Reaction Paper: Nana Rosa


A play based on the life of Maria Rosa Luna Henson, the “first Filipino to publicly come out as a comfort woman,” Nana Rosa delivers a powerful message and is as relevant as it can be today! Written by award-winning playwright Rody Vera and directed by José Estrella, the play captured the gruesome experiences that comfort women had undergone during the Japanese occupation in the country. 

Painful and aggravating might be an understatement to describe the narrative and cruel reality of such cases because what Nana Rosa and other sex slaves have actually experienced is incomparable to any fictive and factual representations. Fortunately, the play succeeded in disturbing the audience by the fact of systemic sexual abuse committed by the Japanese soldiers and the long overdue justice that is yet to be gained after several decades.

Nana Rosa, as an impactful play inspired by the story of a strong and brave woman, breaks the hearts of the audience, including mine, and affects us emotionally, even psychologically to an extent that makes us not only aware but also acknowledge an issue that is relevant until today by taking actions against violence against women and injustices done to them.
Hanggang ngayon, dala-dala ko ang mga multo ng kahapon. 
Ibaon mo sa limot para walang makaalam.
Ngayon na nasabi mo na ang lahat, ano na ang susunod?
These are only some of the lines said by the characters that I remember which now seem coherent to the whole narrative of the play. 

But the most emotional line for me is – 
ginahasa ako
Two words
One sentence
- uttered, thought, and written repeatedly by Rosa herself over time as she aged as to not forget that she was raped, abused, and exploited in her teenage years. 
From slowly repeating the words while staring blankly to crying GINAHASA AKO out loud as she remembers the traumatic memory she has never forgotten; this alteration on the voice made it effective because it intensified the degree of such horrible recollection. 

Furthermore, nonverbal messages were also exhibited. From physical characteristics of respective casts to paralanguage and proxemics utilized by the actors, such attributes, signals, and behaviors impose relations and meaning e.g. Rosa moves and stands in different position as she narrates her past, while her younger representation gives and takes space between them. They (young and old Rosa) were distant at the beginning until they were as close as they can be at the end. This may mean reconciliation between her past self and her present self – which she has forgiven herself as she had blamed no one but herself all this time.

Photo Credit: Dulaang Unibersidad ng Pilipinas (DUP) Official Facebook Page

It is my first time to watch a play by Dulaang Unibersidad ng Pilipinas (DUP) and it is clear that I must not miss their future works as I am convinced that what they produce is a must-watch craft. As a film major, theatrical works still play and give significant knowledge and experience with regards to artistry and social relevance. 

I believe different art forms such as the cinema and theater have the power to represent lives and – even change them.

#NeverForget #NanaRosa

Photo Credit: Dulaang Unibersidad ng Pilipinas (DUP) Official Facebook Page































SPEECH 30 WFY
Reaction Paper, 24 March 2019

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