Preview magazine named her one of the most influential Filipino personalities in 2022. She is the most followed Filipino celebrity on Facebook. Her most successful films at the box-office include Shake, Rattle & Roll X (2008), My Best Friend's Girlfriend (2008), Ang Panday 2 (2011), You to Me Are Everything (2010), and One True Love (2008).Īppointed by the Congress of the Philippines as the Ambassador for Women and Children with Disabilities, Rivera is also a volunteer of numerous charitable institutions. She scored two nominations at the FAMAS Award for Best Actress for the films Ang Panday 2 (2011) and Kung Fu Divas (2013). She also top-billed the remake of Super Inday and the Golden Bibe, earning her a nomination for Best Actress at the Metro Manila Film Festival. She gained wider recognition for her leading roles in television shows such as Dyesebel (2008), Darna (2009), Endless Love (2010), Amaya (2011) and Temptation of Wife (2012). She started playing minor and supporting roles in various projects and rose to stardom in the remake Marimar (2007). The film earned her a nomination for 'New Movie Actress of the Year' at the 2006 Star Awards for Movies. In 2005, she made her film debut in Enteng Kabisote 2: Okay Ka Fairy Ko. Rivera initially began as a commercial model and ventured acting in mid 2000s. In 2020, Forbes Asia named her one of the most influential and celebrated top Filipino celebrities in Asia, cementing her status as the Asia's Primetime Queen. Her accolades include a FAMAS Award, five PMPC Star Awards for Television, seven Box Office Entertainment Awards, and six Anak TV Seal Awards, including nominations from Asian Television Awards and Metro Manila Film Festival. She is known for her portrayals of heroines and roles in romantic dramas. They demonstrate that what we “recognise” in Hamlet is as provisional, as located, and as specific as the cultural context in which we have come to “know” him, and ourselves.Marian Rivera Gracia-Dantes ( Tagalog: born 12 August 1984 ) is a Spanish-Filipino actress, television host, model and entrepreneur. “Indigenised” Hamlets are far removed from what has emerged out of a cultural and philosophical tradition that still looks to Freud for its interpretative framework. I argue that the many distinct “Hamlets” generated within countless interpretative contexts across the globe have opened the critical gap between what we think we might know about Hamlet and the less explored ways in which this play may continue to provoke social critique and inspire reflection. This article examines the ways in which Freud’s cultural successors have fostered an understanding of Hamlet’s interiority excised from its social context. It may be obvious to audiences, since Freud, that Hamlet is caught in a vortex of tormented, inward-looking indecision and Oedipal self-doubt, but he only became that with the help of centuries of interpretation, informed by the preoccupations of post-Enlightenment Europe and Freudian and post-Freudian theories of subjectivity and sexuality. However, a review of performance history over the last 100 years or so demonstrates that the Hamlet audiences and critics have come to “recognise” and value most highly came into being through specific staging interventions that secured a firm association between the play, Freudian psychoanalysis and the troubled interiority associated with modern subjectivity. There is something about Hamlet that is deeply familiar.
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