Ang Paglilitis Ni Mang Serapio


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Ang Paglilitis Ni Mang Serapio

  1. 1. ANG PAGLILITIS NI MANG SERAPIO Paglilitis. Mas lalong masaya sa Federacion
  2. 2. ABSURDISM • A style of drama popularized in France after World War II that viewed human existence as meaningless and treated language as an inadequate means of communication. • man seeks some measure of happiness in a reasonable and predictable world, what he seems to get is unhappiness in a chaotic and unpredictable one Absurdism stressed that the world is unreasonable, illogical, incongruous, and out of harmony. The word „absurd‟, then, meant not ridiculous, but without meaning.
  3. 3. A B S U R D I S W I T H O U T M E A N I N G … • Doesn‟t tell a story in favour of communicating an experience; • ABSURDISM abandoned a dramatic unity based on casuality and replaced it with one whose source, and indeed whose very presence, was not always clear • Absurdism quality devaluates (reduces) language as a carrier of meaning • ABSURDISM: what happens on stage often transcends and contradicts what is said there.
  4. 4. ABSURD PLAY IS OFTE N… • Often constructed as a circle (ending just where they began, after displaying a series of unrelated incidents) • Often the intensification of a single event (ending just where they had begun but in the midst of more people or more objects)
  5. 5. EXPRESSIONISM • A style of theatre popular in Europe after World War I and typified by symbolic presentation of meaning, often as viewed from the standpoint of the main character; distortions of time, space, and proportion are common. • Expressionism plays were often didactic and cautioned the world against impending cataclysms such as: -uncontrolled industrialism, -rampant impersonalization, -and the modern industrial state. (and much more)
  6. 6. E XPRE SSION IS… • Seldom tells a simple story; more often, EXPRESSIONISM developed as episodic examinations or demonstrations of a central idea/opinion • unfolded in a world of bizarre and garish colors, jagged angles, and oddly proportioned objects Actors, often dressed identically, moved in mechanical or puppet-like ways and often spoke in disconnected or telegraphic conversations. They bore names of types rather than people: (eg. “Hukom”, “Tagapagtanggol”, “Saksi”, “Bantay”) Conventional ideas of time and space collapsed
  7. 7. REFERENCES • Cameron, Kenneth, M. and Gillespie, Patti P. The Enjoyment of Theatre, 5th Edition. Copyright 2000, 1996 by Allyn and Bacon, A Pearson Education Company. • Harrop, John and Epstein, Sabin R. Acting with Style. Copyright 1982 by Prentice-Hall, Inc., Englewood Cliffs, N.J. 07632. • NO internet sources (definitely book-researched)
  8. 8. SYMBOLS . . . The entire drama or play of “Ang Paglilitis ni Mang Serapio” is riddled with symbols! Not just riddled, but bleeding, haemorrhaged! • THUS; In order to keep the spoilers away, we (the Serapio group) would like to keep this part hidden for the audience, it‟s best fitting that way…
  9. 9. • This play is NEVER to be taken literally, as this play is symbolic, allegorical, not for the shallow in mind, but meant to those who are willing to stop down their tracks, take a look around, think, and witness what the things around has become. • In other words, this version of “Mang Serapio” play was RESEARCHED. This is NOT one of those “put up just because I like it” shallowness. The conceptualization of this version went through the abyss, catalyzed through the synapses and neurons, the concepts stabbed and were buried alive, then were resurrected to become images and words in the script, all, to be brought alive in this drama. Thus, we can only reveal the SYMBOLISMS of the Serapio play AFTER the play itself is finished. (unless of course, Ma‟am Garcia wants us to do so beforehand)
  10. 10. CONFLICT OF THE PLAY • The protagonist in the story, Mang Serapio, faced accusations of committing a supposedly crime of “taking care of a (his) child”; which, in the rules or laws of the „Federacion‟, is met with serious consequences since taking care of a child, or children, or in the case where any other „pulubi‟ (beggar) is caught or known to be taking care of anyone besides himself/herself, will prompt him/her to spend more than what he/she could. In the words of the character “Unang Tagapagtanong”, Serapio was, is, and will be tempted to spend money for the sake of the child under his care, spending the supposedly “tax” money intended for the Federacion.
  11. 11. THEME •“Even if it’s difficult and unjust, one must live through his fate and deal with the life he has been given…given by those who thinks they are