August 25,The pessimists in us are not happy about 15 Filipino athletes coming to the Beijing Olympic Games. But for sure all these countries are richer in experience and hope.
The fever is in the blood, not the sheets. The two plays were loosely and eerily related in that which both of them are a passage into death, and that quality of making an audience sit through a bunch of pointlessly woven bits and pieces during the plays that would haunt them falling into place hours after the plays.
Basically because it started—and went on too, relatively long—with you guessing. Who was Bernie and what made him like that? Why had Joy kept talking to him as if he were normal? Surely she would have if Bernie had turned abnormal only recently, for he was a grown man, and even if you would like to make believe he would turn back again, years of your hopes being disappointed would more or less make you quit your delusions.
And there was nothing not quite right about the setup. There was furniture around, Joy could go around in the kitchen with her chicken cachatorre, and they had a magazine subscription—and yet Joy would tell Bernie about them, or tell them aloud to herself.
Theirs was a full neighborhood, with a convenience store nearby, and residents on the other floors, and a terrace and a rooftop, and why did Joy have to tell Bernie of her trips, and warn him of going out? The conversations lead us away from the boxes, only some interruptions would come, and the agitation toward the boxes would be taken up again by Joy, and the story would later affirm our dread of what it contained—dead bodies, it turned out, those of the true owners of the flat, the Alberts.
Characters were calm that should be frantic, and others were rattled who should have been calm. The police played cat and mouse with Joy and Bernie, while Mandy played his own part well—that of a fugitive who was quick on the step and perpetually able to evade his pursuers.
He was awed by the heartlessness of his Japanese friend in his killings, and he took pride on his crime. Your terror was put aside for a while as Claudia and her Mother started. You get surprised at how none of the characters changed their positions in things all through out the play, Nora was the hard-hearted, no-nonsense, face-the-truth-or-else woman that she started out to be in introduction, Ed was still himself, funny and well, basically manly, subdued by the woman, mischievous but only to an extent.
And who was Claudia? We saw her through the eyes of those who cared for her, though all three of them took their turns of lying about her and telling the truth about her, and took their turns as well of being unfair to her and regarding her with respect.
But how do we come upon the decisions, of what were the lies and what were true, if we had not known Claudia at all? She communicated four times to the scene, three notes to dread at guessing and one final note to confirm and yet char our apprehension.
She knew they were going to talk about her, and she knew what they were going to talk about. But above all she knew what she wanted, she knew what the happy moments of her life were, and she knew how she would like to be remembered.
And perhaps she picked Nora because she knew that Nora would fight for her and what she wanted, and Nora truly did. What told us that Claude was dead? Or the blood in the note? Yet people were dead still, and there were things to explain that were not explained.
Walking out of the Hermogenes Theater you get bombarded by questions, as well as realizations. You have to confront it. And the scene at the grocery shop, that we could eerily imagine clearly, how quiet it was, how gloomy, that Joy likened it to a morgue, only there was no corpse. And why did the ugly girl in the cash register scream when she saw her?
Perhaps because she saw her headless, or shadowless, as our grandmothers would tell us that others would see if we were going to die soon of a violent cause. And why did Joy keep dreaming of the incident when her mother so calmly walked home even though her arm was bleeding?
In the end Joy and Bernie were dead, and were placed in the same boxes that they had sought both to hide and to hide from. Yet in the end she turned to the telephone to cry out her misery that her unhappy daughter was dead.
It was a symbolism so succinct that you want to turn your back on it. She was older, but she persevered in the harsh weather.
Claude let go soon enough. And where was she kept, or where was she hiding, when she listened to Ed and Nora through a perpetual Intercom? And her bloody hands, how she fought with Nora on the last moments. And why had Bernie and Claudia died in the same spot on the stage, the same concealed side, and how did they die?
And why were the deaths hidden from our eyes? How come the stories told by Joy and Nora were easily imagined, while these places where the lives ceased were but a hazy dream to the mind?
The plays had more than a few questions to go around, but to free some space in our sensibilities it also answered a lot of questions that we had before watching that now we are finally able to let go of, and as a result we are not the same people who entered that theater as the ones who walked out of it.Seated at the head table were Kathy McDonald (mother of the groom), Layla Hootz (daughter of the groom), Andie Watson (friend of the bride), Kali Bourhis and her mother Val, Kala’s sister Amy.
Article List (w/ Literature Discipline) Open Access Subscription Access. An Analysis of Her Style and Craft as Reviewed from Her Short Stories The Virgin and the Sounds Of Sunday.
Kundiman ng Sino bang Mangangatha Hanggang Kristal na Uniberso ni Tinio: Wika . Posts about Rolando Tinio written by Iris Orpi.
Hear now, listen later. The two plays were loosely and eerily related in that which both of them are a passage into death, and that quality of making an audience sit through a bunch of pointlessly woven bits and pieces during the plays that would haunt them falling into place hours after the plays.
MyQC is the Queens College intranet site. A college username and password is required to login to the site. At her prime, she was considered as the Philippine's answer to Swedish-American actress Greta Garbo because of her perfect bone structure, svelte figure, long brown hair, hypnotic eyes, an impenetrable gaze, and a face capable of registering everything.
The young Paraluman was a movie fan. Her father is Dutch and her mother is Colombian. When she had the opportunity to compete at an elite level, she obtained Colombian citizenship in (plombier-nemours.com, 24 Apr .