Nick Joaquin – A Portrait of the Artist as Filipino (1955)
I.
Plot
Beginning
 There were two sisters, Paula and Candida, who owned a painting created by their
father, Don Lorenzo which they treasured dearly. Due to their father’s condition,
the Marasigans do not have any source of income and are in debt. Paula and
Candida had no one to rely on but their older brother and sister, Manolo and
Pepang. The Marasigans are visited by an old-time friend family headed by
Senator Perico. During the visit, the elder Marasigans, Manolo and Pepang, are
also there. They all want the sisters to donate the painting to the government, the
two to live with their elder siblings while getting pension money from the
government, and Don Lorenzo to be taken to the hospital. Unfortunately, the sisters
disagreed.
Middle
 Tony offered Paula and Candida 10,000 dollars in exchange for the painting, which
would help their financial problems. There, Candida made Paula decide which
resulted in a misunderstanding. So as convinced and flirted by Tony, Paula leaves
the house with the portrait. Soon, the media people learned that the portrait and
Paula were missing. The watchman, detective, and cops mistakenly suspected
Candida as a spy. Candida blames herself for why Paula was missing and that
selfishness destroys other people's lives. Tony suddenly arrived at the Marasigan’s
house and looked for Paula. When Paula arrived, she announced that she
destroyed the portrait, torn it, and burned it. She expected Candida to get mad but
instead, they both found their faith, freedom, and courage again.
End
 As they celebrated their last feast of La Naval, Manolo and Pepang interrupted
once again forcing Candida and Paula to leave the house and live with them. And
finally, Don Lorenzo came out of his room. In the end, World War II happened and
Candida, Paula, and Don Lorenzo died in the house.
II.
Character/s
 Candida Marasigan: The older unmarried daughter of Don Lorenzo Marasigan
 Paula Marasigan: The younger unmarried daughter of Don Lorenzo Marasigan
 Pepang Marasigan: The second eldest daughter of Don Lorenzo Marasigan
 Manolo Marasigan: The eldest son of Don Lorenzo Marasigan
 Don Lorenzo Marasigan: The father of Paula and Candida, and the hardships
faced by the sisters are made more difficult by his reputation as a painter
 Tony Javier: The tenant who rented a room in the Marasigan’s House
 Bitoy Camacho: He is a news reporter and the son of Don Lorenzo’s friend.
III.
Thought
 Two sisters face desperate times as their artist father falls ill. His final masterpiece
may be the answer to their troubles - or the source of more.
Language or Diction
 Nick Joaquin's play "A Portrait of the Artist as Filipino" has a formal, lyrical
language style that showcases the author's literary skill. To accurately convey the
IV.
cultural backdrop of the Philippines, he used a combination of Spanish and Filipino
vocabulary in a carefully constructed conversation. Joaquin uses metaphor,
symbolism, and cultural references to give the play's issues and characters a
greater depth. The language is elevated and theatrical, designed for dramatic
interpretation on the stage.
V.
Song or Music
 Ryan Cayabyab's musical composition for "Ang Larawan: The Musical" improves
the adaptation of Nick Joaquin's play "A Portrait of the Artist as Filipino." With
emotional melodies and cultural influences, Cayabyab's music effectively conveys
the complexities of the Marasigan family's struggles and relationships.
Collaborating with lyricist Rolando Tinio, the musical score effortlessly weaves into
the narrative, offering a varied blend of styles that enhance the overall atmosphere
of the production. The music becomes an integral part of the theatrical experience,
vividly bringing to life the themes, emotions, and cultural richness.
VI.
Spectacle
 In productions like "Ang Larawan," visual elements heighten the stage experience
and convey the story. These include movement, lighting, settings, costumes, and
props. The motions/ actions are directed through blocking and choreography,
adding dynamic. Lighting establishes mood, emphasizing key moments. Set
design, portraying locations like the Marasigan house, defines the play's
environment. Costumes reflect period styles, distinguishing characters and
conveying social status. Props, from painting tools to family heirlooms, add realism
and symbolism.
VII.
Director
 Rolando S. Tinio (1937–1997) was a distinguished figure in Philippine literature
and the arts, recognized for his significant contributions as a poet, playwright,
director, and actor. Some of his notable achievements include his partnership with
composer Ryan Cayabyab on "Ang Larawan: The Musical," his tenure as an
educator at the University of the Philippines, and his impactful role in shaping
Filipino culture. Tinio garnered multiple awards, and his enduring legacy endures
through his written works, directorial endeavors, and lasting influence on the art of
the Philippines.
VIII.
Playwright
 Nick Joaquin (1917–2004) was a highly regarded Filipino writer, historian, and
journalist. Considered one of the most famous literary figures in the Philippines,
Joaquin's various works, including novels, short stories, and essays, explored
themes of Filipino identity, history, and culture. His acclaimed play, "A Portrait of
the Artist as Filipino," showcases his linguistic mastery and insight into the
complexities of Filipino society. Joaquin received numerous literary awards and
was named a National Artist of the Philippines for Literature in 1976.
Theater Space
 Proscenium Stage – Cultural Center of the Philippines
IX.
Reflection
“Sometimes letting things go is an act of greater power hanging on.” This quote was
something that stuck in my mind in the process of watching the play. At first, Candida and Paula
have always fought for the painting done by their father Don Lorenzo, and treasured this dearly.
Even though they were in debt and the painting could help them, they still never gave this painting
up. Lots of people forced them to donate and sell it, worse is that they were forced by their older
siblings to leave the house they loved dearly and live with them, which led to problems. It reached
the point that even the two sisters who were inseparable fought over selling it. Candida agreed to
sell it for 10,000 dollars and told Paula to make the final decision and left her hanging. Paula left
the house with the painting together with Tony. Candida expected Paula to have sold this, but
Paula did the best thing ever, which made them regain their freedom and courage. She destroyed
the portrait, tore it, and burned it. They may have let go of the portrait, but this made them attain
freedom, which they have longed for. In the real world, we always have something that has been
a burden to us but is very difficult to let go of, know that letting go of something doesn’t make you
any less of a person, it doesn’t make you weak, but instead, it makes you better.
In the movie/play, Candida and Paula represent the struggles between sticking to old ways
and dealing with necessary changes. The painting their dad, Don Lorenzo Marasigan, left behind
was like a mystery, showing there is more to explore and understand about their family's past.
Candida and her sisters understand how crucial their dad's art is for Filipino culture. Even though
they're facing money problems, they're trying to figure out if they should sell their dad's painting
because they know it's essential for the culture and history of their country. They're thinking hard
about it, considering how much it means beyond just money. The movie reminds us to love and
understand our cultural history and that art is more than just looking nice or having a clear
meaning. It has more in-depth importance and purpose.