Staging the Nation: Claro M. Recto’s Domestic Dramas

dc.contributor.author Matibag, Eugenio
dc.contributor.author Matibag, Eugenio
dc.contributor.department World Languages and Cultures
dc.date 2018-02-16T07:45:18.000
dc.date.accessioned 2020-06-30T05:47:32Z
dc.date.available 2020-06-30T05:47:32Z
dc.date.copyright Tue Jan 01 00:00:00 UTC 2013
dc.date.issued 2013-01-01
dc.description.abstract <p>Near the beginning of a prolific and productive career as a writer and statesman, Claro M. Recto (1890-1960) authored two prize-winning dramas that were performed at the Manila Grand Opera House. Each of the plays—La ruta de Damasco (1913) and Solo entre las sombras (1917)—is a drama that represents the interactions of an ilustrado family in its relationship to the imposition of cultural practices and power structures under American rule. This essay proposes that in these dramas written by an ilustrado and performed for an interpellated ilustrado audience, the ilustrado home stands as a metonym of the nation, its family a synecdoche of the national community. As such, whereas the plays express the nationalist stance identified with members of the ilustrado class of educated elite, the dialogic enactment of tensions and conflicts among their ilustrado characters serves to work out the contradictions within the class and at the same time to legitimate the class’s hegemony and accommodationism in a Philippine society subjected to American colonial rule. The protagonists of La ruta are nationalist newspapermen who, facing persecution and censorship under the colonial government, are offered the choice between collaborating and resisting. The central character of Solo is a medical doctor who, in his struggles to conceal the fact of an adulterous relationship, reveals the effects of a “violent saxonization” that has undermined Philippine custom and identity. Both dramas thus complicate the post-1899 reimagining of the Philippine nation: as a community to be represented and led by what Osmeña called the “directing class,” which would declare nationalist objectives and defend the notion of a “Philippines for the Filipinos” while testing the limits of resistance to the American colonial institutions and registering the effects of their newly introduced values and practices on Philippine society during a time that saw the rise of the Partido Nacionalista of Osmeña, Quezon and Recto.</p>
dc.description.comments <p>This article is from <em>Kritika Kultura</em> 20 (2013): 172–203. Posted with permission.</p>
dc.format.mimetype application/pdf
dc.identifier archive/lib.dr.iastate.edu/language_pubs/53/
dc.identifier.articleid 1050
dc.identifier.contextkey 7032353
dc.identifier.s3bucket isulib-bepress-aws-west
dc.identifier.submissionpath language_pubs/53
dc.identifier.uri https://dr.lib.iastate.edu/handle/20.500.12876/52789
dc.language.iso en
dc.source.bitstream archive/lib.dr.iastate.edu/language_pubs/53/KK_20Feb_202013_202.5_20Staging_20the_20Nation.pdf|||Sat Jan 15 00:50:01 UTC 2022
dc.subject.disciplines Other Spanish and Portuguese Language and Literature
dc.subject.disciplines South and Southeast Asian Languages and Societies
dc.subject.keywords Nationalism
dc.subject.keywords ilustrado hegemony
dc.subject.keywords American colonial rule
dc.title Staging the Nation: Claro M. Recto’s Domestic Dramas
dc.type article
dc.type.genre article
dspace.entity.type Publication
relation.isAuthorOfPublication e4276e5f-8fc0-4695-90f2-e0da463981fd
relation.isOrgUnitOfPublication 4e087c74-bc10-4dbe-8ba0-d49bd574c6cc
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