
@article {4681,
	title = {Staging the Precarious, the Vulnerable, and the Stranger: The Stage of Filipino Director Jos{\'e} Estrella},
	journal = {Critical Stages/Sc{\'e}nes Critique },
	number = {31},
	year = {2025},
	url = {https://www.critical-stages.org/31/staging-the-precarious-the-vulnerable-and-the-stranger-the-stage-of-filipino-director-jose-estrella/ },
	author = {Tiatco, Sir Anril P. and Jem R. Javier and Josefina F. Estrella}
}
@article {4680,
	title = {Celebration and Remembrance in Kalibo{\textquoteright}s Ati-Atihan: Mythmaking, Devotion, Cultural Memory},
	journal = {Asian Theatre Journal},
	volume = {41},
	number = {2},
	year = {2024},
	pages = {269-295},
	abstract = {The\&nbsp;Ati-Atihan\&nbsp;is a Philippine festival held every January in Kalibo, Aklan province on Panay Island, in honor of the town{\textquoteright}s patron saint, the Santo Ni{\~n}o (The Child Jesus) and, at the same time, a commemoration of the original settlers of the island, the dark-skinned Atis. The festival is believed to predate Hispanic colonialism. However, Spanish missionaries gradually added Christian meanings to it. The festival{\textquoteright}s origin is also linked to the epic\&nbsp;Maragtas, which tells the story of Ten Bornean Datus (chieftains) led by Datu Puti, who fled Borneo in the thirteenth century and landed on the island of Panay. The Borneans purchased the island from the Ati people. Feasting and festivities followed soon after the transaction, including a traditional Ati dance, which was mimicked by the Borneans as an act of appreciation. Today, the festival consists of religious processions and street dancing, showcasing groups and individuals wearing colorful and elaborate costumes and marching drummers. The street dancing, sadsad, is improvised where the foot is momentarily dragged along the ground in tune with the drummers{\textquoteright} beat. The essay interrogates the\&nbsp;Ati-atihan\&nbsp;Festival through its three components{\textemdash}a dance-drama called\&nbsp;Maragtas it Panay\&nbsp;(The Barter of Panay), the\&nbsp;sadsad, and the cultural dance competition. I argued that religion (Catholicism), cultural history (the\&nbsp;Maragtas), and the series of performances during the weeklong merry-making complicate the festival{\textquoteright}s ontology. Entangling these aspects, the festival is explored as a celebration and, at the same time, a repulsion of the foreign (colonial disposition), which leads toward an understanding of the festival as a concatenation of entanglements: devotion and entertainment, utopia and nostalgia, and history and mythmaking. In the end, the\&nbsp;Ati-atihan\&nbsp;invokes a communal identity, which may be asserted as a recuperation of a pre-contact collective identity that embodies a proposition signifying how the body remembers what the archives failed to record.},
	url = {https://doi.org/10.1353/atj.2024.a936937},
	author = {Tiatco, Sir Anril P.}
}
@article {4679,
	title = {Awakening Philippine Cultural Consciousness in the Youth through Amelia Lape{\~n}a-Bonifacio{\textquoteright}s Paper Pasyon},
	journal = {Harmonia: Journal of Arts Research and Education },
	volume = {24},
	number = {1},
	year = {2024},
	pages = {88-104},
	abstract = {This article aims to explore how the staging of Papet Pasyon, a children{\textquoteright}s play by Amelia Lape{\~n}a-Bonifacio, a Philippine National Artist, impart and continues to communicate to the local younger audience an understanding of culture and an appreciation of the art of puppetry. This is then followed by the conceptualization of the actual staging of the play vis-{\`a}-vis her vision of a children{\textquoteright}s theatre. Afterward, Papet Pasyon is asserted as a pedagogy for younger audiences. Results of the study show (1) how the pre-show conversation prepares the audience for the performance and how it provides an understanding of Filipino cultural traditions and an appreciation of the art of puppetry; (2) how the performance serves as a venue for experiential learning; (3) how the art of puppetry challenges one{\textquoteright}s imagination in manipulating the puppet (in the case of the puppeteer) and in creating meanings from what they hear and see onstage (in the case of the audience); (4) cooperation and integration are made evident by the interactions between the puppet and the puppeteer and the puppet and puppeteer with the audience; and (5) that although puppetry is foreign to the audience, they have expressed appreciation of the art form by repeatedly watching the performance through the years.},
	url = {https://doi.org/10.15294/harmonia.v24i1.46462},
	author = {Amihan Bonifacio-Ramolete and Tiatco, Sir Anril P.}
}
@article {4678,
	title = {Ang Teatrikalidad ng MonoVlog: Improbisasyon at Kuwentuhan sa Panahon ng COVID-19 sa Pilipinas},
	journal = {Daluyan: Journal ng Wikang Filipino },
	volume = {29},
	number = {2},
	year = {2023},
	pages = {97-119},
	abstract = {
	A contraction of two words: monologue and vlog, the monoVlog is a hybrid performance genre developed during the Covid-19 pandemic. While the monoVlog is similar to vlogging and to the performance of a monologue, the monoVlog differs from vlogging because a vlog has not always been live. Several vloggers produce content by recording themselves prior to its online premiere. On the other hand, the monoVlog has a shorter duration compared to most monologues performed on stage. This article is an interview-essay regarding the monoVlog. The aim of the paper is to document the form and to produce a preliminary speculation regarding the future direction of the form. At the same time, it is intended to transfer the ideas of Layeta Bucoy, the figure behind the performance form, to academic writing. Finally, the paper aims to include the monoVlog in the archive of performance practices of the Philippines. The archiving of the form is intended for the future generation of performance artists and scholars and for them to understand that despite crisis such as the Covid-19, the resiliency and creativity of the Filipino artists continue to persist. The final section of the article is the play JonaLive, two short monoVlogs combined as a one-act play by Bucoy. An example is provided to understand the dramatic aspect of the form and at the same time, its vlog aspect.

},
	url = {https://journals.upd.edu.ph/index.php/djwf/article/view/9786/8639},
	author = {Tiatco, Sir Anril P. and Layeta Bucoy}
}
@inbook {3773,
	title = {Centers of Musical Theatre},
	booktitle = {Routledge Companion to Musical Theatre},
	year = {2023},
	pages = {383 - 399 },
	publisher = {Routledge},
	organization = {Routledge},
	address = {London and New York},
	abstract = {The five essays in this chapter survey well-known and lesser-known cities around the world where musical theatre is produced: Rio de Janeiro, Brazil; New York City, USA; London, UK; Lagos, Nigeria; and Manila, the Philippines. Each one reflects on different historical moments, from the nineteenth century through to the twenty first century, and on particular practitioners who contributed a range of innovations to musical theatre. Alex B{\'a}due considers the localization and assimilation processes that have combined European, US American, and Brazilian cultures in Rio de Janeiro{\textquoteright}s musical theatre practice. Jennifer C. H. J. Wilson uses impresario Tony Pastor{\textquoteright}s career to explore how musical theatre in nineteenth-century New York City circulated and responded to the city{\textquoteright}s working-class immigrant population. Laura Milburn similarly takes an impresario, producer Charles B. Cochran, and unpacks his collaborative work in twentieth-century London with both British and American songwriters. Leesi Patrick privileges a third producer, Bolanle Austen-Peters, and highlights BAP{\textquoteright}s pioneering work in developing musical theatre as a viable entertainment industry in Lagos. Sir Anril P. Tiatco examines musical theatre entanglements in Manila to better understand the processes of returning, rewriting, and repeating that define its industry.},
	url = {https://www.taylorfrancis.com/chapters/edit/10.4324/9780429260247-35/centers-musical-theatre-alex-b{\'a}due-jennifer-wilson-laura-milburn-leesi-patrick-anril-tiatco},
	author = {Jennifer CHJ Wilson and Badue, Alex and Kaura Milburn and Leesi Patrick and Tiatco, Sir Anril},
	editor = {Laura McDonald and Ryan Donnovan}
}
@inbook {3658,
	title = {Theatre Criticism, Wherefore Art Thou?{\textquotedblright}: The Where and the Why of Theatre Criticism},
	booktitle = {Hulagway: Bahay na Salita, Balai ng Gunita},
	year = {2022},
	pages = {262 - 266},
	publisher = {National Commission for Culture and the Arts},
	organization = {National Commission for Culture and the Arts},
	address = {Manila},
	author = {Tiatco, Sir Anril P.},
	editor = {Floraime Oliveros Pantaleta}
}
@article {3657,
	title = {Philippine Catholic Festivals During the COVID-19 Pandemic: Performing Live in the {\textquotedblleft}New{\textquotedblright} Normal.},
	journal = {Contemporary Theatre Review},
	volume = {36},
	number = {3 - 4 },
	year = {2022},
	pages = {296 - 304 },
	abstract = {On 16 March 2020, then Philippine President Rodrigo Duterte imposed the Enhanced Community Quarantine putting the main island of Luzon {\textendash} where Manila, the National Capital Region, is located {\textendash} on a total lockdown to protect the spread of COVID-19. The lockdown restricted mobility, social gatherings were prohibited, and everyone was mandated to stay inside their homes. Moreover, there was a temporary closure of what were considered as non-essential establishments, including religious institutions. Being a predominantly Roman Catholic nation, religious rituals and festivals were heavily affected by the lockdown. Many of its ritualistic and festive performances involve human contact, which serves as the faithful{\textquoteright}s direct and intimate relationship to the heavens. This essay interrogates how cultural festivals in the Philippines, mostly organised by the Church, adapted to the global health crisis. It reflects how the adaptations challenged and recontextualised the understanding of the\&nbsp;live\&nbsp;vis-{\`a}-vis the context of the digital or the virtual. Finally, a preliminary speculation on the future of the religious festivals in the Philippines is provided as a concluding reflection.},
	url = {https://doi.org/10.1080/10486801.2022.2118732},
	author = {Tiatco, Sir Anril P.}
}
@article {3266,
	title = {Performing Memory in Nana Rosa: Public Assembly, Counter-Narrative, and Artistic Activism},
	journal = {Comunicazioni Sociali: Journal of Media, Performing Arts, and Cultural Studies},
	number = {3},
	year = {2021},
	pages = {311 - 320},
	abstract = {The essay interrogates how the theatre is used to affirm and to problematize the construction of historical narrative and political discourse, specifically the creation of public assembly, counter- narrative and artistic activism. Through\&nbsp; the performance of the Filipino play Nana Rosa, it is argued that the theatre has a potential to transform personal testimonies into a radical assembly by invoking a community, whose members possess a social responsibility to\&nbsp; recognize the precarity of each other. It also inquires the necessity of inserting scenarios in the play even if these are not officially recognized as official historical encounters. The insertion is proposed to be an artistic mode of\&nbsp; countering the dominant narrative (i.e. Japan{\textquoteright}s denial of the sexual abuses during the Pacific War). Finally, it investigates the relationship of the play and the local theatre genre drama simbolico, a subversive and highly political\&nbsp; Philippine melodrama during the early 20th century. Looking at the costumes, the play is a political demonstration, protesting colonial experience and oppressive narrative. In the end, through the transformation of the assembly, the\&nbsp; creation of the counter-narrative and the subtle revival of the drama simbolico, Nana Rosa is asserted as an example of artistic activism, featuring resistances and subversions.},
	url = {http://comunicazionisociali.vitaepensiero.com/scheda-articolo_digital/sir-anril-tiatco/staging-memory-in-nana-rosa-public-assembly-counter-narrative-and-artistic-activism-001200_2021_0003_0311-371410.html},
	author = {Tiatco, Sir Anril P.}
}
@article {3148,
	title = {The Intramuros Project: Performing Heritage, Performed Ethnography, and Documentary Performance },
	journal = {Asian Studies: Journal of Critical Perspectives on Asia},
	volume = {57},
	number = {2 },
	year = {2021},
	pages = {101 - 149 },
	abstract = {
	The documentary playscript\&nbsp;The Intramuros Project\&nbsp;is based on ethnographic materials (i.e. transcripts of interviews and storytelling) collected and annotated\&nbsp;between March and September 2019 from different stakeholders of Intramuros or\&nbsp;Old Manila. These include security guards, ice cream vendors, informal settlers, on-the-job-trainees,\&nbsp;padyak\&nbsp;drivers,\&nbsp;kalesa\&nbsp;drivers, and government workers. The\&nbsp;documentary performance manuscript also drew from other existing documentary materials such as the Gazette of the Republic of the Philippines, news reports about Intramuros, and other resources written about the walled city of Manila.\&nbsp;The playscript was developed and workshopped using moment work, a devising\&nbsp;technique introduced by the Tectonic Theater Project where devisors and\&nbsp;dramaturgs are invited to think of potential staging devices on different scenes.\&nbsp;Generally, the documentary piece is an attempt to problematize the concept of heritage using Intramuros as a starting point. In this paper, the playscript developed is explained through the dramaturgical notes. In the end, it is asserted that creative processes of devising and dramaturgy also contribute to cultural studies discourse.

},
	author = {Tiatco, Sir Anril P. and Viray, Bryan L and Nieto, Olivia Kristine D.}
}
@article {2635,
	title = {Performing Gender and Devotion in the Pe{\~n}afrancia Festival in the Philippines},
	journal = {JATI: Journal of Southeast Asian Studies},
	volume = {25},
	number = {2 },
	year = {2020},
	pages = {150 - 173},
	abstract = {The Festival of Our Lady of Pe{\~n}afrancia is celebrated on a Sunday after the octave of 8 September. Housed at the Pe{\~n}afrancia Basilica Minore, the image of the Pe{\~n}afrancia is considered the patroness of the entire Philippine region of Bicol. In the essay, the\&nbsp;Pe{\~n}afrancia is described as a theatricalised devotion where devotees are transformed into a frenzied ensemble that normalises masculinity as a privileged norm. However, digging deeper into the festival{\textquoteright}s peculiarity, the normalisation of masculinity is only incidental because the gendering, in fact, idealises and celebrates a figure of a woman. The idealisation and celebration of the woman-figure is asserted to have a precolonial root. In the end, it is argued that the Pe{\~n}afrancia is a manifestation of a cultural community in which the pre-colonial lifeways of its members are recuperated through expressive bodily movements. At the same time, the legacy of Hispanic Catholicism is decolonised through rearticulating an indigenous past.},
	url = {https://doi.org/10.22452/jati.vol25no2.7},
	author = {Tiatco, Sir Anril P.}
}
@article {2634,
	title = {Performing the Traditional Fiesta in Batanes: Pistang Chavayan in Sabtang Island, Philippines},
	journal = {Asian Studies Journal},
	volume = {56},
	number = {1},
	year = {2020},
	pages = {114 - 125 },
	abstract = {
	This essay is a descriptive narrative of my visit in Chavayan in August 2016. The trip was originally intended to observe the cultural performance palo-palo for a research project funded by the University of the Philippines through the Emerging Interdisciplinary Research Program. The palo-palo is loosely defined as a war dance mimicking the arm struggles of the Muslims and the Christians (Tiatco, Javier, and Landicho 2018). It is often performed during the celebration of the village pista (fiesta), {\textquotedblleft}a complex phenomenon, thought of as solemn yet at the same time secular; a festivity where neither the state nor the Church is in the ultimate position of authority; a parade of holiness; and a procession of spectacle{\textquotedblright} (Tiatco 2016, 130).\&nbsp;During my visit, the Chavayan fiesta provided an interesting performative encounter. According to Josephine Habana, an informant and a cultural worker, the celebration has been in existence since the time of their ninuno (first or older generation of ancestors). He mentioned that their activities are mere repetitions of what the locals have been performing since probably around the late 1800s. This narrative is a preliminary and expository account of the Chavayan fiesta which I intend to reflect upon sooner via the locus of iteration.

},
	author = {Tiatco, Sir Anril P.}
}
@inbook {2120,
	title = {Staging the Banality of Social Evil: Faust in/and Philippine Contemporary Social Politics},
	booktitle = {Performing Southeast Asia: Contemporary, Politics and Performance},
	year = {2020},
	pages = {113 - 143 },
	publisher = {Palgrave Macmillan},
	organization = {Palgrave Macmillan},
	address = {New York and London},
	abstract = {
	
		On the occasion of the 2017 National Arts Month in the Philippines, Jos{\'e} Estrella directed\&nbsp;Faust, a contemporary Philippine adaptation written by Rody Vera. This chapter looks at\&nbsp;Faust as an allegory of the current Philippine political landscape. Specifically, it traces how the journey of Faust in search of the most ideal and perfect knowledge parallels the contemporary political affairs in the Philippines. The chapter reads the characters of Faust, Mephistopheles/Mephisto, Gretchen and the\&nbsp;mangkukulam\&nbsp;(witch) as relatable figures to Filipino audience, especially since they are presented as reminders that in an era of what many have identified as post-truth, someone will\&nbsp;always\&nbsp;emerge to tell the real story.
	

\&nbsp;},
	author = {Tiatco, Sir Anril P.},
	editor = {Tan, Marcus and Reiandran, Charlene}
}
@article {2119,
	title = {Panata, Pagtitipon, Pagdiriwang: A Preliminary Contextualization of Cultural Performances in the Philippines},
	journal = {Humanities Diliman},
	volume = {16},
	number = {1},
	year = {2019},
	pages = {55 - 82 },
	abstract = {Cultural performance first appeared in the language of the academic community when Milton Singer published his book\&nbsp;When Great Tradition Modernizes\&nbsp;(1972), in which he proposed cultural performance as a unit of observation in an anthropological inquiry. Since then, cultural performance has become a useful tool to provide a frame for the understanding of the self, society and culture. This essay reflects on the concept of cultural performance in a preliminary attempt to historicize and to contextualize it using Philippine culture as a starting point. The first part is a descriptive illustration on how the term evolved from being a social scientif ic concept to an important subject in the humanities, particularly in the fields of theatre and performance studies. Included in this section is a proposal based on reflections by anthropologists, folklorists and performance scholars for a model illustrating some identifiable markers that signify an activity as a cultural performance. The second part is a paradigmatic schematization of the specifics of how cultural performance may be understood in the context of the Philippines. Using the phenomena of\&nbsp;panata, pagtitipon and pagdiriwang, this paper argues that Philippine cultural performances are artistic communications in small groups performed publicly as a community gathering, even if the intentions of many performers are personal. The preliminary arguments found in this essay are based mostly on sporadic field notes in various locales in the archipelago.},
	url = {https://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/6681/5787},
	author = {Tiatco, Sir Anril P.}
}
@article {2118,
	title = {Tourism, Heritage and Cultural Performance: Developing a Modality of Heritage Tourism},
	journal = {Tourism Management Perspectives},
	volume = {31},
	number = {July 2019},
	year = {2019},
	pages = {301 - 309 },
	abstract = {Research has shown that heritage is a contested concept which not only creates unnecessary binaries but also perpetuates essentialized First World imagery of Asian countries. To assist in its reframing, this paper proposes critical ethnography. It is argued that through it, a more nuanced and community-based understanding of cultural heritage can be developed, thus allowing the articulation of modalities of cultural heritage and the formation of alternative imaginaries. To develop this point, the essay problematizes the heritage concept, examines how governing policies and tourism frameworks define cultural heritage vis-{\`a}vis its use in the tourism industry, and discusses the theoretical sources and intellectual legacy of critical ethnography. Cases from Batanes and Marinduque provinces, the Philippines, are reviewed to serve as background. With critical ethnography as a strategic method, the essay suggests that the semiotics of heritage tourism can be broadened and possibilities for social change in Asian tourism and hospitality established.},
	url = {https://doi.org/10.1016/j.tmp.2019.06.001},
	author = {Dela Santa, Edieser and Tiatco, Sir Anril P.}
}
@inbook {1891,
	title = {From Revolution to Figuration: A Genealogy of Protest Performances in the Philippines},
	booktitle = {Routledge Companion to Theatre and Politics},
	year = {2019},
	pages = {89 - 92 },
	publisher = {Routledge},
	organization = {Routledge},
	address = {New York and London},
	abstract = {
	This chapter presents the genealogy of protest performances on the Philippine stage and proposes the revolutionary rhetoric of creating an assembly is transformed into an active protestation in the process. This genealogy has created a radical figure of solidarity between the performers and the audience members by renewing a sense of community through dissent against forces of oppression. This community is forged inside the auditorium with artists commonly hoping for it to be extended outside the theatre. In the formation of a community, the stage has invited the audience into transcendence in the rehearsal of social responsibility through the presentation of the everyday social life of the Filipino people, particularly those involving abuse, repression, and oppression. In the end, the stage signals recognition of what Judith Butler\&nbsp;calls the precarity of each other and recognition of the other as other and not as an object of one{\textquoteright}s enjoyment, work, and possession.

},
	author = {Tiatco, Sir Anril P. and Viray, Bryan L.},
	editor = {Peter Eckersall and Helena Graham}
}
@inbook {1890,
	title = {Chapter 3: The Philippine Performance Archive on Cultural Performances: The Archive as a Performative Cultural Memory and Pedagogy},
	booktitle = {Digital Humanities and New Ways of Teaching},
	year = {2019},
	pages = {33 - 52 },
	publisher = {Springer},
	organization = {Springer},
	address = {Singapore},
	abstract = {
	The essay is a general overview of the Philippine Performance Archive on Cultural Performances. The first part is an introduction and a presentation of the archival project with emphasis on the concept of cultural performance, concretized within performance studies paradigm using Philippine society and culture as context. The second part is a discussion of how data in the archive were documented and collected using focused ethnography as primary methodology. The method is argued to be the distinguishing mark of the project from other digital archives. Also, this section provides a detailed exposition about the significance of understanding local performance vocabularies and how these terms are translated into the archive through semantic framing. In the end, it is asserted that the Philippine Performance Archive on Cultural Performances functions not only as a repository of resource materials on the study of Philippine cultural performances but also as a performative cultural memory and a pedagogical tool.

},
	url = {https://www.springer.com/la/book/9789811312762$\#$aboutAuthors},
	author = {Tiatco, Sir Anril P. and Viray, Bryan L. and Jem R. Javier},
	editor = {Ann Wing-bo Tso}
}
@article {1815,
	title = {Performing Human Rights: Pista Rizalina{\textquoteright}s Interrogations of Martial Law, Extra-Judicial Killings, and Historical Revisionism at the Cultural Center of the Philippines},
	journal = {JATI: Journal of Southeast Asian Studies},
	volume = {23},
	number = {1},
	year = {2018},
	pages = {215-239},
	abstract = {The essay inquires a general question: what is the relationship of theater and human rights? A preliminary reflection is provided using the different activities staged at the Cultural Center of the Philippines (CCP) on the occasion of Pista Rizalina (Fiesta Rizalina) in September 2017. The festival was named after Rizalina Ilagan, a student activist-artist abducted by the military during the Martial Law era under President Ferdinand E. Marcos. To date, Ilagan{\textquoteright}s body has not been found. The festival is a commemoration of the victims of human rights violations encountered by thousands of Filipinos since the Martial Law era of Marcos. In the end, it is argued that performing human rights at the CCP is a tool to transmit traumatic experiences for the understanding of those who did not suffer violence, oppression and tyranny (i.e. today{\textquoteright}s younger generation). The relationship of theatre and human rights is asserted to be a rehearsal for a community where the other is encountered with care and responsibility.},
	author = {Tiatco, Sir Anril P. and Viray, Bryan L.}
}
@book {1694,
	title = {Cosmopolitanism, Theatre, and the Philippines: Performing Community in a World of Strangers},
	year = {2018},
	publisher = {University of the Philippines Press},
	organization = {University of the Philippines Press},
	address = {Quezon City},
	author = {Tiatco, Sir Anril P.}
}
@article {1691,
	title = {Recuperating and Reimagining the Palo-Palo in Batanes, Philippines: From Colonial Legacy to a Performance of Solidarity and Friendship},
	journal = {Asian Theatre Journal},
	volume = {35},
	number = {1},
	year = {2018},
	pages = {1-18},
	abstract = {
	This essay is a preliminary discussion of the palo-palo, a cultural performance of the Ivatan community in the Batanes group of islands in northernmost Philippines where performers strike {\textquotedblleft}opponents{\textquoteright}s{\textquotedblright} sticks to reenact a battle of two opposing camps. The first part is a descriptive narrative of the palo-palo performance. The second part is a preliminary analysis and theorization of the palo-palo{\textquoteright}s origin by arguing that the performance could have been based on and/or inspired by the komedya, a Philippine traditional theatre form introduced by the Spaniards during colonization which has roots in the socio-historical conflict of the Christians and the Muslims in the Iberian Peninsula in Southwest Europe. Generally, the localization of the form is argued to be paradoxically an embrace and repudiation of the foreign.

},
	author = {Tiatco, Sir Anril P. and Madilene B. Landicho and Jem R. Javier}
}
@webarticle {1693,
	title = {   Wagas! Or the Virgin Labfest of the Cultural Center of the Philippines Opens on 28 June.   },
	journal = {The Theatre Times Online},
	year = {2017},
	url = {https://thetheatretimes.com/wagas-virgin-labfest-13-cultural-center-philippines-opens-28-june/ },
	author = {Tiatco, Sir Anril P.}
}
@webarticle {1692,
	title = {   Politics, Human Rights and Social Activism: {\textquotedblleft}Pista Rizalina{\textquotedblright} at the Cultural Center of the Philippines   },
	journal = {The Theatre Times},
	year = {2017},
	url = {https://thetheatretimes.com/politics-human-rights-social-activism-pista-rizalina-cultural-center-philippines/ },
	author = {Tiatco, Sir Anril P.}
}
@article {1690,
	title = {   My Pren Named Gamlin / Laruan / Rite of Autumn   },
	journal = {Tomas},
	volume = {2},
	number = {11},
	year = {2017},
	pages = {128-149},
	author = {Tiatco, Sir Anril P.}
}
@book {1686,
	title = {Buhol-Bujhol/Entanglement: Contemporary Theatre in the Metropolitan Manila},
	year = {2017},
	publisher = {Peter Lang},
	organization = {Peter Lang},
	address = {Bern et al},
	abstract = {This book proposes entanglement as a useful idiom for understanding the contemporary Manila theatre. Drawing on its Tagalog counterpart,\&nbsp;buhol-buhol, entanglement is conceived not only as a juxtaposition among elements, but also as a process of muddling and snaring. Taken together, these affirm the entangled character of contemporary Manila theatre in overlapping representations, histories, relationships and genres, while at the same time marking some problematic limitations in the treatment of chosen subjects by Manilan artists. The reason for this is that while these entanglements render Manila theatre far more complex than the accusations of mimicry and inauthenticity frequently leveled at Filipino culture, artists are often caught up in a more intractable\&nbsp;buhol-buhol\&nbsp;than they are willing or able to recognize. Four figures of\&nbsp;buhol-buhol\&nbsp;are identified in this book:\&nbsp;pista\&nbsp;(fiesta),\&nbsp;kapuluan\&nbsp;(archipelago),\&nbsp;patibong\&nbsp;(trap), and\&nbsp;nangingibang-bayan\&nbsp;(overseas-worker). In conceptualizing these figures of entanglement, the discussions start by illustrating their materiality and performativity before proceeding to reflections about how these are directed towards the complexity of Manila theatre.},
	url = {http://dx.doi.org/10.3726/b10676},
	author = {Tiatco, Sir Anril P.}
}
@inbook {1685,
	title = {   The Contemporary in Metropolitan Manila Theatre: Derivatives, Entangled and the Social Problem Play   },
	booktitle = {Art Archive 01: A Collection of Essays on the Visual and Performing Arts},
	year = {2017},
	pages = {50-55},
	publisher = {The Japan Foundation},
	organization = {The Japan Foundation},
	address = {Manila},
	url = {http://jfmo.org.ph/events-and-courses/art-archive-01/},
	author = {Tiatco, Sir Anril P.},
	editor = {Patricia Tumang}
}
@inbook {1684,
	title = {Performing Like a Concert King or a Queen: Producing Original Filipino Musicals},
	booktitle = {The Palgrave Handbook to Musical Theatre Producers},
	year = {2017},
	pages = {449-458},
	publisher = {Palgrave Macmillan},
	organization = {Palgrave Macmillan},
	address = {New York},
	abstract = {A number of companies have become the gatekeepers of the Original Filipino Musical (OFM), such as Trumpets, Spotlight Artists Center, and Musical Theatre Philippines. These companies are strongly influenced by the mega-musical genre, and draw on a range of Filipino source material, including a gay comic book superhero (ZsaZsa Zeturnah, ze Muzical), an eighteenth-century Philippine comedia (Orosman at Zafira), and a novel by the nineteenth-century Filipino writer and nationalist Jos{\'e} Rizal (Noli me Tangere).},
	url = {https://link.springer.com/chapter/10.1057/978-1-137-43308-4_46},
	author = {Tiatco, Sir Anril P.},
	editor = {Laura MacDonald and William Everett}
}
@inbook {1680,
	title = {My American Dream{\textquoteright}: Dreaming of Broadway and West End in the Philippines},
	booktitle = {The Palgrave Handbook of Musical Theatre Producers},
	year = {2017},
	pages = {333-342},
	publisher = {Palgrave Macmillan},
	organization = {Palgrave Macmillan},
	address = {New York},
	abstract = {Training actors in English-language theatre since 1967, Repertory Philippines is one of the major producers of musical theatre in Manila. Since the launch of Atlantis Productions in 1999, these two companies have dominated Filipino musical theatre. Part of the companies{\textquoteright} vibrancy comes from their occasional battles to license productions of the same British and American musicals.},
	url = {https://link.springer.com/chapter/10.1057\%2F978-1-137-43308-4_33},
	author = {Tiatco, Sir Anril P.},
	editor = {Laura MacDonald and William Everett}
}
@book {1683,
	title = {Performing Catholicism: Faith and Theater in a Philippine Province},
	year = {2016},
	publisher = {University of the Philippines Press},
	organization = {University of the Philippines Press},
	address = {Quezon City},
	abstract = {Generally, this book is a reflection of the relationship between religion and theater. Particularly, it looks at the relationship of Catholicism and performance or the embodied world of theater in opposition to the written text. In investigating this relationship, two inquiries are identified. First, it is proposed that performance may be looked at as an analogy for the understanding of Catholicism. Second, the link between Catholicism and performance is ontological. In other words, this book is an inquiry on Catholicism {\textquotedblleft}as{\textquotedblright} a performance and an assertion that it {\textquotedblleft}is{\textquotedblright} a performance. To illustrate the as/is in the relationship of Catholicism and performance, three Catholic rituals or cultural performances in the province of Pampanga are used as examples: pamamaku king krus, libad nang Apung Iru, and kuraldal nang Apung Lucia.},
	author = {Tiatco, Sir Anril P.}
}
@article {1681,
	title = {   The Philippine Fiesta and Rizal X: The Possibilities and Problems of Entanglement in Contemporary Manila Theater   },
	journal = {Humanities Diliman},
	volume = {13},
	number = {2},
	year = {2016},
	pages = {127-262},
	abstract = {In this essay, entanglement is proposed as a conceptual idiom for the understanding of contemporary Manila theater where\&nbsp;pista\&nbsp;(fiesta) is used as model and\&nbsp;Rizal X\&nbsp;as example. Contemporary Manila theater via\&nbsp;Rizal X\&nbsp;is argued to be part of an intricate entanglement: representations, shared histories, relationships and genres, which are all activated during a pista.\&nbsp;Rizal X\&nbsp;is used as an example because it strategically puts entanglement in an affirmative position. More specifically,\&nbsp;Rizal X\&nbsp;is treated as a microcosm of the pista because it has entangled representations, histories, relationships, and genres in the same way that the pista performs such entanglement. Nonetheless, the idea of entanglement often carries a negative connotation. Despite the promise of entanglement as a possible idiom towards the identification of an ontology of contemporary Manila theater, entanglement has its own limitations, especially since many artists unintentionally overuse entanglement (i.e., pastiche, fragments) in their theater. Because of such complication, there is a tendency for theater works to unintentionally editorialize their chosen subjects. In conducting a close reading of\&nbsp;Rizal X,\&nbsp;it is envisioned to illustrate the limitations of entanglement as a discursive concept for the understanding of contemporary Manila theater.},
	url = {http://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/5165},
	author = {Tiatco, Sir Anril P.}
}
@book {1682,
	title = {Entablado: Theaters and Performances in the Philippines},
	year = {2015},
	publisher = {University of the Philippines Press},
	organization = {University of the Philippines Press},
	address = {Quezon City},
	abstract = {A collection of essays, this book attempts to continue the conversation on theater studies and performance studies in the context of Philippine scholarship. In the discussions, the trope of entablado is used as a central idiom. First, entablado refers to its literal meaning, as a space where a performance takes place. The space of the performance, however, is not only confined within the walls of an auditorium. It may also be in a street, a foyer of a huge cultural landmark, a river, or a school auditorium. Also, the space may not necessarily be a location exclusively for an artistic performance. It may be a space where people gather for the Divine, for entertainment, for a political protest, or for an academic conversation.Second, entablado is used here as a signpost for both ambivalence and exact possibility. The ambivalence is in the concept{\textquoteright}s determinism, which, like entablado, has Hispanic origins, that seems to be suggestive of a need for an academic discipline in Philippine academia where the starting point is the space of entablado (theater and performance). As stated in the introduction of this book, theatre studies and performance studies as disciplines are emerging fields. By this emergence, there is an implicit invitation for the recognition of these disciplines as independent fields. In this regard, the entablado is a linage to the more traditional discipline of literary studies in which the stage is read as a cultural text. At the same time, it is also a departure from the literary paradigm to read the entablado as a cultural performance. This is where the possibilities of striking, initiating and beginning take place. The possibility of independence is implicit in the chapters, that there is something in the analyzed performances where the entablado (as a space) becomes a site for knowledge production and consumption. In particular, the possibility of the Filipino entablado as a starting point for socio-cultural and art theory may finally commence. Therefore, the possibility of entablado establishing a new paradigm in the humanities and the human sciences is not trivial but necessitates a reconceptualization of discipline: theater and performance studies.},
	author = {Tiatco, Sir Anril P.}
}
@article {1678,
	title = {   Performing the Bakla in The Care Divas: Cross-Dressing, Affective Labor and the Glimpse of the Cosmopolitan   },
	journal = {Journal of Homosexuality},
	volume = {65},
	number = {11},
	year = {2015},
	pages = {1485-1511},
	abstract = {This essay is a close reading of\&nbsp;The Care Divas, a Filipino musical revolving around the struggle of five Filipino caregivers in Israel who also struggle with their sexual identities as\&nbsp;bakla\&nbsp;(Filipino homosexual). The analysis is both an affirmation and a critique of the performance. In the affirmation, the musical is argued to present a social reality that is intended for and in need of interrogation: the Filipino\&nbsp;bakla. The musical implicitly features the\&nbsp;bakla\&nbsp;as a cosmopolitan. At the outset, this cosmopolitan disposition comes from the fact that the characters are migrant workers (caregivers). But more importantly, the cosmopolitan character is from a responsibility toward the\&nbsp;other\&nbsp;anchored within a genuine caring as implicated in the affective labor of these caregiver characters. In the critique, the essay marks some problematic limitations in the treatment of the\&nbsp;bakla. In doing so, the musical, despite its attempt to present a social reality, is a problem play, a social drama touching social issues{\textemdash}realistic in approach, but the representation seems like an editorial. In the final analysis,\&nbsp;The Care Divas\&nbsp;is argued to seemingly fail because artists are not able to see the complexity of their chosen subject in a bigger picture.},
	url = {https://doi.org/10.1080/00918369.2015.1073031},
	author = {Tiatco, Sir Anril P.}
}
@article {1677,
	title = {   Entanglement: A Preliminary Study of a Philippine Puppet Sinakulo for Children   },
	journal = {Humanities Diliman},
	volume = {12},
	number = {1},
	year = {2015},
	pages = {49-77},
	abstract = {
	Staged annually at the Amelia Lape{\~n}a-Bonifacio Papet Teatro-Museo,\&nbsp;Papet Pasyon\&nbsp;is the onlysinakulo\&nbsp;in the Philippines performed in puppetry to date. In this essay, the puppet play is proposed to be an entanglement of three cultural forms: the literary form of the pasyon, the theatre form of the\&nbsp;sinakulo,\&nbsp;and the art of puppetry. The bases for the text of this puppet play are foreign sources namely a children{\textquoteright}s Bible from Europe, the passion play from Oberammergau in Germany, and the dramatic tradition of the Western musical. Though originally a Western-based text, Lape{\~n}a-Bonifacio crafted and encapsulated the puppet play into an hour and a half show that highlights the story of Christ{\textquoteright}s passion, is written in a Philippine language, and is understandable to young audiences. Its manner of presentation, on the other hand, was inspired by the very rich puppet traditions of Asia, particularly the Japanese\&nbsp;bunraku\&nbsp;and the Indonesianwayang golek.\&nbsp;The essay begins exploring this proposal of entanglement by introducing Amelia Lape{\~n}a-Bonifacio, founder of Teatrong Mulat, and her vision of a children{\textquoteright}s theatre in the archipelago with productions based on and inspired by local folktales and various theatrical forms in the Asian region. This is then followed by a narrative on the genesis of Papet Pasyon, which like most Teatrong Mulat productions, is a product of mixing and matching local and foreign influences. The bulk of the paper is a preliminary analysis and a close reading of Papet Pasyon as a cultural text and performance of entanglement because, generally, the play is a concatenation of the pasyon, the sinakulo, and various forms of puppetry.

},
	url = {http://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/4645},
	author = {Tiatco, Sir Anril P. and Amihan Bonifacio-Ramolete}
}
@article {1676,
	title = {   LIFT: Love is Flower The (Performance Review)   },
	journal = {Asian Theatre Journal},
	volume = {32},
	number = {1},
	year = {2015},
	pages = {319-323 },
	url = {10.1353/atj.2015.0007},
	author = {Tiatco, Sir Anril P.}
}
@inbook {1679,
	title = {Ang Via Crucis at ang Pagpapako sa Krus sa Cutud: Pagtatanghal ng Sakit, Pasakit at Pagtubos.},
	booktitle = {A Reader in Philippine Theatre: History and Criticism (Essays in Honor of Nicanor G. Tiongson)},
	year = {2014},
	pages = {159-179},
	publisher = {University of the Philippines Press},
	organization = {University of the Philippines Press},
	address = {Quezon City},
	author = {Tiatco, Sir Anril P.},
	editor = {Rosario Cruz-Lucero and Jonathan Chua}
}
@article {1675,
	title = {Performing the Global at IntelStar: Figuring the Call Center on Manila Stage},
	journal = {Kritika Kultura},
	volume = {23},
	year = {2014},
	pages = {6-32},
	abstract = {
	Set in Makati, the central business district of the National Capital Region, Welcometo IntelStar is a monodrama satirizing the call center industry in the Philippines.The performance is an exemplar in positioning a diasporic consequence ofglobalization vis-{\`a}-vis nationalism because it calls on a national sentiment to theextent that the play illustrates resistance to globalization{\textquoteright}s economic and neoliberalattachments, often perceived as the destructive force of cultural diversity anduniqueness. In relation, the performance used a recurring trope in Philippineculture, which is called in the essay as the Americanization issue: the conception ofthe Filipino/a as a master mimic of other cultures, particularly the American one.Overall, Welcome to IntelStar falls short in its criticism of globalization becauseit isolated the phenomenon within the politics of the market. But nevertheless,the play allows the Filipino body, through its protagonist Chelsea, to be {\textquotedblleft}visible.{\textquotedblright}With her {\textquotedblleft}expertise{\textquotedblright} at imitation, Chelsea{\textquoteright}s visibility destabilizes the global order.Chelsea{\textquoteright}s mimicry is not simply about wanting to be like those who are imitated,but a strategy to assert a sense of self. This imitative performance implies selfconsciousnessand intimacy to the one being imitated. In this way, mimicry as selfactualizationis a creative strategy and has the potential to overthrow hierarchies ofglobalization in neo-colonial and neo-imperial orders.

},
	url = {http://dx.doi.org/10.13185/1880},
	author = {Tiatco, Sir Anril P.}
}
@article {1674,
	title = {Performing Cosmopolitan Entanglement in the Philippine Pista: Sariaya Agawan Festival as Example},
	journal = {Social Science Diliman},
	volume = {10},
	number = {2},
	year = {2014},
	pages = {1-29},
	abstract = {This essay proposes cosmopolitan entanglement as a conceptual framework for the understanding of the Philippine\&nbsp;pista\&nbsp;(fiesta). The pista is a cosmopolitan phenomenon because communities engage in a disposition of cultural openness with the strange and the stranger. It is a performance of entanglement because it is a complex cultural phenomenon projected to be solemn yet secular, a festivity that neither the State nor the Church is in an ultimate position of authority, a parade of divinity, and a procession of spectacle. In arguing for cosmopolitan entanglement in the pista, the essay explores the 2007\&nbsp;Agawan\&nbsp;festivity in Sariaya, Quezon, some 120 km south of Manila, as a case study. The first part is a conceptualization of cosmopolitanism as related to the pista using the Catholic dogma as lens. The analysis of Catholic dogma is necessary because in the Philippines the pista has its origin in Catholicism, its celebrations often coinciding with the feast day of a community{\textquoteright}s patron saint. The second part examines the pista as a performance of entanglement. The final section describes the Sariaya pista via the Agawan festival as a case of cosmopolitan entanglement. The pista in Sariaya is an exemplar of cosmopolitan entanglement because community members perform cultural openness, which is also a mixing and matching of different performance activities, a strategy of combining the secular and the sacred, and a welcoming gesture to both the familiar and the stranger.},
	url = {http://journals.upd.edu.ph/index.php/socialsciencediliman/article/view/4401},
	author = {Shirley Guevarra and Corazon Gatchalian and Tiatco, Sir Anril P.}
}
@article {848,
	title = {Theatre, Entrapment and Globalization in Welcome to IntelStar},
	journal = {Humanities Diliman: A Journal on Philippine Humanities},
	volume = {11},
	number = {1},
	year = {2014},
	pages = {57-84},
	abstract = {This essay reflects on globalization as a phenomenon that connects and influences the world{\textquoteright}s socio-cultural and political spheres, similar to how some academics explore the nature of the global. In particular, the essay interrogates how globalization is mediated in the theatre. The motivation in the inquiry is based on a presumption that theatre artists are also actively participating in defining what globalization means. At the same time, it comes from an assumption that theatre artists are also actively performing what it means to be global. Many artists engage with the global by either collaborating with artists of different nationalities or using globalization as a central theme in their theatre works. In reflecting on globalization, the essay analyzes Chris Martinez{\textquoteright}s monodrama\&nbsp;Welcome to IntelStar, staged at the Studio Theatre of the Cultural Center of the Philippines in 2006. This play proposes that globalization is a trap. In this alignment of globalization and {\textquotedblleft}the trap,{\textquotedblright} the entrapment brings forth a dichotomy: the global and the local. This dichotomy is strongly imagined in the staging of\&nbsp;IntelStar,\&nbsp;where the local is presented as the prey or the victim in the entrapment. But in the f inal analysis, the performance mediates the sociality between the local and the global and ultimately performs an entanglement of the local and the global as a reference to an attraction and repulsion to globalization. However, in such treatment of globalization, the Studio Theatre also becomes a model of the trap where artists become the hunters and the audience members, the victims.},
	author = {Tiatco, Sir Anril P.}
}
@article {523,
	title = {The Philippine Komedya and the Recuperation of the Cosmopolitan: From Colonial Legacy to Cross-Cultural Encounter},
	journal = {Modern Drama},
	volume = {57},
	number = {1},
	year = {2014},
	pages = {94 - 121},
	abstract = {This article critiques the komedya vis-{\`a}-vis its institutionalization as national theatre form and proposes a cosmopolitan alternative in the critique. It argues that the imposition of a nationalist perspective in the reading the form falls into the trap of territoriality and {\textquotedblleft}othering{\textquotedblright} because of its Roman Catholic and Tagalog-centric orientations. The cosmopolitan critique is necessary because it embodies a middle-path alternative to the essentializing and territorializing character of popular nationalism and the anarchy of pluralism. The discussion of cosmopolitanism comes from the irony that komedya could have offered a cosmopolitan possibility when Filipino artists began its indigenization. The efficacy of this possibility was overpowered by methodological nationalism based on the hegemony of the center (The Greater Manila Area) and its central religion {\textendash} Catholicism. Thus, the komedya was contextualized as a Catholic theatre form and strengthened a particular hostility against non-Catholics, especially the Muslims.},
	author = {Tiatco, Sir Anril P.}
}
@book {527,
	title = {Cuaresma: Isang Dulang Ganap ang Haba},
	year = {2013},
	publisher = {University of Sto. Tomas Publishing House},
	organization = {University of Sto. Tomas Publishing House},
	address = {Manila},
	author = {Tiatco, Sir Anril P.}
}
@article {525,
	title = {Lear Dreaming (Performance Review)},
	journal = {Asian Theatre Journal},
	volume = {30},
	number = {2},
	year = {2013},
	pages = {532 - 538},
	author = {Tiatco, Sir Anril P.}
}
@article {524,
	title = {The Silenced Body of The Silent Soprano: The Overseas Filipino Worker as Silent and Erased in a Global City},
	journal = {Asian Theatre Journal},
	volume = {30},
	number = {2},
	year = {2013},
	pages = {414 - 444},
	abstract = {This essay interrogates the traditionally gendered Filipino female domestic helper vis-{\`a}-vis her {\textquotedblleft}constructed{\textquotedblright} role in transnational relations and the idea of globalization represented in the\&nbsp;2007{\textendash}2008\&nbsp;musical\&nbsp;The Silent Soprano. Through this musical, the essay explores how globalization and transnational relations are experienced and mediated on the stage of the developing city of Manila, which claims to be a cosmopolitan one. It is posited that the representations of transnational relations and globalization are predicated within methodological nationalism, inscribing a fear of participation in a globalized and cosmopolitan living.},
	url = {10.1353/atj.2013.0031},
	author = {Tiatco, Sir Anril P.}
}
@article {526,
	title = {Imag(in)ing St. Lucy: The Performative and Narrative Construction of the Kuraldal in Sasmuan, Pampanga},
	journal = {Philippine Humanities Review},
	volume = {14},
	number = {1},
	year = {2012},
	pages = {129 - 155},
	author = {Tiatco, Sir Anril P.}
}
@article {529,
	title = {Situating Philippine Theatricals in Asia: A Critique on the Asian-ness / Philippine-ness of Philippine Theatre(s)},
	journal = {JATI: Journal of Southeast Asian Studies},
	volume = {16},
	number = {December},
	year = {2011},
	pages = {133 - 152},
	author = {Tiatco, Sir Anril P.}
}
@article {531,
	title = {Performing the Nation Onstage: An Afterthought on the University of the Philippines Sarsuwela Festival 2009},
	journal = {Asian Theatre Journal},
	volume = {27},
	number = {2},
	year = {2010},
	pages = {307 - 332},
	author = {Tiatco, Sir Anril P. and Amihan Bonifacio, Ramolete}
}
@article {530,
	title = {Libad nang Apung Iru and Pamamaku King Krus: Performances of Ambivalences in Two Kapampangan Cultural Spectacles},
	journal = {TDR: The Drama Review},
	volume = {54},
	number = {2},
	year = {2010},
	pages = {91 - 102},
	author = {Tiatco, Sir Anril P.}
}
@article {532,
	title = {Postscript to University of the Philippines Komedya Fiesta 2008: Prelude to a Discourse on a National Theatre},
	journal = {Asian Theatre Journal},
	volume = {26},
	number = {2},
	year = {2009},
	pages = {281 - 302},
	author = {Tiatco, Sir Anril P.}
}
@article {534,
	title = {Cutud{\textquoteright}s Ritual of Nailing on the Cross: Performance of Pain and Suffering},
	journal = {Asian Theatre Journal},
	volume = {25},
	number = {1},
	year = {2008},
	pages = {58 - 76},
	author = {Tiatco, Sir Anril P. and Ramolete, Amihan Bonifacio}
}
@article {533,
	title = {Celebrating in the Water and Frolicking with St. Peter: Performance of a Folk Narrative and a Catholic Church Narrative in a Kapampangan Community},
	journal = {Philippine Humanities Review},
	volume = {10},
	number = {1 - 2},
	year = {2008},
	pages = {91 - 104},
	author = {Tiatco, Sir Anril P.}
}
