Valediction of hill crest


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Valediction of Hill Crest by Rolando Tinio

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Valediction of hill crest

  2. 2. ABOUT THE AUTHOR  Rolando Santos Tinio (March 5, 1937 – July 7, 1997) was a Filipino poet, dramatist, director, actor, critic, essa yist andeducator.  Rolando Tinio is a Philippine National Artist for Theater and Literature.  He was born in Gagalangin, Tondo, Manila on March 5, 1937.
  3. 3.  As a child, Tinio was fond of organizing and directing his playmates for costumed celebrations.  He was an active participant in the Filipino movie industry and enjoyed working with Philippine celebrities who he himself had admired in his childhood.  Tinio himself became a film actor and scriptwriter.
  4. 4.  He is often described as a religious, well-behaved and gifted person. Tinio graduated with honors (a "magna cum laude" achiever) with a degree in Philosophy from the Royal and Pontifical University of Santo Tomas at age 18 in 1955 and an M.F.A. degree in Creative Writing:Poetry from the State University of Iowa.  In Iowa, Tinio was known as a great writer that used English as the medium of the Filipino writer.
  5. 5.  He wrote his poetic collection: Rage and Ritual which won an award from the University of the Philippines.  Once, in a conference, an author delivered his belief in the value of the Tagalog dialect in Creative Writing. In response to this, Tinio published an article in the scholarly journal Philippine Studies, which contained parts of English poems translated into Tagalog. The article’s purpose was to prove the inadequacy of Tagalog as the writer’s medium. (Lumbera)
  6. 6.  In the mid-1960s, however, Tinio decided to try writing in Tagalog and the product of this trial was the collection of poems now called Bagay. Rolando Tinio was the sole inventor of “Taglish” in Philippine poetry. Through this, he gave an authentic tone to the poetry of the native middle-class Filipino. In 1972, Tinio wrote another poetry collection: Sitsit sa Kuliglig and this showed the great contrast between his old and new advocacy. If in Rage and Ritual, portrayals of art and the artist that are not closely associated with the Filipino lifestyle are communicated, Sitsit sa Kuliglig clearly portrays the everyday experiences of a Tondo-grown individual now living in Loyola heights. Heaven and earth; the gap between Tinio’s works in English and those in Tagalog.(Lumbera)
  7. 7.  Tinio was also an actor, director, and a set and costume designer. He served all these roles during his stay with the Ateneo Experimental Theater. Tinio chooses the plays, designs the stage, directs, creates the costumes and determines the musical score and other sounds.  His work with the Ateneo Experimental Theater expresses the concept of the actor being merely one of the director’s tools in shaping the stage; communicate his vision through all aspects of the production
  8. 8.  He published four seminal books of poems between 1972 and 1993, in which, along with his longtime friend, Bienvenido Lumbera, helped modernize the traditionally sentimental Filipino style. He had also worked on his own projects such as the Ateneo Experimental Theater productions and other serious dramas in Filipino.
  9. 9.  Circa 1976, Tinio also wrote the lyrics for the six hymns of the "Misa ng Alay-Kapwa" the music for which was composed by Fr. Eduardo P. Hontiveros, SJ. (The most popular of these hymns still sung in Churches throughout the Philippines is "Buksan ang Aming Puso.) These hymns were published in the now out of print, - Mga Awiting Pansamba-.  Rolando Santos Tinio was directing a musical when he suffered a heart attack in Manila on July 7, 1997. He died on July 8, 1997 at age 60. His wife, theatre and film actress, Ella Luansing had died some years before. He was survived by his two children, Antonio and Victoria.
  10. 10. VALEDICTION SA HILL CREST  Pagkacollect ng Railway Express sa aking things (Deretso na iyon sa barko while I take the plane.) Inakyat kong muli ang N-311, at dahil dead of winter, Nakatopcoat at galoshes akong Nagright-turn sa N wing ng mahabang dilim (Tunnel yatang aabot hanggang Tundo.) Kinapa ko ang switch sa hall. Sa isang pitik, nagshrink ang imaginary tunnel, Nagparang ataol.
  11. 11.  Or catacomb. Strangely absolute ang impression Ng hilera ng mga pintong nagpuprusisyon: Individual identification, parang mummy cases, De-nameplate, de-numero, de-hometown address. Antiseptic ang atmosphere, streamlined yet. Kung hindi catacomb, at least E filing cabinet.
  12. 12.  Filing, hindi naman deaths, ha. Remembrances, oo. Yung medyo malapot Dahil alam mo na, I’m quitting the place After two and a half years. After two and a half years, Di man nagkatiyempong mag-ugat, ika nga, Siyempre’y nagging attached, parang morning glory’ng Mahirap mapaknit sa alambreng trellis.
  13. 13.  At pagkabukas ko sa kuwarto, Hubo’t hubad na ang mattresses, Wala nang kutson sa easy chair, Mga drawer ng bureau’y nakanganga, Sabay-sabay nag-ooration, Nagkahiyaan, nabara.
  14. 14.  Of course, tuloy ang radiator sa paggaralgal: Nasa New York na si Bob and the two Allans, Yung mga quarterbacks across the hall Pihadong panay ang display sa Des Moines. Don ang Cosntance aren’t coming back at all. Gusto ko nang magpaalam– to whom?
  15. 15.  The drapes? The washbowl? Sa double- decker Na pinaikot-ikot naming ni Kandaswamy To create space, hopeless, talagang impossible. Of course, tuloy ang radiator sa paglagutok. (And the stone silence, nakakaiyak kung sumagot.)
  16. 16.  Bueno, let’s get it over with. It’s a long walk to the depot. Tama na ang sophistication-sophistication. Sa steep incline, pababa sa highway Where all things level, sabi nga, There’s a flurry, ang gentle-gentle. Pagwhoosh-whoosh ng paa ko, The snow melts right under: Nagtutubig parang asukal, Humuhulas, nagsesentimental.
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