
<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Tiatco, Sir Anril P.</style></author><author><style face="normal" font="default" size="100%">Amihan Bonifacio-Ramolete</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">   Entanglement: A Preliminary Study of a Philippine Puppet &lt;em&gt;Sinakulo &lt;/em&gt;for Children   </style></title><secondary-title><style face="normal" font="default" size="100%">Humanities Diliman</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2015</style></year></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/4645</style></url></web-urls></urls><volume><style face="normal" font="default" size="100%">12</style></volume><pages><style face="normal" font="default" size="100%">49-77</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">&lt;p&gt;
	Staged annually at the Amelia Lapeña-Bonifacio Papet Teatro-Museo,&lt;em&gt;&amp;nbsp;Papet Pasyon&lt;/em&gt;&amp;nbsp;is the only&lt;em&gt;sinakulo&amp;nbsp;&lt;/em&gt;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&amp;nbsp;&lt;em&gt;sinakulo,&lt;/em&gt;&amp;nbsp;and the art of puppetry. The bases for the text of this puppet play are foreign sources namely a children’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, Lapeña-Bonifacio crafted and encapsulated the puppet play into an hour and a half show that highlights the story of Christ’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&lt;em&gt;&amp;nbsp;bunraku&lt;/em&gt;&amp;nbsp;and the Indonesian&lt;em&gt;wayang golek.&amp;nbsp;&lt;/em&gt;The essay begins exploring this proposal of entanglement by introducing Amelia Lapeña-Bonifacio, founder of Teatrong Mulat, and her vision of a children’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.
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