
published 28 Feb 2011, MST
If somebody looked like you, had your name and circumstances, and knew your intimate secrets, would you still be you?
One does not feel right commenting on the plot of a story written hundreds of years ago, which in turn is based on legend or mythology from even much earlier. One gets the feeling that these things are cast in stone, that there is no sense in questioning why this character is made to do this or that, and why the events that happen even do, in the first place.
There remains, however, much to say about how such tales are told and retold to an audience decidedly different from what the playwright – of another time and place – envisioned.
There is also no limit to the responses we can give to the fundamental questions raised by such works. That times have changed and societies have evolved are superficial. The gut issues remain, and remain unresolved.
Amphitryon, written by the German dramatist Heinrich von Kleist, is one such work.
It tells the story of how the Roman god Jupiter falls in love with the mortal Alkmene, wife of the general Amphitryon. Jupiter disguises himself as Amphityron, who is supposed to be away at battle, and spends a night of passion with Alkmene. Shortly after Jupiter leaves, the real Amphitryon returns. Alkmene is surprised to see him back so soon with no recollection at all of their earlier time together. Amphitryn is perplexed at her reaction and soon realizes that she has been with another man. He is devastated at her infidelity.
Alkmene is confused especially since Jupiter appears again – this time as the wronged, but forgiving, Amphitryon. Alkmene begins to doubt her own feelings for her husband even as she chooses whom she thinks is the real general. In the end, husband and wife behold Jupiter in his godly form. Alkmene promptly faints.
**
Amphitryon is the last play in the 35th season of Dulaang UP. Jerry Respeto's translation of von Kleist's work is directed by Jose Estrella and features Neil Ryan Sese as Amphitryon, Lex Marcos as Jupiter, Diana Malahay as Alkmene (Wenah Nagales alternates), George de Jesus as Sosias, Paolo O'Hara as Mercury and Lucky de Mesa as Sosias' wife Charis (Natasha Cabrera alternates).
The handful of actors, one set mirroring the other, make the play relevant and accessible to the audience. Alkmene and the two men between whom she is torn tackle the more difficult questions. Sosias, Mercury and Charis provide comic relief. Sosias, the simple-minded soldier-manservant eventually believes Mercury – Jupiter's glib-tongued messenger -- when the latter shows proof of being Sosias. After all, the real Sosias is concerned with avoiding beatings and satisfying his hunger.
Charis is the wife who talks too much and feels she is taken for granted. It is with her that the difference between the real Sosias and the impostor Mercury becomes more apparent. Mercury blatantly refuses her affection and insults her, even encouraging her to be unfaithful to him. When the real Sosias returns, Charis – scorned and insulted by Mercury – becomes even more of a nagger. Sosias, the comic martyr, takes all this in stride. He tries to woo Charis nonetheless, and in the end he requests a meal of longganisa, egg and garlic rice.
Longsilog? In a play, written by a German, about Roman gods? Then again, this is one way the translation/ adaptation works for the contemporary Filipino audience. The characters also use colloquial expressions that hold the audience captive. At one point, Sosias and Mercury single out one girl from the front row. A deeply hurt Amphitryon tells his wife: "Don't touch me!" and after a brief pause, mumbles "maybe later...". Jupiter and Amphitryon chase each other to the audience and even traverse and entire row of (screaming, female) viewers. What long hair Alkmene has, indeed, to have two handsome men – okay, one is technically a god – competing for her affection.
A bamboo bridge, built in a semi-circle and of uneven steepness – spans the entire stage. Behind the bridge and on the left are several trees, with the leaves made of paper "elisi". On the right is a multi-level perch, where Jupiter and his messenger entertain themselves by observing the sorry state of the mortals whose lives they have messed with. The Roman figures strum the guitar and sing merry songs – "Dead na dead talaga ako..." trivializing the sufferings of Alkmene and Amphitryon, sufferings which Jupiter himself has caused.
The bamboo bridge encloses a round bed with a luxurious dose of big, fluffy pillows. This is where the alleged infidelity takes place. But the bed disappears later on in the play as focus is taken away from the unfaithful act and towards its consequences. On the spot where the bed used to be, Amphitryon and Alkmene, standing together, behold the god Jupiter (and quite unapologetic for his mischief!). In this moment of revelation, cold air sweeps the theater, the paper leaves turn and a fog clouds one's vision. There is something otherworldly about the scene as you wonder: Will husband and wife ever be the same again?
**
Aesthetics, ease of language and comical exchanges aside, Amphitryon moves its viewers to ask difficult questions.
For example, mortals Amphitryon and Alkmene lead a quiet, normal (though not necessarily conflict free) life until the god Jupiter messes with them. To what entity do we attribute the things in our lives that we cannot control? Luck, god (of whatever name), serendipity? Do the tragedies we observe left and right account for the random acts of a playful superior being, or are they direct consequences of our actions, in this or in a previous life? In resolving things that are beyond our control, where does free will come into play?
And then, Alkmene is confused as to whom she really loves. Is it her husband, who is always away at battle, obsessed with his conquests and occasionally dismissive of her, or the god Jupiter who descends from his lofty perch to reach out to her? The heroine, however, remains pure in our eyes. How accountable are we for the unintended consequences of our actions even if we act in good faith and seek to neither deceive nor hurt anybody?
Finally, what defines our being us? Are we our bodies, prominent family names, addresses, job titles, bank accounts? Are we the schools we attended, books we read, friends we made and children we raised?
Sosias gave up easily because he wants to be spared of beatings. Amphitryon fought until the end. How far will we defend our being ourselves when we are stripped of everything that defines us?
**
Amphitryon premiered on February 16 and will be playing until March 6 at the Wilfrido Ma. Guerrero Theater, Palma Hall, UP Diliman.
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