000			02187nam a2200277 i 4500
003			CSPC
005			20261003092039.0
008			261003s2018 ph 000 0 eng d
020			_a9789712738487
040			_aCSPC _beng _cCSPC _dCSPC _erda
050		4	_aPR9550.J62 _b.J63 2018
082	0	4	_223 _a899.2102 _bJ574t
100	1		_aJoaquin, Nick, _eauthor.
245	1	0	_aTropical baroque : four Manileño theatricals / _cNick Joaquin ; introduction by Rody Vera.
264		1	_aMandaluyong City : _bAnvil Publishing, Inc., _c2018.
300			_axi, 224 pages ; _c21 cm.
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
505	0		_aIntroduction -- A portrait of the artist as Filipino: an elegy in three scenes -- Tatarin: a witches' sabbath in three acts -- Fathers and sons: a melodrama in three reels -- The beatas: a hymn in three stanzas.
520			_a"Tropical Baroque: Four Manileño Theatricals celebrates the dept hand the vibrancy of National Artist for Literature Nick Joaquin's dramatic output. Set in old Manila, A Portrait of the Artist as Filipino revolves around two spinster sisters, Paula and Candida Marasigan, who fight for all the things precious to their family. This play has gone on to be adapted as a major motion picture. In Tatarin, Doña Lupe stands firm on her ideas on feminism. She joins the three-day fertility ritual where women wildly dance around the balite tree, giving her the perfect opportunity to boldly demand respect and admiration from her husband, Don Paeng. In Fathers and Sons, Bessie fights back against the shadows cast by her past as an abandoned child sold and bought into the life of prostitution. The Beatas illustrates modern views and actions of Antonia Ezguerra and Sebastiana de Santa Maria, along with their fellow beatas, as they stand their ground despite the challenge from the patriarchy of the Holy Church to shut down the first beaterio in Manila"-- Back cover.
650		0	_aPhilippine drama (English).
655			_aDrama.
942			_2ddc _n0 _cBK _e23 _h899.2102 _iJ574t _kFIC _m2018
999			_c33616 _d33616