![]() ![]() I would rather prefer to speak about the “theatricality”, the notion of culture shown by the theatre pieces. ![]() It should be rather seen as another voice in a wide discussion about the state of contemporary theatre in the Philippines, the theatre of a country which shares with many others the experience of being postcolonial, but in the same time it keeps its uniqueness and must be considered under its own particular history.ĥHowever, it should be admitted that this research has been made by a Polish theatre scholar, who was raised up in a different social and cultural environment (not in the Philippines) and who tried to understand a different theatre reality and tradition, being always aware of her “alien” perspective.ĦMoreover, in this article the term “theatre” will not only refer to particular plays staged in official theatre buildings in the Philippines. I do believe there is plenty of tensions between the group identity and the individual identity, and each must be seen as the important element of the second one.ĤThis essay does not tend to be a brief introduction, a full guide through Filipino §theatre traditions. 1ģI would like to propose in this article a different perspective, a discussion on two kinds of Philippine theatre identities: the first one, the group identity (national, social, political etc.), and the second one, the individual identity (of one actor/one particular performance group), where all of those three kinds of theatre traditions exist. This kind of divisi (.)ĢMost scholars (both in the Philippines and in foreign countries), who try to describe Philippine theatre, divide those dramas and performances into three groups: the indigenous theatre, the theatre based/founded on Spanish colonization, and the theatre influenced (in the 20 th century) by the Americans.
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