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Scripted clashes: A dramaturgical a...

Rosario, Teresita Cruz-del.

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Scripted clashes: A dramaturgical approach to three uprisings in the Philippines.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Scripted clashes: A dramaturgical approach to three uprisings in the Philippines./
作者:	Rosario, Teresita Cruz-del.
面頁冊數:	285 p.
附註:	Adviser: Paul Gray.
Contained By:	Dissertation Abstracts International63-10A.
標題:	History, Asia, Australia and Oceania. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3066231
ISBN:	0493855629

Scripted clashes: A dramaturgical approach to three uprisings in the Philippines.
Rosario, Teresita Cruz-del.

Scripted clashes: A dramaturgical approach to three uprisings in the Philippines. - 285 p.

Adviser: Paul Gray.

Thesis (Ph.D.)--Boston College, 2002.

In this study, I argue that the three collective uprisings which took place in the Philippines in the last fifteen years are “dramaturgical productions”, each one governed by an underlying script. The first uprising deposed Ferdinand Marcos and ended his twenty-one year dictatorship; the second occurred fifteen years later, to oust Joseph “Erap” Estrada on charges of corruption and culpable violation of the Constitution. Both uprisings in my view, go beyond the immediate goals of deposing these two leaders; rather, they embody the larger moral vision among protestors and participants to a distinct social project called modernity. While Marcos himself sought to modernize the Philippine nation under an authoritarian framework, the failure of this experiment provoked an alternative vision in which modernization would continue under a democratic political system, thus the theme of “re-democratization” shaped the character and flavor of the modernity script of the first uprising. As a “sequel” to the first, the second uprising of January 2001 carried the same moral vision inspired by modernity, but reworked to suit the requirements of the 21<super>st</super> century. Thus, protestors were more mindful of the globalizing ethos that underpin the meaning of nationhood, and the inability of Joseph Estrada to conform to the rigorous demands of a modernizing nation within a globalizing framework.

ISBN: 0493855629Subjects--Topical Terms:

626624
History, Asia, Australia and Oceania.

Scripted clashes: A dramaturgical approach to three uprisings in the Philippines.
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520 $a In this study, I argue that the three collective uprisings which took place in the Philippines in the last fifteen years are “dramaturgical productions”, each one governed by an underlying script. The first uprising deposed Ferdinand Marcos and ended his twenty-one year dictatorship; the second occurred fifteen years later, to oust Joseph “Erap” Estrada on charges of corruption and culpable violation of the Constitution. Both uprisings in my view, go beyond the immediate goals of deposing these two leaders; rather, they embody the larger moral vision among protestors and participants to a distinct social project called modernity. While Marcos himself sought to modernize the Philippine nation under an authoritarian framework, the failure of this experiment provoked an alternative vision in which modernization would continue under a democratic political system, thus the theme of “re-democratization” shaped the character and flavor of the modernity script of the first uprising. As a “sequel” to the first, the second uprising of January 2001 carried the same moral vision inspired by modernity, but reworked to suit the requirements of the 21<super>st</super> century. Thus, protestors were more mindful of the globalizing ethos that underpin the meaning of nationhood, and the inability of Joseph Estrada to conform to the rigorous demands of a modernizing nation within a globalizing framework.
520 $a The third uprising sought the immediate objective of reinstalling Estrada to the presidency, having occurred as it did within three months of the second uprising. The massive mobilization of the so-called <italic>lumpen poor</italic> from various parts of the metropolis, seduces observers to regard this as a “class-based” uprising. However, it is my contention that the very large numbers of poor people at Edsa do not make for a class project; rather, the uprising's limited vision of reinstating Estrada was largely the handiwork of a disenfranchised elite operating out of a mindset of traditional personalistic politics, which Estrada best exemplified. I also elaborate on the notion of the “hidden transcript” which are formed in the subterreneal regions of discourse among the poor, and are inspired by the <italic> Pasyon</italic>, the movies, and the <italic>telenovelas</italic>.
520 $a Thus, these three uprisings are competing social dramas and the Edsa shrine is the “center stage” of enactment. It is a site that has been reconfigured by protestors to respond to the requisites of collective action. I elaborate on the notion of “spatial agency” to argue for the role of social spaces in collective action, and to provide an instance in which a physical site becomes a social locus for creatively addressing the tension between structure and agency. Finally, I conclude this study with a meditation on the possibilities of utilizing dramaturgy as a social critique and a project for the deepening of humanistic concerns. (Abstract shortened by UMI.)
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