Annotated Appendix

I. Candidacy Statement

This is a textual and visual adventure of where I currently am in this doctoral student journey. It can be read in any order.

Academic adolescence  ||  How this is going to play out  ||  Civic engagement  ||  Youth, education, and theatre-making  ||  Creative placemaking  ||  Returning home  ||  Gaps  || Bibliography


II. CV, Transcripts, and References

This section contains my curriculum vitae, my graduate school transcripts, and the contact information of mentors and colleagues who can vouch for me.


III. Creating

This section contains three examples of the three different genres I engage as a creator in.

Applied theatre: Resilience
Game design: The Haze
Creative writing: I grew up on kamias road


IV. Performing

This section highlights two performances that was praxis for me.

Hear Them Roar: The Fight for Women’s Rights
Nobody, but (no)body


V. Responding

This section contains two reviews, one of an academic book and another for a musical, and an analysis of a process drama.

Book review: Buhol-Buhol by Sir Anril Tiatco
Musical review: Maxie the Musical by Bit by Bit Productions
Process drama analysis: Huizinga: Process drama as play


VI. Connecting

This section contains three projects that connect my artistry with something personally relevant for me.

The Bunny Rocket, a process drama
The NYU Educational Theatre Student Lab
Interning in Sengawa Theatre, Tokyo


VII. Knowledge

These two projects directly feed into what I intend to do for my dissertation project.

Creative placemaking with Atlantic Pacific Theatre
Devising in Ateneo de Manila University


VIII. Experience in Arts Based Research

In this section are two arts based research projects I’ve engaged in.

a woman in your life, a verbatim interview play (2018)
The Bunny Rocket: dramatic conventions and emergent literacy skills (2017)


IX. Research Framework

This is a written analysis that focuses on the role of aesthetic distance in my year-long engagement with verbatim performance in collaboration with the Verbatim Performance Lab.

The Verbatim Theatre Lab, youth, and aesthetic distance


X. Arts Dialogue

This section features my experiences exchanging ideas and learning from peers in different stages of their careers.

Bright possibilities and rude awakenings: SDEA and AAS
Theatre for Young Audiences Class in New York University


XI. Annotated Bibliography

This is a list of texts that have guided my general studies and the dissertation topic I have in mind.