The Loyola Schools Review volume 2 (Humanities Edition):2002

A POSTCOLONIAL VIEW OF SHAKESPEARES SHREW:

A DIRECTORS NARRATIVE
RICARDO G. ABAD
Fine Arts Program
Ateneo de Manila University
Philippines

Abstract
A Filipino Ateneo production in January 2002 of The Taming of the Shrew Ang Pagpapaamo sa
Maldita in Filipino translation -- becomes the site to reflect on Philippine-American relations
during the early U.S. colonial period in the Philippines. In the production, Petruchio is an
American military officer and Katherina is the daughter of a wealthy merchant in a provincial
town. Both are not simply characters but representations of their respective countries. Petruchio
is the brash, American military officer who attempts to discipline the feisty Filipina named
Katherina, and the entire taming process is seen as an illustration of the American colonial policy
called benevolent assimilation" or "white love." This paper describes the postcolonial discourse
implicit in the production that also uses the theater conventions of the time, the zarzuela and the
bodabil, to counterpoint the action of the play. Katherina's final speech on marital fidelity is
performed in the declamatory style learned by Filipinos from their American teachers: it is at
once a slavish devotion to American tutelage and a mockery of it. Petruchio hears the speech and
believe Katherina has been tamed. But Filipino audiences recognize the opposite: what may be
goose to the colonizer is gander to the colonized.

Aims
What I wanted to do with Shakespeares Taming of the Shrew was to stage the play in the
eyes of Philippine history. How the production eventually became a postcolonial
discourse of Philippine-American relations at the turn of the 20 th century was a fortuitous
convergence of several events and ideas. In this paper, I provide a narrative of these
events and ideas, and articulate how these influenced my reading of Shakespeares The
Taming of the Shrew. In this reading, the taming of the shrew is seen as a metaphor for
the attempted taming of the Filipino by the American colonial power in the Philippines
during the first decade and a half of the last century. It is a reading that represents the
business of reinterpreting Shakespeare, and this business, to paraphrase Loomba and
Orkin (1998:3), is part of the business of reinterpreting and changing our Filipino social
world.
Locating the Period
The decision to locate the play during the early American colonial period, circa 19001915, was, so to speak, in the air. The year 2001 marked the centennial of the arrival to
the Philippines of the Thomasites, a group of American teachers, upright (and white)
women and men, who taught young Filipinos in public schools to speak, read, and write
English. The United States Embassy in Manila celebrated the event with much fanfare,
and even commissioned Tanghalang Pilipino of the Cultural Center of the Philippines, to

stage One Hundred Songs of Mary Helen Fee, a play based on the letters of one of these
teachers. The previous year, 2000, marked the centennial of the American occupation of
the Philippines. The United States Embassy understandably avoided fanfare to
commemorate the event and so did the Philippine government, spent as it was, I guess,
honoring for the last three years, the countrys struggle against and emancipation from
Spain, the other colonial power. How the state could honor its heroes against Spain yet
remained relatively mute about the Filipino heroes who battled Admiral George Dewey
and American forces in many parts of the country was an issue I thought appropriate to
address in some way. The Philippine-American War, observes Mojares (1999:1), has
remained marginal to popular consciousness despite much scholarship in the field, and
the peculiarities of cultural memory, not passage of time, seem to be the culprit.
Ideas from the Academe, Arts, and a Photograph
The worlds of the academe and the stage were not, however, as mute as the state in
drawing attention to the American occupation. Historians were among the most active.
In addition to Mojares work on the war against the Americans in a provincial city were
several new accounts of the American colonial presence. Among these were Frank
Golays Face of Empire: Unites States-Philippine Relations, 1898-1946 (1997), Epifanio
San Juan Jr.s After Postcolonialism: Remapping Philippines-United States
Confrontations, (1999), and Vicente Rafaels White Love and Other Events in Philippine
History (2000). Photo anthologies also celebrated the period, two of which were
compiled by Jonathan Best: Philippine Picture Postcards, 1900-1920 (1994) and A
Philippine Album: American Era Photographs, 1900-1930 (1998).
Philippine theater also made attempts to confront American colonial power in recent
years. Several came from the Cultural Centers Tanghalang Pilipino: among them: Nick
Joaquins Aguinaldo (1998), El Camino Real (2001), and Luna (2002). Repertory
Philippines staged the musical Miong (1998) and Dulaang UP (University of the
Philippines) mounted, among others, Anton Juans The Price of Redemption (2000) and
more recently, Bienvenido Lumberas Hibik at Himagsik nina Virginia Lactaw (2002). In
1997, through my company, Tanghalang Ateneo, I staged a rock opera based on perhaps
the most well known piece of seditious theater during the American period, Aurelio
Tolentinos Kahapon, Ngayon at Bukas. In 1999, I again drew on American colonialism
for inspiration in a production of Shakespeares The Merchant of Venice, translated into
Filipino the National Artist Rolando S. Tinio. Staged in the style of a traditional
komedya, I had Portia, Bassanio, Antonio and the rest of the Christians (the bearers of the
new order) speak in English while Shylock and his household (the supposed
representatives of the old order) spoke in Filipino. The sympathies of the audience, as
expected, went to Shylock rather than to Portia and her ilk (for a discussion of the
production, see Reyes 1999).
What put all these things together, however, was a photograph of an American governor
and his Filipino wife, a shot taken in the 1930s (see Figure 1). I found the picture in the
files of American Historical Collection at the Ateneo de Manila University. What struck
me most about the photograph were the body positions of the officer and the lady. The

American official, dressed in formal military clothes was seated in foreground, while his
Filipino wife sat behind the official, part of her body hidden from full view. The
photograph displayed a relationship between non-equals, but more than this, seemed to
typify the ideal marriage that an orthodox or literal reading of Taming would advocate.
The Filipina wife, in western dress, was to me a vivid image of the tamed Katherina in
this orthodox reading. In turn, the American official, tall, stern looking and resplendent in
his white military-like gala uniform, suggested an image of Petruchio, tamer of shrews.
It dawned on me then that in my production, Petruchio would be a military officer of the
American army assigned to the Philippines, and Katherina, the Filipina woman who
would eventually become Petruchios wife.

Figure 1. The American Official and his Wife (photo courtesy of the
American Historical Collection, Ateneo de Manila University)

But what would motivate Katherina to marry Petruchio, endure the many tests of
obedience, and later submit to her husband? The path to an answer, I found, came from
an ethnographic account of Philippine rural life, Fenella Cannels (1999) anthropological
study of power and intimacy in Bicol, a province located south of the Manila, a province
with its own compelling history of opposition to American colonial rule.
Love and Marriage Philippine Style

Women in Bicol, writes Cannell (1999:29-47), understand two kinds of love. One is
true love (tunay na pagkamoot), and the other is learnt love (pagkamoot na naadalan
sana) the use of the tag-word sana meaning just or only. The second kind prevails
in arranged or forced marriages, and by using the word sana, women can stress that in the
course of their marriage, one just learns to love ones husband. These women enter
into marriage in filial obedience to their parents wishes, and start out their marital life as
reluctant wives i.e., in hostile exchange with their husbands on words, food, and sex
-- until they achieve natotoodan, a kind of mutual accommodation, or a state of learning
to love ones husband in spite of what has gone before.
In my reading of Taming of the Shrew, Katherina undergoes a similar process: she is
forced into marriage with a man she hardly knows, and towards the end finds a way to
accommodate to a life with the brash Petruchio. She has not become submissive, and
neither does she assert matriarchal power. Like the women of Bicol, she would find her
voice in a marital relationship. And like many Shakespearean heroines, as Judy Celine
Ick argues in Unsex Me Here (1999), Katherina, now the Bicolano woman, would
manage to negotiate her own power and identity in the nooks and crannies of a masculine
world. Such was brown love.
From Brown Love to White Love
But Taming is more than just a woman-man thing, a battle of agencies. It is also a battle
of structures, metaphor for the relationship between the colonizer and the colonized in
this instance, the relationship between Americans and Filipinos during the American
colonial period. And why the American and not the Spanish period? The Spanish
governed with the weapons of faith and force. Petruchio does not; in fact, he carries
neither a cross nor a sword. The Americans instead ruled with the weapons of love and
discipline, inspired by the policy of what President William McKinley calls benevolent
assimilation and what Vicente Rafael (2000:19-51) re-terms as benevolent bondage or
white love. While the policy drew protest from intellectual circles in the United States
(Tugado 2002), it remained the guiding principle of the United States toward its colonies.
A letter written in April 1900 by American President William McKinley to the Secretary
of War expresses the love angle of this policy. In this letter, McKinley instructs the
body appointed to oversee political life in the new colony, the Philippine Commission, on
its mission (Davis 1905: 381):
(The Philippine Commission) should bear in mind that the government which they are
establishing is designed not for our satisfaction...but for the happiness, peace, and
prosperity of the people of the Philippine islands, and the measures adopted should be
made to conform to their customs, habits, and even prejudices, to the fullest extent
consistent with the accomplishment of the indispensable requisite of just and effective
government.
What constituted the indispensable requisite of just and effective government, however,
was one that the colonizer, and not the colonized, defines. For while the American aim to
win the confidence, respect, and affection of the Filipinos was a noble goal -- and as

Rafael (2000: 21) notes, a moral imperative for the colonizers -- the limits of this
affection were sharply drawn out as well. One of these limits lay in the view that
Filipinos were not ready for self-governance. Severed from their ties with their Spanish
papas, the Filipinos were now orphaned children who needed the guidance of their new
American daddies. Governor General William Howard Tafts speech at the Union
Reading College in Manila on December 17, 1903 was clear on this point (Davis
1905:390-391):
Being the sovereign in these islands, then the question came, what is our duty to these
people (the Filipinos)? ...The United States decided that the people were not themselves
able to bring about any beneficial result which would secure an efficient
government...that they needed the helping and guiding hand of a people (the Americans)
who for hundred of years had fought for individual liberty and popular rule, and who,
therefore knew something of the difficulties of organizing government and maintaining it
on a popular basis.
Now what is meant by the principle the Philippines for the Filipinos? ...The
doctrine...assumes that the Filipinos are of future capacity, but not of present fitness for
self-government, and that they may be taught by the gradual extension of selfgovernment to exercise the conservative self-restraint without which popular government
is impossible.
To the Americans, not many Filipinos, young as they were in the art and craft of political
rule, would perhaps be able to exercise conservative self-restraint. Some may, and in
fact did, rebel against the newly installed government. To these errant children bandits
and insurgents, as they were called -- discipline must be imposed. And if necessary,
brutally imposed. President McKinley continues his instructions to the Philippine
Commission (Davis 1905:382):
The Commission should bear in mind, and the people of the islands should be made
plainly to understand, that there are certain great principles of government which have
been made the basis of our governmental system which we deem essential to the rule of
law, and the maintenance of individual freedom...that there are also practical rules of
government which we have found to be essential to the preservation of these great
principles of liberty and law, and that these principles and these rules of government
must be established and maintained in their islands...however much they may conflict
with the customs or laws of procedure with which they are familiar.
So much for the measures adopted to conform to the customs, habits, and even
prejudices of the island people. The mission of colonization also entailed the need for a
strong arm to quell riots, insurrections, banditry and other disturbances and to trample all
hindrances to the formation what the Americans defined as a good and stable
government. This mission, coupled with the desire to cultivate the felicity and
perfection of the Philippine people (Rafael 2000: 21) made love and discipline the twin
ideological pillars of American colonial rule for fifty years. One may argue that the same

pillars of governance still prevail to date, so that there may be really nothing post about
colonialism (Lacsamana 2002:132).
Love, Discipline, and Taming
Petruchio, the American soldier, uses both strategies of discipline and love. He
physically overpowers Katherina; deprives her of food, sleep and new clothes; and
subjects her to a series of obedience tests. But he does so out of affection (his own
version of it anyway) and a desire to transform Katherina into a good, dutiful wife -- one
consistent with the orthodox tradition of Elizabethan and Christian marriages (Newman
1992). Petruchios taming techniques, it turns out, echo President Woodrow Wilsons
(1921, cited in Rafael 2000:22)) words:
Self-government is a form of character. It follows upon the long discipline which gives
people self-possession, self-mastery, and the habit of order and peace... the steadiness of
self-control and political mastery. And these things cannot be had without long
discipline. No people can be given the self-control of maturity. Only a long
apprenticeship of obedience can secure them in the precious possession.
And so, the Filipino translator, Ronan Capinding (2002), chose pagpapaamo as the
Filipino equivalent for the English taming a Filipino word that implies both
imposition (as in the domestication of a pet) and affection (in Filipino, amo means
gentleness).
And so, too, Capinding opts to drop the Spanish-derived Filipino word terka, the literal
translation of shrew and instead opted for maldita partly to get away from the image
of shrews or falcons as hunting partners (they have no counterparts in Filipino life, as I
know it), but more to focus on the woman, Katherina, who also represents the colonized
Filipino and the motherland young and vibrant and spunky yet still deprived of
independence.
Production Choices
And so, in deference to Cannells work, I located the play in Bicol during the early
American period, a time of transition to what Nick Joaquin (1979) calls a vivacious New
Era. The moro-moro (the traditional komedya inherited from Spanish colonization) gave
way to the glitzy bodabil (the variety show introduced by the Americans). The zarzuela
(a musical play akin to the operetta) reached its peak, automobiles started to roam the
streets, and the first carnival sprang on Manila grounds. American baseball was the sport
of the day, and the Philippine team, under American coaching, placed second to Japan in
the Asian Olympiad. Men started to sport white drill suits, and while women still wore
the tapiz and panuelo, the long, and frilly skirts displayed on the pages of American
magazines were becoming the fashion of the time. Thanks to the Thomasites, Filipinos
now peppered their conversations with English words and phrases and gulped bottles of
beer, scotch and Coca-Cola (una bebida tan deliciosa y fortificante proclaimed one ad) in
the cabarets and saloons that began to dot the townscape. To the Americans, the

Philippines was a booming town a fact underscored by a gold mining rush in later
years. Paracale, our version of Shakespeares Padua, was one such gold mining town in
the Bicol province during the American period.
Katherina and sister Bianca were going to Bicolano women, daughters to the wealthy
Baptista Minola who probably owned a rich mine in Paracale. The three, together with
an array of servants, would live in one of the grand houses of the local elite. Petruchio
would be an American officer on a vacation in Bicol, there to meet his friend Hortensio,
another member of the local elite with the likes of the older Gremio and the widow.
Petruchios servants, led by the irascible Grumio, would be Filipinos inducted into the
American army, a common occurrence at the time. Lucentio, a member of the Manila
elite, son of the affluent Vincentio, goes to Paracale with his servant Tranio to study
philosophy but gets side tracked by his pursuit of the beautiful Bianca. The members of
the male elite will wear white or black suits typical of the time, while lower-ranked males
would sport camisas those loose, collarless shirts that Filipinos wore since Spanish
times. The ladies would all be in long skirts, with Katherina and Bianca wearing the
more fabulous styles of the period (see Figure 2 for scenes of the production).
The historical period would surface not only in costume but also in music and dance. The
first decade of American rule witnessed the start of a shift from Spanish-derived music to
American pop songs, and from traditional folk dances to the Western tango and among
others, the Dixie. I decided to punctuate some scenes with these songs and dances, and
also added comedy routines and a magic act to keep the Shakespearean comedy in tune
with the spirit of the bodabil (vaudeville), the American-introduced variety show that has
become a standard in Philippine popular entertainment.
And because Petruchio was American, English had to be spoken along with the Filipino
tongue of the native characters. Under the tutelage of the Thomasites, many of these
Filipinos would speak some English, too, heavily accented it may be. A bilingual text
was then developed with language used as a device to stratify characters by race. I
deployed a similar strategy in a production of The Merchant of Venice (1999), this time
with language used to disaggregate characters by both race and religion.
Response of the Dominated
Not all Filipinos loved the United States with the fervor of the sajonistas, those
Americanized Filipinos whose revulsion towards the Gringo in the 1900s turned into
reverence a decade later (Joaquin 1979). In the hills and towns, nationalist groups like the
colorums, descendants of the Katipunan, battled American troops. Mojares (1999) adds
that factions of the local elite frequently collaborated with the Americans, and hastened
the downfall of nationalist groups. But the so-called seditious Filipino playwrights
continued to defy American authorities and boldly staged their plays -- many were
arrested and imprisoned for inciting the public (Salamanca 1978). The public display of
the Philippine flag was at first prohibited, even in stage plays, and when the colonial law
that banned this patriotic display was repealed in 1916, nationalist groups still struggled
to liberate Inangbayan (the motherland) from American rule. Despite the detention of

earlier seditious playwrights, for example, other writers, reports literary critic Jerry
Respeto (2001), used the 1896 Revolution as a source of inspiration to stage plays that
clamored for independence. These nationalists never did get to overthrow the Americans
but their voice, and that of the competing sajonistas, were two major Filipino responses
to the regime of benevolent assimilation.
Either of these two responses could have provided a backdrop to Katherinas final speech
about the duties of a good wife the trickiest lines of the play. The speech could suggest
resistance, a false display of wifely obedience, a game to trick Petruchio into believing
that she had indeed been tamed when in fact she had not. Alternatively, the speech could
suggest submission, a sajonista-like devotion to Petruchios husbandry, a successful
socialization into a traditional gender role. My reading takes neither position. I recall
Livingstone (1995:192) who quotes Csaire and Auclaine-Tamaroff in their
interpretations of a Tunisian production of The Tempest:
Demystified, the play (is) essentially about the master-slave relation, a relation that is
still alive and which, in my opinion, explains a good deal of contemporary history: in
particular, colonial history, the history of the United States. Wherever there are
multiracial societies, the same drama can be found...
The dominated can adopt several attitudes. One is Calibans revolt. Another is Ariels
whose path is more complicated but is not necessarily one of submission, that would be
too simple...
What would Katherinas not so simple path be?
A Reading of the Submission Speech
As I read it, the modal colonial relationship that prevailed during the American period, at
least in the early years, was neither one of resistance or submission, but one of
accommodation. In another work, Vicente Rafael (1993), talking about the Spanish rule,
uses the term contracting colonialism to explain how Filipinos managed to adopt
colonial practices (e.g. going to confession) without really swallowing the whole spirit of
the practice. Much of the same, I suspect, took place under the Americans. Filipinos
adopted the American language, its social institutions (chiefly education and politics),
and many objects of its material culture with seeming ease, but appropriated these to their
own context and desire. While the surface of Filipino life may thus look American, its
soul remains true blue Filipino. The Filipino has managed to contract the American
way of life.
So, too, I think, did Katherina the shrew. She has found a way to live with the mighty
Petruchio. She has discovered her own power in the interstices of an inter-racial
marriage. And perhaps more importantly, she has been able to reconcile submission and
resistance, using either strategy as demanded by the needs of the marriage. Petruchio
offered white love, Katherina reciprocated with brown love. But the love remains a
common denominator along with the unique identities of each partner.

In Bicol, says Fenella Cannel (1999), the uneasy process of accommodation, or

natotoodan, in arranged or forced marriages the process of learning to love ones
spouse settles down with the birth of children. Childbirth fulfills the woman, gives her
confidence, and grants her the license to express more intimacy towards her spouse. The
husband is now a father, and the work and responsibility that accompany the new role
gives the man a sense of vulnerability that endears them to their wives. The husband has
now become the object of compassion or pity. He, too, in effect, has been tamed.
The plot of Taming of the Shrew does not get this far. Id like to think, however, that this
is the direction that a married Katherina and Petruchio will take in an imagined sequel.
But has Katherina thus been tamed, in the way the orthodox reading of the play suggests?
Not really, though I let the audience infer that from Katherinas delivery of her famous
submission speech. The confident Petruchio orders Katherina to tell these headstrong
wives what duty they owe their lords and husbands, and to begin first with the widow.
Katherina acquiesces. She moves towards the skeptical widow and scolds her, uttering
the first six lines in Filipino. Everyone is amazed. She pauses, moves up center, stands
close to a gloating Petruchio, and recites the rest of the speech in English, the language of
her master -- but in the accent of the native. It is a form of recitation still heard today, a
declamatory style that audiences will recall from elocution contests in elementary and
high school. It is a style, typical perhaps even during the American period, where the
serious, slavish, though distorted, devotion to English speech take precedence over what
modern actors call inner truth. It is also a style that can also impress others in its ability
to mimic the other, in this case the American. Not surprisingly, everyone, including
Petruchio, is even more astounded at the taming of the shrew.
But the artificiality of declamation can be a playful mockery of the language and by
extension, a playful mockery of the other, in this case Americans. Audiences consistently
greeted this delivery of the submission speech with laughter and applause. They laugh
and applaud not so much because Katherina has managed to dupe Petruchio and the rest
of the party guests. They laughed and applauded, I think, because they, the Filipinos,
have also managed to put one over the colonial Americans. In effect, they have achieved
through an act of theatrical imagination to liberate themselves from the historical
bondage of benevolent assimilation. Critical to the American imperial conquest was to
reconstruct the colonized according to the desires of the colonizer. Using the magic of
the theater, Filipino audiences get a chance to reverse the process: to reconstruct the
colonizer into the desires of the colonized. The experience can be empowering.
The last line of the play, originally Lucentios, has been transferred to Gremio who,
doubling as Christopher Sly, is also indirectly the plays observer. The original Isang
milagro ito, na naamo siyang totoo, sa iyong pahintulot (Tis a wonder, by your leave,
she will be tamed so) has been simplified and made interrogativeto read Naamo na ba
siyang totoo? (Has she truly been tamed so?). Gremio/Sly is unsure. But Filipinos know
in their hearts that Katherina, the woman and the motherland, has not completely

10

succumbed to the might of the American officer, and by extension, to American colonial
power as a whole.
Concluding Note
In her review of After Postcolonialism, Anne Lacsamana (2002:132) writes that the
strength of San Juans work is his belief that Third World scholars and artists can
transcend the limits of historical possibility, limits imposed by neocolonial dependency,
and begin to reorient their work towards the liberation and self-determination of the
peoples involved. In Shakespeares plays, The Tempest has been the text of note in
exploring issues of colonialism, resistance, and emancipation (Fortier 1997:133-135,
Brotton 1998). I contend that The Taming of the Shrew can be read with similar
postcolonial notions in mind. It can also provide occasion to debunk, in the imagined
ways of the theater, previous assertions that the colonization process is a top-down
relationship that flows from the colonizer to the colonized. In both Taming and Tempest,
the act of subduing the colonized does not lead to the ends that the colonizer wishes it to
be. Or perhaps what the colonized wants it to be. What is goose for the colonizer may be
gander to the colonized and vice-versa.

11

NOTES
An earlier version of this paper was presented at the conference Shakespeare Performance and
the New Asias held at the National University of Singapore, June 27-30, 2002. I
wish to acknowledge the National University of Singapore and the Office of the
Vice President and the School of Humanities, Loyola Schools, Ateneo de Manila
University, for making it possible for me to attend the conference.
Tanghalang Ateneos production of Ang Pagpapaamo sa Maldita, a translation and adaptation of
William Shakespeares The Taming of the Shrew, opened at the Far Eastern
University Auditorium on January 27, 2002. Filipino Translation by Ronan B.
Capinding. Direction by Ricardo Abad. Set and Costume Design by Salvador F.
Bernal. Choreography by Ricky Rosal. Light Design by Donato Karingal. The
production was then shown from February to April 2002 at the Henry Lee Irwin
Theater, Ateneo de Manila University; the University of the East Auditorium; and
the Subic Bay Arts Center in Subic, Zambales.

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