Missy Maramara - Academia.edu (original) (raw)

Papers by Missy Maramara

Perspectives in the Arts and Humanities Asia, 2017

Perspectives in the Arts and Humanities Asia, 2018

This thesis is a collection of one person shows radically adapted from different literary texts, ... more This thesis is a collection of one person shows radically adapted from different literary texts, particularly Liz and Dick, Alice in Wonderland, and the Oresteia, which I performed in the University of Arkansas. It includes my statement of artistry, the process of adaptation to performance, and my personal archive of production materials.

Using theoretical concepts, Missy talks about the ways that theater provides a platform for heali... more Using theoretical concepts, Missy talks about the ways that theater provides a platform for healing. Speaker: Missy Maramara holds a Master of Fine Arts in Drama (Performance) from the University of Arkansas in Fayetteville through the International Fulbright Scholarship Program. She also trained at the L\u27École Internationale de Théâtre Jacques Lecoq in Paris and at Tectonic Theater Project in New York City. A Filipino actress with television and film credits, Missy is primarily a theater actress with local and international performances. She has worked with Tanghalang Pilipino, New Voice Company, Repertory Philippines, PETA and Dulaang UP. She performed her solo shows Love Liz and Clytemnestra in the New York United Solo Festival, and toured Clytemnestra around Europe and the United States. Missy has performed in festivals and conferences in New York, Paris, Berlin and Prague. She is a tenured Assistant Professor in the Fine Arts and English Departments of the Ateneo de Manila U...

Perspectives in the Arts and Humanities Asia, 2016

Anglo-American or Western acting practices, largely influenced by the works of Russian theater th... more Anglo-American or Western acting practices, largely influenced by the works of Russian theater theorist Konstantin Stanislavsky, lie at the core of acting courses in the Philippines and many countries of the world. In Western societies, these practices are taught in a cultural context where individualism, personal achievement, egalitarianism, and democratic principles are valued. These cultural orientations facilitate the expression of an actor’s inner life. In contrast, the cultural orientations in the Philippine context are a deference to authority, a sense of shame, and an inclination to emotionalism. How, then, does the Ateneo Theater Arts Program, based in a Philippine university, impart Western practices? This paper proposes an answer based on the writers’ personal experiences as theater practitioners and on interviews with students. It finds that through cultural negotiation enacted in acting exercises, an accommodation between Western acting methods and local cultural imper...

Perspectives in the Arts and Humanities Asia, 2018

Perspectives in the Arts and Humanities Asia, 2018

Kritika Kultura, Nov 1, 2005

Editor's Note The following are invited responses to Theo Gonzalves's "Dancing into Oblivion" whi... more Editor's Note The following are invited responses to Theo Gonzalves's "Dancing into Oblivion" which was presented at the Kritika Kultura Lecture Series, held on 4 May 2005 at the Ateneo de Manila University, Philippines. The authors have presented these papers as well in the forum after Gonzalves's lecture. Ricardo g. abad Fine arts program ateneo de Manila University, philippines Dr. Theo Gonzalves's presentation brings to mind some personal events related to the quest for identity among Filipino-Americans. One is an email I recently received from a friend in Berkeley, California; a second is my work with Tagalog-on-Site, an immersion group for Filipino-Americans; and third, is my recent contact with a nephew and a niece, both Filipino-Americans, in Los Angeles. These personal events shape my reactions to Dr. Gonzalves's paper. 1. A day after Kritika Kultura invited me to react to Dr. Gonzalves's presentation, I received this email from a Filipino-American friend, a married woman, who teaches at the University of California at Berkeley where, coincidentally, a Pilipino Cultural Night (PCN) had just transpired. She writes: We went to see (Berkeley's PCN-Pilipino Cultural Night) yesterday. It always runs long (3 hours+) so I usually can't/don't see the whole production … The audience itself is a spectacle to behold. They are made up of parents of cast members coming in from out of town and Filipino student groups from nearby campuses and Southern California have made it a tradition to attend. They get to cheer their lungs out at the mention of their school during the informal opening remarks. It's rowdy. PCN topics at Berkeley usually have a flavor of activism, this year it's the rise of the "I" Hotel … the international hotel which was demolished to make way for urban renewal in the 70s yata, evicting Filipino manong and Chinese elderly residents, which was met with days and days of protests and a hunger strike. But the play itself encapsulates the experience in the character of an elderly manong, with scenes Kritika Kultura 6 (2005): 091-101 <www.ateneo.edu/kritikakultura> © ateneo de Manila university V a r i o u s a u t h o r s responses Kritika Kultura 6 (2005): 091-101 <www.ateneo.edu/kritikakultura> © ateneo de Manila university in several skit forms, interwoven with dances, modern hip hop and folk dances. Past themes have been Gabriela Silang's life, immigration and hardships of their parents Kritika Kultura 6 (2005): 091-101 <www.ateneo.edu/kritikakultura> © ateneo de Manila university efforts to make it in the American mainstream? Is it better, in short, to dance into relative oblivion? Perhaps not. Perhaps it's better to talk about many kinds of Filipinos, each group building its own repertoire of representations, its own voice, in the societies they inhabit.

Perspectives in the Arts and Humanities Asia, Sep 30, 2012

Perspectives in the Arts and Humanities Asia, 2016

Perspectives in the Arts and Humanities Asia, 2017

Perspectives in the Arts and Humanities Asia, 2018

This thesis is a collection of one person shows radically adapted from different literary texts, ... more This thesis is a collection of one person shows radically adapted from different literary texts, particularly Liz and Dick, Alice in Wonderland, and the Oresteia, which I performed in the University of Arkansas. It includes my statement of artistry, the process of adaptation to performance, and my personal archive of production materials.

Using theoretical concepts, Missy talks about the ways that theater provides a platform for heali... more Using theoretical concepts, Missy talks about the ways that theater provides a platform for healing. Speaker: Missy Maramara holds a Master of Fine Arts in Drama (Performance) from the University of Arkansas in Fayetteville through the International Fulbright Scholarship Program. She also trained at the L\u27École Internationale de Théâtre Jacques Lecoq in Paris and at Tectonic Theater Project in New York City. A Filipino actress with television and film credits, Missy is primarily a theater actress with local and international performances. She has worked with Tanghalang Pilipino, New Voice Company, Repertory Philippines, PETA and Dulaang UP. She performed her solo shows Love Liz and Clytemnestra in the New York United Solo Festival, and toured Clytemnestra around Europe and the United States. Missy has performed in festivals and conferences in New York, Paris, Berlin and Prague. She is a tenured Assistant Professor in the Fine Arts and English Departments of the Ateneo de Manila U...

Perspectives in the Arts and Humanities Asia, 2016

Anglo-American or Western acting practices, largely influenced by the works of Russian theater th... more Anglo-American or Western acting practices, largely influenced by the works of Russian theater theorist Konstantin Stanislavsky, lie at the core of acting courses in the Philippines and many countries of the world. In Western societies, these practices are taught in a cultural context where individualism, personal achievement, egalitarianism, and democratic principles are valued. These cultural orientations facilitate the expression of an actor’s inner life. In contrast, the cultural orientations in the Philippine context are a deference to authority, a sense of shame, and an inclination to emotionalism. How, then, does the Ateneo Theater Arts Program, based in a Philippine university, impart Western practices? This paper proposes an answer based on the writers’ personal experiences as theater practitioners and on interviews with students. It finds that through cultural negotiation enacted in acting exercises, an accommodation between Western acting methods and local cultural imper...

Perspectives in the Arts and Humanities Asia, 2018

Perspectives in the Arts and Humanities Asia, 2018

Kritika Kultura, Nov 1, 2005

Editor's Note The following are invited responses to Theo Gonzalves's "Dancing into Oblivion" whi... more Editor's Note The following are invited responses to Theo Gonzalves's "Dancing into Oblivion" which was presented at the Kritika Kultura Lecture Series, held on 4 May 2005 at the Ateneo de Manila University, Philippines. The authors have presented these papers as well in the forum after Gonzalves's lecture. Ricardo g. abad Fine arts program ateneo de Manila University, philippines Dr. Theo Gonzalves's presentation brings to mind some personal events related to the quest for identity among Filipino-Americans. One is an email I recently received from a friend in Berkeley, California; a second is my work with Tagalog-on-Site, an immersion group for Filipino-Americans; and third, is my recent contact with a nephew and a niece, both Filipino-Americans, in Los Angeles. These personal events shape my reactions to Dr. Gonzalves's paper. 1. A day after Kritika Kultura invited me to react to Dr. Gonzalves's presentation, I received this email from a Filipino-American friend, a married woman, who teaches at the University of California at Berkeley where, coincidentally, a Pilipino Cultural Night (PCN) had just transpired. She writes: We went to see (Berkeley's PCN-Pilipino Cultural Night) yesterday. It always runs long (3 hours+) so I usually can't/don't see the whole production … The audience itself is a spectacle to behold. They are made up of parents of cast members coming in from out of town and Filipino student groups from nearby campuses and Southern California have made it a tradition to attend. They get to cheer their lungs out at the mention of their school during the informal opening remarks. It's rowdy. PCN topics at Berkeley usually have a flavor of activism, this year it's the rise of the "I" Hotel … the international hotel which was demolished to make way for urban renewal in the 70s yata, evicting Filipino manong and Chinese elderly residents, which was met with days and days of protests and a hunger strike. But the play itself encapsulates the experience in the character of an elderly manong, with scenes Kritika Kultura 6 (2005): 091-101 <www.ateneo.edu/kritikakultura> © ateneo de Manila university V a r i o u s a u t h o r s responses Kritika Kultura 6 (2005): 091-101 <www.ateneo.edu/kritikakultura> © ateneo de Manila university in several skit forms, interwoven with dances, modern hip hop and folk dances. Past themes have been Gabriela Silang's life, immigration and hardships of their parents Kritika Kultura 6 (2005): 091-101 <www.ateneo.edu/kritikakultura> © ateneo de Manila university efforts to make it in the American mainstream? Is it better, in short, to dance into relative oblivion? Perhaps not. Perhaps it's better to talk about many kinds of Filipinos, each group building its own repertoire of representations, its own voice, in the societies they inhabit.

Perspectives in the Arts and Humanities Asia, Sep 30, 2012

Perspectives in the Arts and Humanities Asia, 2016