<style face="normal" font="default" size="100%">Staging the Precarious, the Vulnerable, and the Stranger: The Stage of Filipino Director José Estrella</style>

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<style face="normal" font="default" size="100%">Staging the Precarious, the Vulnerable, and the Stranger: The Stage of Filipino Director José Estrella</style>

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<style face="normal" font="default" size="100%">Celebration and Remembrance in Kalibo’s Ati-Atihan: Mythmaking, Devotion, Cultural Memory</style>

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<style face="normal" font="default" size="100%">Awakening Philippine Cultural Consciousness in the Youth through Amelia Lapeña-Bonifacio's <em >Paper Pasyon</em></style>

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<style face="normal" font="default" size="100%">Ang Teatrikalidad ng MonoVlog: Improbisasyon at Kuwentuhan sa Panahon ng COVID-19 sa Pilipinas</style>

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<style face="normal" font="default" size="100%">Centers of Musical Theatre</style>

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<style face="normal" font="default" size="100%">Theatre Criticism, Wherefore Art Thou?”: The Where and the Why of Theatre Criticism</style>

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<style face="normal" font="default" size="100%">Philippine Catholic Festivals During the COVID-19 Pandemic: Performing <em>Live </em>in the “New” Normal.</style>

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<style face="normal" font="default" size="100%">Performing Memory in Nana Rosa: Public Assembly, Counter-Narrative, and Artistic Activism</style>

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<style face="normal" font="default" size="100%">The Intramuros Project: Performing Heritage, Performed Ethnography, and Documentary Performance </style>

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<style face="normal" font="default" size="100%">Performing Gender and Devotion in the Peñafrancia Festival in the Philippines</style>

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<style face="normal" font="default" size="100%">Performing the Traditional Fiesta in Batanes: Pistang Chavayan in Sabtang Island, Philippines</style>

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<style face="normal" font="default" size="100%">Staging the Banality of Social Evil: Faust in/and Philippine Contemporary Social Politics</style>

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<style face="normal" font="default" size="100%">Panata, Pagtitipon, Pagdiriwang: A Preliminary Contextualization of Cultural Performances in the Philippines</style>

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<style face="normal" font="default" size="100%">Tourism, Heritage and Cultural Performance: Developing a Modality of Heritage Tourism</style>

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<style face="normal" font="default" size="100%">From Revolution to Figuration: A Genealogy of Protest Performances in the Philippines</style>

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<style face="normal" font="default" size="100%">Chapter 3: The Philippine Performance Archive on Cultural Performances: The Archive as a Performative Cultural Memory and Pedagogy</style>

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<style face="normal" font="default" size="100%">Performing Human Rights: Pista Rizalina's Interrogations of Martial Law, Extra-Judicial Killings, and Historical Revisionism at the Cultural Center of the Philippines</style>

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<style face="normal" font="default" size="100%">Cosmopolitanism, Theatre, and the Philippines: Performing Community in a World of Strangers</style>

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<style face="normal" font="default" size="100%">Recuperating and Reimagining the Palo-Palo in Batanes, Philippines: From Colonial Legacy to a Performance of Solidarity and Friendship</style>

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<style face="normal" font="default" size="100%"> Wagas! Or the Virgin Labfest of the Cultural Center of the Philippines Opens on 28 June. </style>

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<style face="normal" font="default" size="100%"> Politics, Human Rights and Social Activism: “Pista Rizalina” at the Cultural Center of the Philippines </style>

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<style face="normal" font="default" size="100%"> My Pren Named Gamlin / Laruan / Rite of Autumn </style>

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<style face="normal" font="default" size="100%">Buhol-Bujhol/Entanglement: Contemporary Theatre in the Metropolitan Manila</style>

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<style face="normal" font="default" size="100%"> The Contemporary in Metropolitan Manila Theatre: Derivatives, Entangled and the Social Problem Play </style>

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<style face="normal" font="default" size="100%">Performing Like a Concert King or a Queen: Producing Original Filipino Musicals</style>

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<style face="normal" font="default" size="100%">My American Dream’: Dreaming of Broadway and West End in the Philippines</style>

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<style face="normal" font="default" size="100%">Performing Catholicism: Faith and Theater in a Philippine Province</style>

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<style face="normal" font="default" size="100%"> The Philippine Fiesta and <em>Rizal X: </em>The Possibilities and Problems of Entanglement in Contemporary Manila Theater </style>

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6

<style face="normal" font="default" size="100%">Entablado: Theaters and Performances in the Philippines</style>

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<style face="normal" font="default" size="100%"> Performing the <em>Bakla </em>in <em>The Care Divas</em>: Cross-Dressing, Affective Labor and the Glimpse of the Cosmopolitan </style>

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<style face="normal" font="default" size="100%"> Entanglement: A Preliminary Study of a Philippine Puppet <em>Sinakulo </em>for Children </style>

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17

<style face="normal" font="default" size="100%"> LIFT: Love is Flower The (Performance Review) </style>

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5

<style face="normal" font="default" size="100%">Ang <em>Via Crucis </em>at ang Pagpapako sa Krus sa Cutud: Pagtatanghal ng Sakit, Pasakit at Pagtubos.</style>

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<style face="normal" font="default" size="100%">Performing the Global at <em>IntelStar</em>: Figuring the Call Center on Manila Stage</style>

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<style face="normal" font="default" size="100%">Performing Cosmopolitan Entanglement in the Philippine <em>Pista</em>: Sariaya <em>Agawan </em>Festival as Example</style>

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<style face="normal" font="default" size="100%">Theatre, Entrapment and Globalization in Welcome to IntelStar</style>

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<style face="normal" font="default" size="100%">The Philippine Komedya and the Recuperation of the Cosmopolitan: From Colonial Legacy to Cross-Cultural Encounter</style>

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<style face="normal" font="default" size="100%">Cuaresma: Isang Dulang Ganap ang Haba</style>

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<style face="normal" font="default" size="100%">Lear Dreaming (Performance Review)</style>

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<style face="normal" font="default" size="100%">The Silenced Body of The Silent Soprano: The Overseas Filipino Worker as Silent and Erased in a Global City</style>

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<style face="normal" font="default" size="100%">Imag(in)ing St. Lucy: The Performative and Narrative Construction of the Kuraldal in Sasmuan, Pampanga</style>

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<style face="normal" font="default" size="100%">Situating Philippine Theatricals in Asia: A Critique on the Asian-ness / Philippine-ness of Philippine Theatre(s)</style>

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<style face="normal" font="default" size="100%">Performing the Nation Onstage: An Afterthought on the University of the Philippines Sarsuwela Festival 2009</style>

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<style face="normal" font="default" size="100%">Libad nang Apung Iru and Pamamaku King Krus: Performances of Ambivalences in Two Kapampangan Cultural Spectacles</style>

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<style face="normal" font="default" size="100%">Postscript to University of the Philippines Komedya Fiesta 2008: Prelude to a Discourse on a National Theatre</style>

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<style face="normal" font="default" size="100%">Cutud’s Ritual of Nailing on the Cross: Performance of Pain and Suffering</style>

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<style face="normal" font="default" size="100%">Celebrating in the Water and Frolicking with St. Peter: Performance of a Folk Narrative and a Catholic Church Narrative in a Kapampangan Community</style>