Ver, Brian Gregory G.

SA Reflection Paper
4AR-8

Kapitan Sino and Escapism

The theatrical adaptation of Kapitan Sino shows many facets of escapism. Although the play is deeply
rooted on the context of abuse and selfishness, analyzing the play in the perspective of socialism
brings the whole story in a deeper level.

The first occurrence of escapism is showed in the townsmens actions. Pelaezs shows their version of
escapism through the different events that the mayor puts up to distract them from the harsh realities
of poverty. Events like Hero ng Bayan wherein they dress up as different comic book heroes is not as
dangerous as the extreme forms of escapism but can eventually lead to it.

Enjoyment can eventually lead to the extreme form which is neglect and obsession. In the latter, a
person will never deal with problem and avoid reality at all costs. That being said, the dangers of
escapism finds a solution in the second occurrence which is Rogelios constant shuffling between his
two realities: being a hero and simply being another person in the town of Pelaez.

With Rogelio being a superhero, he is able to do whatever he wants and goes on to defy his father
who refuses to support him in his decision to help people. Moreover, he gets to avoid the normal
everyday living as an electrician and becomes involved with this romantic interest, Tessa.

As he allows his friends to balance out his escapism through encouragement and endless support, he
also gets to experience escapism from being Kapitan Sino through Tessa and Bokbok. With his
constant hangouts with his most trusted friends, he avoids the realities of the seemingly evil world and
the repetitive dependence of people to others. In a way, Rogelio helps society (as mentioned in the
first occurence), get back from their own small escapism to face their problems on their own.

In the times wherein Rogelio chooses one life over the other, he embraces non-escapism which leads
to several deaths and eventually his own affliction. By the end of the story, the people of Pelaez are
desperate to find help. Rogelio, revealing himself as Kapitan Sino is eventually abused.

The problem is seen here: once you accept the reality, people take you for granted. Kapitan Sino
shows both facets of escapism, while it can be positive in some scenarios, it also can be negative.
Nevertheless, at the end of the day, taking things to the extreme is never helpful. Through
accommodation, the town of Pelaez may have had to shot to truly fix themselves whilst not hurting
other people during the process. It only takes consciousness to suspend conflict and maybe free
themselves from a seemingly overture to the extremes of escapism.
Comments on play:

1. The set was spectacular for a small-budget play. Use of light and tech added quality to the play
which often times doesnt work at all.
2. Heroic montage was a crowd favourite, it felt like something straight out of a superhero movie!
3. Maybe it would be better if gay character was explored in a non-slapstick comedy manner.
Although truly funny, LGBT characters need to be expressed / depicted in a whole new
perspective. Since they changed the plot in a very drastic way, maybe views on the LGBT can also
follow.
4. Towards the end, the play got a little bland with all the serious talking it could use a little comic
relief from characters.
5. On a positive note, candid acting from the background characters was commendable.
6. Comparing it to the novel, I wish Bokbok gave the viewers something to root for.
7. Tessa and Rogelios pairing is really good this made me actually feel sad right after she died.