, the quiet is bliss.
I've come across the thought of the director-playwright-production triad. What fitting image? Mommy Playwright, Daddy Director, and Baby Production? Or Mommy Playwright huffing and puffing ang pushing for all its worth with Doctor Director in Delivery Room saying "Just a little more, I can see the head" ?
Wala lang. ^_^"
I'm hungry. Need to head home and buy popcorn.
I've spent my late afternoon today here at the Library, researching, jotting down thesis notes on index cards. I must confess something: I beleive I work better here in the Library than at home. sure, there's my oft-undisturbed room with a crane-lamp-lighted study table, but I find the Library so much more conducive to working on scholarly, er, work. The General Referrence Section is a favorite spot: High white walls, large open space high and wide enough for people's thoughts to swim freely inside the room without bumping into each other. and the quiet. Oh yes, the quiet is bliss.
I've come across the thought of the director-playwright-production triad. What fitting image? Mommy Playwright, Daddy Director, and Baby Production? Or Mommy Playwright huffing and puffing ang pushing for all its worth with Doctor Director in Delivery Room saying "Just a little more, I can see the head" ?
Wala lang. ^_^"
I'm hungry. Need to head home and buy popcorn.
Thursday, June 09, 2005
Dear friends.
I am at a loss, and I am terribly in need of help.
Thus far in my research and my efforts to begin crafting a substantial thesis proposal for my new problem, I am continually stunted with wit the last question my adviser left me: What's you're angle? What do you want to find out about this study you're doing?
I've found how directors and playwrights work hand-in-hand (or at least, how they ought to) in Broadway productions in the States. It is, indeed, a collaborative effort: director and playwright sit down together and talk about the play. This happens before the director scribbles down his ideas on the script. As Harold Clurman in his book On Directing states, "As in marriage, there is a degree of uncertainty on both sides." They air out their understandings of the script, work out problematic scenes, change some parts if necessary, long as the finished product can manage to "work" onstage. It doesnt stop there. This goes on through rehearsals, even right until the production's first show. It's a process; it's gestation.
As in another book, "As a director, the first thing you must do is to simply do no harm. You are there at the birth of the play for clinical reasons." To paraphrase, it's up to the director to decide whether the child will thrive or suffer, live or die. And perhaps, the playwright is there, pushing pushing pushing for all it's worth.
At least, that's how I imagine it to be.
But still, oh still. That terrible question still drives me insane. What's my angle?
I've consulted with Ma'am Edna May for some possible angles I might take the thesis to. What about the fact that 77% of the plays Dulaang UP ever did wre foreign or western pieces, leaving 33% written by Filipinos? Could it be because, as Professor Amiel Leonardia mentioned in an interview I once conducted with him, there's a dearth of good Philippine material? That point, my adviser said, was debatable.
Or what about... considering most, or rather all of the sample Philippine Production pieces held the question of National Identity (Domingo Landicho's Toreng Garing and Elias at Salome: A Musical, Elsa Coscolluela's In My Father's House, Dong De Los Reyes' Daungan.. Laot... Daungan, Floy Quintos' ..And St. Louis Loves Dem Filipinos), could perhaps a collaboration with Director and Professor Emeritus Antonio Mabesa, what would this say of how they define National Identity?
And again, this was debatable.
Thus, I am at a loss.
I would most appreciate any kind of help from you. Suggestions, coments are most welcome. From one attempting scholar to another.
Thus far in my research and my efforts to begin crafting a substantial thesis proposal for my new problem, I am continually stunted with wit the last question my adviser left me: What's you're angle? What do you want to find out about this study you're doing?
I've found how directors and playwrights work hand-in-hand (or at least, how they ought to) in Broadway productions in the States. It is, indeed, a collaborative effort: director and playwright sit down together and talk about the play. This happens before the director scribbles down his ideas on the script. As Harold Clurman in his book On Directing states, "As in marriage, there is a degree of uncertainty on both sides." They air out their understandings of the script, work out problematic scenes, change some parts if necessary, long as the finished product can manage to "work" onstage. It doesnt stop there. This goes on through rehearsals, even right until the production's first show. It's a process; it's gestation.
As in another book, "As a director, the first thing you must do is to simply do no harm. You are there at the birth of the play for clinical reasons." To paraphrase, it's up to the director to decide whether the child will thrive or suffer, live or die. And perhaps, the playwright is there, pushing pushing pushing for all it's worth.
At least, that's how I imagine it to be.
But still, oh still. That terrible question still drives me insane. What's my angle?
I've consulted with Ma'am Edna May for some possible angles I might take the thesis to. What about the fact that 77% of the plays Dulaang UP ever did wre foreign or western pieces, leaving 33% written by Filipinos? Could it be because, as Professor Amiel Leonardia mentioned in an interview I once conducted with him, there's a dearth of good Philippine material? That point, my adviser said, was debatable.
Or what about... considering most, or rather all of the sample Philippine Production pieces held the question of National Identity (Domingo Landicho's Toreng Garing and Elias at Salome: A Musical, Elsa Coscolluela's In My Father's House, Dong De Los Reyes' Daungan.. Laot... Daungan, Floy Quintos' ..And St. Louis Loves Dem Filipinos), could perhaps a collaboration with Director and Professor Emeritus Antonio Mabesa, what would this say of how they define National Identity?
And again, this was debatable.
Thus, I am at a loss.
I would most appreciate any kind of help from you. Suggestions, coments are most welcome. From one attempting scholar to another.
Wednesday, June 01, 2005
Lesson for the day.
Enlistment Day:
Be prepared to be made a fool of by primarily yourself, everyday.
Else,
Pag pinapagalitan ka,
shut up,
swallow your pride,
and goddamn well listen.
Be prepared to be made a fool of by primarily yourself, everyday.
Else,
Pag pinapagalitan ka,
shut up,
swallow your pride,
and goddamn well listen.
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