Ang Mga Rudimentaryo ng Troya

The three towering pillars give an instant allusion to power and honor. These strong vertical lines add a lot to the mood, symbolism and message of the story. Their height reaches to the topmost red curtains so it actually stretches out the stage and gives an impression of an honorable kingdom. The natural colors of the pillars are cast in black and gray, colors that set off emotions of sadness or grief. The black backdrop sets a grim but sophisticated quality to the stage. The thinner white draperies give a good contrast to the large black background. Its wispy and sheer quality alludes to weakness and frailty. They also served as the other two strong vertical lines, their delicat

Her ‘daughters’, the tragic and beautiful figures of the great women of Troy were well-portrayed. Andromake’s heart-wrenching scene enhanced her sad future and her role as a mother. The two actresses who portrayed the role gave unique touches to it, and made different impressions and emotions. Lei Dacanay was lovely as Andromake, and maintained an imperial air to the character. She was more inclined to evoke only slight sadness, however, and looked more of a beautiful mother than a tragic figure. Abigail Ong gave the right blend of emotions and beauty to Andromake. She seems more mature and into the development of the character. She delivered her emotional scene without her being too pitiful, she maintains a certain air of grace to her character as a mother. She had a less audible voice however, which could be taken as a touch of weakness or lack of energy. Her facial expression influences more emotions, which made her end heartbreaking to the audience. The other character who was portrayed by two actors is Meneleos, the royal husband of Elena. Carl Domingo gave a stronger portrayal to the role, in contrast with Francis Mendita’s lacking depiction of the King. The latter exuded more of the mocking, cruel and proud attribute of Meneleos when he decides the fate of his wife. He didn’t make the other aspects of the character surface, unlike Domingo who combined other emotions to his unforgiving persona. He had more command of the stage, his soldiers, and his wife, even Hekabe. His stance resembles more of royal bearing, and he delivered his lines fairly well. He is also mocking, but the audience can see his relation to Elena and what happened between them, which justifies the judgments made at the end of the story.

As mentioned above, the stage is simple and plain, but has a very strong visual impact. The actors didn’t relate or move to many props, just a few add-ons that certain characters had. The spear of Talthybios is a symbol of command. It goes with the semi-ethnic motif of his costume. The spears of the two soldiers also had the same quality, and although their spear still resembled a large wok, they looked forbidding nonetheless. The twisted staff of Hekabe was cleverly made by wood and abaca. Its length, however, added to the weak appearance of Hekabe. She seemed to have difficulty dragging her big staff around the stage. Poseidon’s trident was probably the most suitable among the other walking sticks. It added to the flair of his being a god.

It was a short play with a strong visual impact, the audience didn’t catch and ponder much the script, but you could feel the unity of the production and direction of the presentation. The text and subtext was fairly presented, the concept of entrapment, fear, despair and honor was also justified by the acting, movement and set.

Some topics in this essay:
Hands UPLB, Trojan Stage, Trojan Characters, Helena Poseidon, Trojan Wear, San Pascual, Trojan Lights, Stage Properties, Mario Mendoza, Nanette Sarmiento, facial expression, strong vertical lines, cast ensemble, major character, strong qualities, visual impact, strong visual, audience didn’t, traditional greek, strong visual impact, greek play, weak strong qualities, strong vertical,