Hello! I'm so embarrass by the fact that I post the unfinished presentation. Crap! I'm horrible and you don't have to mention since I already know it. Anyway, this is my PPT for our Philippine Literature (Colloquium). Some parts of it are taken on the web but the explanation and themes are made by me. If you like my PPT, let me know on the comment section below. Thank you! -oneofthosegyrls

1. Sa Pula, Sa Puti (For the Red Rooster, For the White Rooster) is a play in one
act, written by Francisco "Soc" Rodrigo. It was first staged on September 10, 1939 by the
University of the Philippines Dramatic Club at the Manila Metropolitan Theater. Originally,
this was written by Rodrigo in English for his class in dramatics under Jean Garrot Edades at
the University of Santo Thomas. It has been expanded and revised by Rodrigo and he
subsequently translated it in Tagalog. It has also been published in Short Plays of the
Philippines , Manila: Robert S. Hendry, 1950, by Jean Edades.
This play is a comedy that comments on people's weakness in a situation
recognizable throughout the country. Its main character is a sabungero or cockfighter who is
addicted to cock pit. This play tells about how he learns and realizes his foolishness of
gambling.
This practical approach to Francisco Rodrigo's "comedy of the cockpit" illustrates
a freer way of "bending English" and delivers a more vivid impression of "native" speech.
The dialogues have been liberally flavored with Tagalog expressions in near-literal English
translation. Also,the playwright aimed to extract the general theme of gambling with a hint of
comedy which will be presented into two (2) division. Part One: Backgrounders. In this
section, the information about the author including his life, career history and other relevant
information which make the field of visions larger. Part Two: My Text-Dependent
Interpretation. In this part, the play will be illuminated in perfection such as Formalism and
Structuralism. In formalism, the play is presented in terms of its element that would make us
understand its literal and general literary features. From another point, the structural view is
garnered through the concept of binary opposition and significant.
INTRODUCTION

2. PART ONE: BACKGROUNDERS
(A Reflection to the Author’s Perfection)

3. Francisco Soc Rodrigo was born on January 29, 1914 in Bulacan, Bulacan to Marcela Aldana
and Melecio Rodrigo and a blood kin of two great heroes of his native province, Marcelo del Pilar and Gregorio
del Pilar. He was a Senator of the Republic of the Philippines; Third Congress since 1955 to 1957, Fourth
Congress since 1958 to 1961, Fifth Congress since 1962 to 1965, and Sixth Congress since 1966 to 1969 . He
was also an accomplished playwright and broadcaster.
Rodrigo finished his Bachelor of Arts and Bachelor of Science in Education degrees from Ateneo
de Manila and University of Santo Tomas, respectively, after which he completed his degree of Bachelor of
Laws at the University of the Philippines, graduating magna cum laude and valedictorian. While in college, he
was captain of the Debating team.
After passing the Bar , he joined the law firm of Senators Francisco Delgado and Lorenzo Tañada.
With the latter, he authored Philippine Modern Legal Forms and Handbook on the Rules of Court. During the
1953 presedential election, Soc Rodrigo covered the entire proceedings in an unprecedented marathon
broadcast, a feat which won for him the Legion of Honor award by President Ramon Magsaysay.
Francisco “Soc” Rodrigo

4. His performance in the Senate has consistently landed him in the coveted list of the
Ten Outstanding Senators and made him a much invented guest of foreign government such as
the United States, Britain, West Germany, and other countries. He was also awarded a U.S.
Government grant under the terms of Public Law 402 (Smith - Mundt) for observation and travel
under the auspices of the Governmental Affairs Institute(Nov. 20, 1959 - Jan. 20, 1960).
From 1970-1972, Rodrigo hosted the ABS-CBN program "Mga Kuro-kuro ni Soc
Rodrigo."
Not the least of his achievements was his anti - Japanese activities during the war
years when he distributed proaganda materials together with Raul Manglapus. For their dissent
against President Ferdinand Marcos, Rodrigo, along with Ninoy Aquino and many others, was
incarcerated during upon the declaration of Martial Law in 1972. During this time in jail, Rodrigo
kept the faith of fellow detainees alive as he led nightly prayers of the rosary. Ninoy Aquino would
treasure of the crucifixes that Rodrigo gave him during this time. Rodrigo was released after three
months but was detained two more times. In 1978, for writing Tagalog poems attacking the
Marcos dictatorship, and in 1982, for his anti-Marcos poems in the We Forum and Philippine Star.
As a playwright in English and Tagalog, his works are noted for distilling the foibles
and wit of the Filipino soul. His most celebrated play was Sa Pula, Sa Puti while his most
popular Kuro – Kuro sa likod ng mga Balita had also won legions of admirers throughout the
country. Whether he is delivering a speech in tagalog or in English, within or without the halls of
the senate, men rise to give their attention to Soc Rodrigo, a man who has given his best in the
service of God and country.

5. On January 4, 1998, Rodrigo died at age 83 due to complications of
cancer. In November that year, his name was inscribed in the Bantayog ng mga
Bayani Memorial Hall in Quezon City to honor his role in the long struggle against
Marcos.
Trivia: The Gawad Soc Rodrigo is an award named after him given by
the Komisyon sa Wikang Filipino (KWF) and the National Commission for
Culture and the Arts (NCCA).

6. PART TWO:
MY TEXT-DEPENDENT INTERPRETATION
In Light of Modernist Vistas: Formalism (Elemental Analysis) and Structure (Binary Opposition and Signification)

7. Sa Pula,
Sa Puti
Elemental Criticism
Explication Exegesis
CHARACTERS
Major:
Kulas - an out-and-out sabungero, or
cockfighting addict
Celing - wife of Kulas
Minor:
Sioning - friend of Celing
Castor - a middleman in the cockpit
Teban - an old manservant of Kulas
and Celing
Some remarkable lines from
the film were encoded and interpreted
below based on the subjectivity of the
maker:
“Sapagkat pagkadilat ng mga mata mo
sa umaga, wala ka nang naisip
kamustahin at himasin kundi ang iyong
tinali. Tila mahal mo pa ang mga tinali
mo kaysa sa akin.”

8. SETTING
 In a cock arena
Residence of Kulas and Celing, near in the
cock arena
ATMOSPHERE
 The story is covered with fondness in
gambling and tricks.
PLOT
Exposition: One morning Kulas greeted his wife a
pleasant morning but Celing answered dryly. She was
jealous and envious about Kulas’s fighting cocks for
they were the first thought of Kulas every morning.
Rising Action: Castor taught Kulas some techniques
how to win a fight in a way of cheating when Celing
was out in the market.
Climax: Kulas went to the fight and bet but this time
he staked at his opponent’s cock.
Falling Action: Kulas was disappointed after the fight
because his cock won.
Denouement: Celing cooked in broth the three cocks
of Kulas and made adobo with the other three.
“Iyon ay disgrasya lamang! Celing, makinig ka. Alam
mo, kagabi ay nanaginip ako. Napanaginip kong ako’y
hinahabol ng isang kalabaw na puti. Kalabaw na puti,
Celing!”
“O, heto, Teban, limang piso . . . Nagpunta na naman
ang amo mo sa sabungan. Madali, ipusta mo ito.
Madali at baka mahuli!”
“Ano bang ako ang pumili ng bahay na ito. Ang gusto
kong bahay ay sa tabi ng simbahan, ngunit ang gusto
ni Kulas ay sa tabi ng sabungan.”
“Ang lahat ng manok ay may litid sa paa na kapag
iyong dinuro ay hihina ang paa. … Wala sinumang
makakakita sa ating ginawa, ngunit mahina na ang
paang ating dinuro at ang manok na iyan ay hindi
makakapalo.”
“Celing, ako man ay natalo din sa pustahan sapagkat
sa manok ng kalaban ako pumusta.”

9. STYLE
Allusion – The interpretation of Kulas on his dream turns
out wrong. He made false construction of it which led
him to lose again.
Symbolism – The cockfight symbolizes social passion or
simply, a game; money symbolizes the material; the cocks
themselves represent everything evil and nasty; and the
adobo represents the result of the work.
Plot/Tragedy – The play does follow a plot (Fight - Trick -
Result)
Local Color – The entire play focused on specific features
including characters, dialects, common arguments of a
typical Filipino couple about cockfight, dreams and
superstitions in gambling.
Epilogue – In a remarkably contemporary moment at the
end of the play, Kulas promised he will never get involve
in gambling.
Antithesis – Kulas realized that good fortune can’t
overcome when you put cheating on it. Luck is the
opposite of the desire to win a fortune in a cheat way.
General Interpretation
After examining the script of the play, it
clearly states the importance of time and family or
time with family, and having a good fortune.
Men are so attached into grooming and
taking care of the cocks that they did not mind
spending time with their family. The cockfight is a
metaphor that stands for the struggles going on in
everyday social life of every individual. It displays
social conflicts, tension and somehow things lead
into constructing evil clutches and tricks. They
believe that it is the solution and easiest way to
find wealth.
Theme: Man’s obsession in attaining wealth by means of illegal condition.

10. An Illumination to the Theme Extracted
After getting through the concept of determining the play in the
view of the formalistic approach particularly by explication and exegesis, the
theme was extracted. The theme states that: Man’s obsession in attaining
wealth by means of illegal condition. It is all about the cravings of man into
gambling. It comes across with anything that makes him constantly think
about a certain thing.
Almost everyone who was involved with unlawful habit of gambling
are logically smart. They construct tricks that results into winning the fight. It
explains such a valuable meaning that man could possibly do whatever it
takes just to have something he have been fascinating to gain.

11. Significant
Promise Disengagement Signifier: Cockfight Signified: Money
Game of Life Sign: Desire
THEME: Man’s desires to have nice fortune in life. Also, It is saying that life may be
dealt what looks like a bad hand.
II. Structuralist Approach
Binary Opposition

12. An Illumination to the Theme Extracted
After building the theme based on the structuralist’s view towards the play, it
is all about life. It is saying that you may be dealt what looks like a bad hand.
This means that we might born in poor surroundings or born in rich
surroundings, or any other life that you are born into, it doesn't matter because every
hand is a winning or losing hand - you make it what it is. We make our own path; either it
is on the right way or not. The intensions of the play was for us to realize what is
important and what you have to hold on too, and when things are getting dangerous and
when to get out if you need to.
No matter what hand life has dealt to you, you can still win if you play your
game well.

13. III. FUSION OF THE THEMES EXTRACTED FROM FORMAL AND STRUCTURAL ANALYSES
FORMALISM STRUCTURALIST
Extracted Theme Extracted Theme
Man’s desires comes in many figures. At the same time, it makes their own way even it is in illegal
forms such as cheating. Because of that, the obsession become stronger in a possible mean that sometimes leads
to ruin a family bond.
New Theme
Man’s obsession
in attaining wealth by
means of illegal condition.
Man’s desires to have
nice fortune in life. Also, It is
saying that life may be dealt
what looks like a bad hand.

14. An Illumination to the Theme Extracted
Man’s desires comes in many figures. At the same time, it makes
their own way even it is in illegal forms such as cheating. Because of that, the
obsession become stronger in a possible mean that sometimes leads to ruin a
family bond. The connection with the family might probably on the edge.
Therefore, it creates crack on their relationship. Just like in reality, desires could
literally destroy anybody’s choices because it blocks the way of thinking and all
of his concern will be on how to attain his desires.

15. Presented by:
Acuña, Joan F.
Catabui, Josephine
Lapig, Glydel I.