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Twelfth Doctor
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The Doctor
The Twelfth Doctor
Doctor Who character
Peter Capaldi as the Twelfth Doctor
First regular appearance
"The Time of the Doctor"
Portrayed by
Peter Capaldi
Information
Tenure
25 December 2013 – present
No of series
3
Appearances
34 stories (39 episodes)
Companions
Clara Oswald
River Song
Nardole
Bill Potts
Chronology
Series
Series 8 (2014)
Series 9 (2015)
Series 10 (2017)
Preceded by
Matt Smith (Eleventh Doctor)
The Twelfth Doctor is an incarnation of the Doctor, the protagonist of the BBC science fiction television programme Doctor Who. He is portrayed by Scottish actor Peter Capaldi.[1] Within the series' narrative, the Doctor is a time travelling, humanoid alien from a race known as the Time Lords. When the Doctor is critically injured, he can regenerate his body, and in doing so gain a new physical appearance, and with it a distinct new personality; this plot mechanism has allowed the Doctor to be portrayed by a series of actors over the decades since the programme's inception in 1963. Capaldi's portrayal of the Doctor is a spiky, brusque, contemplative, and pragmatic character who conceals his emotions in the course of making tough and sometimes ruthless decisions.
Capaldi made his first, very brief appearance as the Doctor in the show's fiftieth anniversary special "The Day of the Doctor" (2013), as one of the thirteen incarnations of the Doctor who are summoned to save Gallifrey from destruction. Capaldi's first full appearance as the Doctor was at the end of the 2013 Christmas special "The Time of the Doctor".[2][3] He is accompanied in the eighth and ninth series by companion Clara Oswald (Jenna Coleman).[4] He also appeared in "For Tonight We Might Die", the first episode of the 2016 spin-off series Class. In the tenth series of Doctor Who, he is accompanied by two new companions: Nardole (Matt Lucas)[5] and Bill Potts (Pearl Mackie).[6]
On 30 January 2017, Capaldi announced he would be leaving the programme after the 2017 Christmas episode, "Twice Upon a Time".[7] He is to be succeeded by Jodie Whittaker as the Thirteenth Doctor.[8]
Contents
[hide]
1 Development
1.1 Casting
1.2 Departure
2 Character
2.1 Costume
2.2 Characterisation
3 Appearances
3.1 Television
3.2 Literature
3.3 Video games
4 Reception
5 See also
6 References
7 External links
Development[edit]
Casting[edit]
Peter Capaldi portrays the Twelfth Doctor.
Matt Smith, who played the Eleventh Doctor, publicly announced his departure from Doctor Who on 1 June 2013,[9] triggering extensive media speculation on the subject.[10] On 3 August 2013, bookmakers William Hill suspended betting when Capaldi became the five to six favourite to be cast.[11] Capaldi's casting was revealed on 4 August during a live broadcast on BBC One, titled Doctor Who Live: The Next Doctor.[12] The live show was watched by an average of 6.27 million in the UK, and was also simulcast in the United States, Canada and Australia.[13]
While Capaldi was the first choice for the role, other actors were also approached in case Capaldi should turn the offer down. Ben Daniels, who was an early favourite following the announcement of Matt Smith's departure,[10] said that he had been approached with a view to assessing whether he would be interested in playing the Doctor, with his name remaining as a potential contender until just before the live BBC broadcast.[14]
Doctor Who head writer and executive producer Steven Moffat said that Capaldi "briefly flicked through [his] mind" while casting the Eleventh Doctor, but that he dismissed the idea, thinking he was not right for the part at the time.[3] Ben Stephenson, the BBC's drama commissioner, said that Capaldi was suggested months before the August revelation and that a secret audition was held at Moffat's home.[2] Capaldi prepared for the audition by downloading old Doctor Who scripts from the Internet and practising in front of a mirror. He discovered he had been given the part during filming for Adrian Hodges' The Musketeers in Prague; after missing a call from his agent, Capaldi rang back to be greeted with "Hello, Doctor!"[3] At 55 years old when originally cast, Capaldi was only a few months younger than William Hartnell (the First Doctor) was, when he was cast in the role,[3] and is the oldest actor since Hartnell to star as the Doctor[15] and the third oldest to portray the character.[16] Moffat felt that an older actor would work best following the youngest actor, as it would both provide a change and lessen comparisons. He commented, "I can absolutely believe that the strange old-young Matt Smith will turn into the strange young-old Peter Capaldi."[17]
Capaldi has previously appeared playing other roles in the Doctor Who franchise. He portrayed Lobus Caecilius in the 2008 episode "The Fires of Pompeii" and John Frobisher in Children of Earth, the 2009 serial of the Doctor Who spin-off Torchwood.[3][18] Moffat has stated that he plans on explaining over time why there are three characters in the Doctor Who universe with the same appearance; his predecessor Russell T Davies had once explained to him a theory for the first two, and upon Capaldi's casting assured Moffat that the explanation would still work.[19] This situation was alluded to in "Deep Breath", when a confused Doctor is reminded of Caecilius when he examines his face in a mirror.[20] In "The Girl Who Died", it is explained that the Doctor chose Caecilius' face to remind himself that he is the Doctor, and that he can always save people.[21] While not explained in the episode, Moffat later said that he also shares a face with John Frobisher as Frobisher is Caecilius's descendant, and represents the end of Caecilius's bloodline, referencing the Doctor's "eternal battle with doom and destiny."[22] Capaldi's casting marks the second time an actor has previously appeared in the series and then been cast as an incarnation of the Doctor, the first being Colin Baker.[23]
Capaldi briefly appears in the 50th anniversary special. Moffat stated that it was his "plan from the start" that all the Doctors would fly in to save Gallifrey, and he knew there would be a new one at that time. He wrote it before knowing who would be cast.[24] Capaldi filmed his appearance on 3 October 2013, long after principal photography for the special had ended, and the same day he filmed his debut scene for "The Time of the Doctor".[25]
Capaldi kept his native Scottish accent for the role.[26][27][28][29] Speaking on his decision, he said he did it so he could feel closer to the character.[30] A handful of tweets were reported in September 2014 in which it was claimed that some viewers struggled to understand Capaldi. A speech coach and linguistics expert both suggested that any problems with understanding Capaldi had more to do with delivery than accent.[31]
Departure[edit]
Upon the announcement that Steven Moffat would leave the show in December 2017 and be replaced by new showrunner Chris Chibnall, this decision led to speculation over whether Capaldi would remain in the role or leave alongside Moffat.[32] A month before this, Capaldi stated "This could be my final year it's terrifying, I love Doctor Who but it can be an insular world and I do want to do other things. There will come a time when this is over, but I knew that when I started. I was thinking about my regeneration scene from the outset, that’s my terrible melancholic nature, when you accept the job you know there’ll come a day, inevitably, when you’ll be saying goodbye.” [33]
On 30 January 2017, Capaldi confirmed that the tenth series would be his last.[7] Regarding his decision to leave, Capaldi stated that despite his tremendous love for the show, he was unsure if he would be able to deliver at his best performance if he remained in the role for too long.[34]
Character[edit]
Costume[edit]
The 12th Doctor's costume, on display at the Doctor Who Experience.
The Twelfth Doctor's general outfit consists of a signature dark blue short Crombie-style coat with a red lining, dark blue trousers, a long collared white shirt buttoned to the top with no tie, a navy cardigan or waistcoat, and brogue boots. His shirt varies from episode to episode, with a navy shirt, a dark purple shirt and a black shirt with white polka dots appearing, as well as a black holey jumper, all being worn under his coat in his first series. He also wears a hoodie over his jumper as of series nine, over his T-shirt all being worn under his coat. In "Time Heist", the Doctor describes his costume as "hoping for minimalism, but I think I came up with magician."
The look was created by Doctor Who costume designer Howard Burden who wanted to strip the Doctor back to the bare basics.[35] His design was described as "No frills, no scarfs, no messing, just 100% rebel Time Lord."[36] Capaldi said that the costume took a long time to find. The reason he settled on his final costume was because, "I think it's quite a hard look. I always wanted him to be in black – I always just saw the Doctor in dark colours. Not tweed," in reference to his immediate predecessor's original costume. "Matt's a really young cool guy – he can wear anything, but I wanted to strip it back and be very stark."[37] He also described it as "back to basics."[35] Moffat described the look as "A stick-insect sort of thing". He also said that Clara calls him "a grey-haired stick-insect at one point".[38] Capaldi also stated that he chose the Twelfth Doctor's costume so fans of the show who enjoy cosplay could easily emulate it without going to great expense.[39] Writing for Radio Times, fashion columnist Anna Fielding described it as "a classic early skinhead look" and linked it to Capaldi's history as a punk musician.[40]
Capaldi's costume has varied in some episodes. In "Mummy on the Orient Express" he dons a period-appropriate tuxedo. In "The Magician's Apprentice", he wears Ray-Ban sunglasses (later revealed in "The Witch's Familiar" to be a wearable version of his sonic screwdriver), a T-shirt and plaid baggy trousers along with the hoodie and Crombie coat. In "Face the Raven", the Twelfth Doctor sports a red velvet variant of his Crombie coat. After briefly ditching it in "Hell Bent", Clara comments that it made him look more 'doctory'. At the end of the episode, he dons the red coat in honour of her, and is given a new sonic screwdriver by the TARDIS. In the ending segment of "The Husbands of River Song", the Doctor again dons the same tuxedo and period dress worn in "Mummy on the Orient Express". In "Thin Ice", the Doctor dons a dark blue velvet suit and a top hat while visiting London in 1814.
Characterisation[edit]
First and foremost, he’s not human. So I think he struggles to create a version of himself that humans find easy to be around. He’s always trying to save the universe, so if he upsets someone, that has to come with the territory. But then later on, he probably gets a bit worried and wishes he could go back and say, “I’m sorry I upset you.” I like when he’s strange.
—Peter Capaldi[41]
The Twelfth Doctor is, according to Capaldi, "more alien than he's been in a while."[42] Whilst still defining himself as someone who "saves people,"[43] the Twelfth Doctor cares little about being seen as a hero or even being liked by the people who he is trying to save.[44] Unlike his previous two incarnations who cared about humans and tried to understand them, Capaldi has confirmed that, this incarnation "doesn't quite understand human beings or really care very much about their approval." Clara is put on the back-foot by him post-regeneration[45] initially not seeing through his 'Tough Exterior'.[46] Playing Clara, Jenna Coleman says of this Doctor, "He's more removed, you can't quite access him in the same way", in comparison to his more friendly and accessible predecessor.[47] Initially it was reported that Capaldi specifically requested that the Doctor will not flirt with his companion the way his previous incarnation did,[37] but the actor stated that he said no such thing and that it was inflated by the media.[48] Steven Moffat has teased that Capaldi's Doctor may perhaps be more in love with Clara than he'd like to believe.[49] He has also been described as a "total adrenaline junkie" and, according to Moffat, "much fiercer, madder [and] less reliable".[50] "He's not as immediately approachable and he's not necessarily looking for your approval, when he says 'Wait here, I'll be back', you're not absolutely convinced... what he's not doing is reassuring you very much."[51]
Mark Gatiss said that Capaldi's Doctor was "sort of Tom Baker, Jon Pertwee and even Christopher Eccleston style...it's someone who's not immediately going to be your best friend and can be quite abrupt and rude."[52] Moffat added to this analysis of the character by saying, "He has a tremendous ability with throwaway humour and a lot of it is around the fact that sometimes he is terribly rude. I think kids will think he is the rude Doctor [...] You might want to cuddle him but he really will resist."[53] It has been said that part of the Doctor's personality will share "a certain acid wit" of Malcolm Tucker, the role Peter Capaldi is most famous for, "specifically the attitude, the wisecracks and the energy...he can be edgy, volatile and dangerous".[54][55][56] Capaldi has stated that all of the previous actors who had played the Doctor were channelled in his portrayal[57] and that his particular influences were Hartnell, Pertwee and Davison.[55] He has been described as an "older, fiercer, trickier Doctor".[58] In spite of his darker personality, Capaldi has said that the Doctor is still, "funny, joyful, passionate, emphatic, and fearless." While Jenna Coleman added that this time, the Doctor is more "enigmatic, mysterious, complex, worn, and unmannered" when compared to his immediate two predecessors. Steven Moffat has joked that he's "more Scottish than last time."[59]
In Series 9, Capaldi described his character as a 'thrill-seeker' who is confronting danger where he soon realises that he is 'one of the luckiest creatures in all of time and space' and that 'life is short even at two-thousand years'.[60] According to Coleman regarding Clara's bond with The Doctor inquring if she had feelings for him she stated “She’s totally in love with him, always has been. It’s its own kind of love. He is her hero but she would be very reluctant to tell him that. It’s a doctor-and-companion love, and there’s nothing else like it really.” “They’re kind of freed of their issues and in a wonderful place together. Previously she was trying to keep him under control yet now the two of them are going ‘Come on, lets jump, lets do it’, egging each other on really, and being more and more reckless,” she teased. Capaldi stated “It’s sort of an utterly platonic bond, which is quite unusual. The problem is the Doctor knows a lot more than he ever says. He knows Clara’s fate. He knows the fate of all his companions before they do.”[61] Ultimately it has been confirmed by both Capaldi and Coleman that the Doctor and Clara's relationship is romantic in nature.[62]
For Series 10, Capaldi described his character as more 'closed off' and 'suspicious' than the previous season, he elaborated 'If you’ve been following this Doctor, you’ve seen him go through all those different colours and all those different places, and as for where he goes now, I don’t know, but he’s been put through the mill.” Capaldi expressed in terms of his character 'Because in some ways he’s much more amenable, but in other ways he’s even darker. So I think that makes for a very interesting character.'[63] Upon discussing the interaction between The Doctor and his latest companion Bill Potts, Capaldi elaborated “It’s a kind of teacher-pupil relationship, but it becomes more complex than that and I think ultimately the Doctor has to undergo some dramas by himself. So I think he becomes slightly worried that he’s swept someone else up into his adventures without quite preparing them.”[64]
Appearances[edit]
Television[edit]
The Twelfth Doctor makes a first (and uncredited) appearance in the programme's fiftieth anniversary special, "The Day of the Doctor" (2013), when thirteen incarnations of the Doctor unite to save his home planet of Gallifrey from destruction during the Time War. At first, Time Lords in Gallifrey's war room spot twelve blue TARDISes approaching and encircling the planet. This count is then corrected to thirteen, and Capaldi's hands, eyes, and forehead are fleetingly shown.[65] He then makes his full debut at the end of the next episode, "The Time of the Doctor", after the Eleventh Doctor (Matt Smith), about to die from old age, is given a new regeneration cycle from the Time Lords, who remain hidden in a pocket universe.
In the series 8 premiere "Deep Breath" (2014), the Doctor arrives in Victorian London, where he recovers from the stress of his regeneration, initially under the care of the Paternoster Gang. After uncovering potential alien presence in London, the Doctor goes on the run as a homeless person for some time. While on the run, he believes he has seen his new face before, though does not recall from where. He and Clara (Jenna Coleman) are reunited by a third party, and realise that this third party has been conspiring to bring the two of them together for some time. The Doctor helps Clara overcome her reservations about his new personality and older physical appearance, and they begin travelling together once more.[66] Over the course of the series, he and Clara have some ups and downs in their friendship caused both by the Doctor's callousness and because Clara wishes to keep her continued travelling a secret from her boyfriend, Danny Pink (Samuel Anderson); she is not able to resolve the situation before Danny dies in a road accident in the first part of the series finale, "Dark Water"/"Death in Heaven". In the finale, he meets Missy (Michelle Gomez), the latest incarnation of his nemesis, the Master, who reveals that she conspired to bring him and Clara together and has begun converting the Earth's dead into Cybermen; her plan is to compromise the Doctor's morality with the offer of an army with which to rule the universe. Missy's scheme is foiled, but not before many have died and Earth is in chaos. The Doctor takes a weapon from Clara, to spare his companion the burden of killing Missy herself. As the Doctor hesitates, a cyberconverted Brigadier Lethbridge-Stewart, retaining his humanity, appears to disintegrate Missy with a laser blast. After a traumatic ordeal, the Doctor and Clara part ways, seemingly for good, before they are reunited by a shared dream in "Last Christmas" and agree to continue adventuring.
In the series 9 premiere "The Magician's Apprentice"/"The Witch's Familiar" (2015), the Doctor, along with Clara and Missy, who survived her apparent disintegration, are summoned to the planet Skaro by The Doctor's archnemesis Davros (Julian Bleach), the creator of the evil Dalek race, who is dying. Davros plays on the Doctor's sympathies to trick him into revitalising a dying Dalek empire, siphoning some of the Doctor's regeneration energy to do so. The Doctor also enlivens a mass of dying Daleks consigned to the sewers of Skaro, who begin to tear the city apart, and he makes his escape with Clara, but not before visiting Davros as a young boy on the battlefields of Skaro, and instilling in him a lesson about the virtues of mercy. In "The Girl Who Died," the Doctor finally remembers that he shares a face with a man he was persuaded to save in Pompeii, despite his initial reluctance to alter the timeline. He surmises that he subconsciously chose this face as a reminder that his job is to save lives. He is inspired to resurrect Viking girl Ashildr (Maisie Williams) with alien technology; he learns in "The Woman Who Lived" that she has become immortal and watches over his past companions. In "Face the Raven", Clara dies while trying to outsmart Ashildr, who stages an elaborate ploy to trap the Doctor, which he learns in "Heaven Sent" was on behalf of the Time Lords. Emerging from the trap on his home planet of Gallifrey, he sends a warning to his people of his return. In "Hell Bent", the Doctor deposes Time Lord President Rassilon (Donald Sumpter) and uses Time Lord technology to save Clara from the moments before her death, and then proceeds to run away with her to the end of time in the hopes of cheating death permanently. He is then persuaded by Ashildr that he and Clara are a dangerous influence on each other, and perhaps together constitute the "Hybrid of two great warrior races" which is prophesied to destroy Gallifrey. The Doctor attempts to wipe Clara's memories of him using a device, but she alters it so that it affects his memories of her instead; she leaves him behind on Earth with his TARDIS to start adventuring again. She departs in her own stolen TARDIS, alongside Ashildr, promising to one day return to Gallifrey and accept her death.
The Christmas special "The Husbands of River Song" (2015) is the Twelfth Doctor's first appearance alongside his roguish time-traveling wife River Song (Alex Kingston). After an emotionally wrought adventure, the Doctor and River finally confess the full extent of their feelings for each another, and he ends up fulfilling the history River told his earlier incarnation in "Silence in the Library" (2008): giving her his sonic screwdriver and spending a 24-year long date together as their final encounter. The Doctor next appears in the first episode of Doctor Who spin-off Class, appointing two alien refugees and a group of teenagers with protecting the pupils and faculty of Coal Hill Academy from alien threats.[67] He returns in 2016 Christmas special "The Return of Doctor Mysterio", alongside new companion Nardole (Matt Lucas), an employee of River Song's introduced in the previous episode. Together, they save New York from being destroyed by aliens with ambitions of world domination.
In the series 10 premiere "The Pilot" (2017), It was revealed that the Doctor has spent decades working as a professor in St Luke's University in Bristol, giving lectures on time and life, assisted by Nardole.[68] The Doctor has taken an oath to stay on Earth on guarding a mysterious vault beneath the university. Bored after decades of confinement on Earth, he takes on Bill Potts (Pearl Mackie) as his new companion, despite Nardole's reminders about his oath. In "Extremis", the show reveals that Nardole came to assist the Doctor on orders given by River before she died, and that the mysterious vault contains Missy, whom the Doctor swore to watch over for a thousand years. In "Oxygen", the Doctor is blinded in space while trying to save Bill's life, and maintains the deception that he can see using sonic sunglasses. In "The Pyramid at the End of the World", Bill gives consent to an Earth invasion by aliens called the Monks to save the Doctor's life, and his eyesight is restored, and the trio of the Doctor, Narole, and Bill repel the Monks from Earth in "The Lie of the Land". In "Empress of Mars" and "The Eaters of Light", the Doctor becomes more convinced of Missy's reformation, and so in "World Enough and Time", he sends her to react to a distress call on a colony ship trapped in the gravity of a black hole. However, his plan goes horribly wrong when Bill is shot and converted into a Cyberman by medics in the lower floors of the ship, where due to time dilation many years go by. In the series finale, "The Doctor Falls", the Doctor must face an army of Cybermen, but struggles to convince Missy to side with him as she is influenced by her past incarnation (played by John Simm), also on board the ship. Badly injured by the Cybermen's attacks, the Doctor sends Nardole away to evacuate humans on the ship, and destroys an entire level of the ship, which kills himself along with many Cybermen. He is taken to the TARDIS by Bill, who has been restored to life by the timely intervention of her love interest, Heather (Stephanie Hyam). Bill says goodbye to the Doctor before his regeneration begins. However, the Doctor refuses to transition. Clinging to life, he wanders out of his TARDIS, where he encounters his first incarnation (David Bradley).
Literature[edit]
New Series Adventures released novels starring the Twelfth Doctor and Clara Oswald in September 2014: Silhouette, The Crawling Terror, and The Blood Cell.[69] The next wave was released in September 2015, with the stories of Deep Time, Royal Blood and Big Bang Generation; the first two of these also feature the Twelfth Doctor and Clara, while Big Bang Generation sees the Twelfth Doctor reunited with the Seventh Doctor's Virgin New Adventures companion Bernice Summerfield.[70][71] In April 2017, three new novels were released, featuring new companions Nardole and Bill Potts. They are titled The Shining Man, Diamond Dogs and Plague City.[72]
Video games[edit]
Capaldi voices the Lego counterpart of the Twelfth Doctor in the video game, Lego Dimensions, alongside Jenna Coleman and Michelle Gomez as Clara and Missy respectively.[73] He also lent his voice to the character in the CBBC online game, The Doctor and the Dalek[74] and in the Doctor Who Game Maker on the official Doctor Who site.[75]
Reception[edit]
Peter Capaldi has received critical acclaim for his portrayal of the Doctor. Following the broadcast of "Deep Breath", Euan Ferguson of The Guardian called his performance "wise and thoughtful",[76] while Richard Beech of The Mirror agreed that Capaldi displayed "all the hallmarks of a great Doctor".[77] Michael Hogan of The Telegraph felt that Capaldi's portrayal "crackled with fierce intelligence and nervous energy".[78] Capaldi's performance in "Listen" was praised with Alasdair Wilkins of The A.V. Club stating "Capaldi turns in a suitably fearless performance, reaching his obsessive crescendo as he prepares to meet whatever is waiting for him at the end of the universe".[79] His acting in "The Caretaker" was praised with Ceri Radford of The Telegraph noting "Capaldi's ability to mould the character of the Doctor into his own unique intergalactic curmudgeon",[80] alongside Morgan Jeffery of Digital Spy noting "Capaldi's is the most complex and variable take on the Time Lord we've seen since Eccleston".[81] Tom Baker praised his character "instantly one felt: this fellow comes from far far away, he's strange. An instant frisson. And what's the word? Yes, got it! Alien, he's an alien. I salute him".[82] Professor Brian Cox noted "he's complex, menacing and vulnerable. Exactly what the Doctor should be". Musician Marc Almond stated "Peter Capaldi brings back a touch of darkness and ageless mystery to the Doctor that I feel had been missing, as well as a dash of menace and mischief. He has some of the abrasiveness of William Hartnell, the stylishness of Jon Pertwee and the eccentricity of Tom Baker – all my favourite Doctors". Alison Graham of Radio Times stated "Peter Capaldi is the Victor Meldrew Doctor Who; he's abrasive, acerbic and has no truck with modern life". Upon interviewing Capaldi just weeks before his first episode, he quoted he was "a more grown-up Doctor" albeit one who is still "mirthful. He's serious when he needs to be, but he's still quite comic". Patrick Mulkern added "Peter Capaldi simply is the Doctor; the most persuasive since Tom Baker" and described him as "the Scotch-on-the-rocks Doctor – distilled, chilly, stinging on the palate but warming on the way down".[83]
In January 2015, Capaldi became the first actor to portray the Doctor to not be shortlisted for a National Television Award since the series revival in 2005.[84][85][86] Ahead of the British Academy Television Awards that year, Paul Flynn of The Guardian noted that Capaldi's portrayal of the Doctor had the effect of "significantly reducing Doctor Who's glamour quotient".[87] Later, Capaldi received a TV Choice Awards nomination for Best Actor.[88] He was also nominated for a BAFTA Cymru Award in the Best Actor category for his acting in "Dark Water".[89] Steven Moffat praised his leading man stating "we could argue for the rest of our lives about who's the best Doctor — but for me, the best single performance in the role is settled forever. You can only ask a solo of a virtuoso, so thank God and Scotland for Peter Capaldi".[90] Capaldi's predecessor, Matt Smith, praised him as having "reinvented" Doctor Who.[91] Colin Baker praised the 12th Doctor noting "[Capaldi's Doctor] is grumpy and curmudgeonly and intolerant, and gosh – I should be playing it now. I wasn't old enough when I did it. I can do intolerant!" "[Capaldi's] costume is less annoying! I love his style, and I love his character".[92] In a later interview, Baker expressed that Capaldi initially had ‘a rough deal’ as fans weren’t very kind towards his incarnation, as they had been conditioned towards ‘eye candy’ in the form of dashing role models including David Tennant and Matt Smith. [93] Sylvester McCoy also expressed his admiration for Capaldi's incarnation for being portrayed as an "older" Doctor, as opposed to his younger predecessors, he went on to elaborate his casting helped provide a life-affirming message to serve as an inspirational role model for children.[94]
Scott Collura from IGN praised the interactions and dialogue between him and Davros in "The Witch's Familiar".[95] Den of Geek praised Capaldi in "Before the Flood" noting "his performance continues to mix grumpiness, friendliness, intelligence and a large dose of alien, he's been on excellent, excellent form".[96] Catherine Gee of The Telegraph credited Capaldi's acting in "The Woman Who Lived" noting "he has grown into the role utterly and completely. He embodies the weight of the Doctor's responsibility; his face wears every nuanced expression with a flickering ease".[97] His performance in "The Zygon Inversion" was heavily praised by fans and critics most specifically his anti-war speech, with Dan Martin of The Guardian stating "this Doctor has never been written better, Capaldi has never channelled Tom Baker more".[98] Most prominently Capaldi's performance in "Heaven Sent" received universal widespread acclaim,[99] with Patrick Mulkern of Radio Times noting that "Peter Capaldi's one-man show is an instant classic",[100] and that "Capaldi delivers 100%, carrying every scene and showing every facet of his Doctor: anger, terror, playfulness, intensity, resignation and, finally, a fierce refusal to do anything other than do what he has always done: find a way to win".[101] In a review for "Hell Bent", Catherine Gee stated "Peter Capaldi proved that he is one of the greatest Doctors".[102] Den of Geek praised the dynamic between the Doctor and River Song in "The Husbands of River Song", with Simon Brew noting the pair as a "strong double act",[103] with Morgan Jeffery of Digital Spy stating "this, combined with Capaldi and Kingston's sensitive work, means you feel a weight of history between these two people who've never shared a screen before".[104] Andrew Billen of The Times praised the Twelfth Doctor for being at his "warmest" in "The Return of Doctor Mysterio", along with The Guardian applauding the dynamic between the Doctor and Nardole noting "Peter Capaldi and Matt Lucas are 'a pantomime treat'".[105] In June 2016, Peter Capaldi was shortlisted for a national TV Choice Award for Best Actor.[106] He had also been submitted for a Primetime Emmy Award nomination for Outstanding Lead Actor in a Drama Series.[107] In addition, Capaldi was announced as a BAFTA Scotland Awards nomination as Best Actor on Television.[108]
Michael Hogan of The Telegraph noted that "Capaldi is back to his charismatic best" in "The Pilot", stating "devoted Whovian is keen to go out with a bang", and described his character as "mercurial, magical and kind".[109] Patrick Mulkern praised Sarah Dollard's writing of the Doctor in "Thin Ice", noting how she "examines his moral code; the ideals he aspires to and the crimes and misdemeanors he's prepared to indulge".[110] Capaldi's performance in "Extremis" received praise, with Alasdair Wilkins stating "Peter Capaldi is perilously close to becoming my unqualified pick for favorite Doctor, he underplays the moment, making small choices to signal both his compassion and his heartbreak". He also praised the interactions between him and Missy, noting how they recall "a more emotionally complex version of the repartee that Jon Pertwee’s Doctor and Roger Delgado’s Master had during their many encounters".[111] Patrick Mulkern praised Capaldi’s performance in "The Lie of the Land" proclaiming "he wavers between downright nasty and at best disconcerting. He’s world-weary — specifically, Earth-weary. You can almost believe he’s working for the dark side, so great is his disenchantment with the human race".[112] After the broadcast of World Enough and Time, Steven Moffat paid a special tribute to Capaldi, “Peter only has to think at the screen and you know what he’s thinking,” he said. “He only has to move his face and I know the particular blend of Scottish torment he’s feeling right now. Despite trying to fight his emotions, he has given us the most emotional Doctor.” [113] Capaldi received overwhelming praise for his performance in "The Doctor Falls"[114] with Patrick Mulkern noted the episode as a story dedicated to the character and how he "stands tall",[115] along with Daniel Jackson of the Daily Mirror highlighting the twelfth Doctor, praising how he "simply shines".[116] Flickering Myth stated "Peter Capaldi is a magnificent Doctor, a person who captures the wisdom, madness, caring and frustration of a two-thousand year old Time Lord". Digital Spy praised Capaldi's "Where I stand is where I fall" speech, noting it as quite possibly the actor's finest moment to date.[117] Simon Brew of Den of Geek heavily praised the actor's performance stating: "The majestic, wonderful, brilliant Peter Capaldi. If you needed a reminder of just how much he’s going to be missed when he finally departs Doctor Who at the end of the year, his outstanding work here was precisely that. When he was blasted, apparently mortally, and he kept holding off his regeneration I found myself saying out loud “I don’t want you to go”".[118] Ross Ruediger of New York Magazine agreed, admitting that "the man’s been a revelation. I love Peter Capaldi. He has without a doubt been my Doctor for this new incarnation of Doctor Who that’s wrapping up its tenth season, and we have been nothing short of fortunate to have been blessed with his talents. I don’t want you to go either, Peter".[119]
See also[edit]
From The Doctor to my son Thomas
References[edit]
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External links[edit]
Wikimedia Commons has media related to Twelfth Doctor.
Wikiquote has quotations related to: Twelfth Doctor
Twelfth Doctor on Doctor Who at the BBC
Twelfth Doctor on Doctor Who at the BBC Worldwide
Twelfth Doctor on Tardis Data Core, an external wiki
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Philippine folk music
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This article may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this article if you can. (May 2009) (Learn how and when to remove this template message)
Filipino folk
Stylistic origins
Traditional music
Cultural origins
Individual ethnic groups of the Philippines
Typical instruments
See Folk instrument
Derivative forms
Manila Sound - Pinoy reggae
Subgenres
Asik - Agung - Bodabil - Cariñosa - Gangsa - Kundiman - Kulintang ensemble - Maglalatik - Pangalay - Singkil - Tinikling - Tagonggo
Other topics
OPM
The traditional music of the Philippines, like the folk music of other countries, reflects the life of common, mostly rural Filipino. Like its counterparts in Asia, a lot of traditional songs from the Philippines have a strong connection with nature. However, much of it employs the diatonic scale rather than the "more Asian" pentatonic scale.
Contents
[hide]
1 Classification
2 Vocal music
3 Linguistics of traditional music
4 Dance music
4.1 Christianised groups
4.2 Muslimised groups
4.3 Indigenous groups
5 Popularity
5.1 Commercial use
6 References
Classification[edit]
Traditional Filipino music is reflective of the country's history as a melting pot of different cultures. Among the dominant cultural strains noticeable today are Hispano-Mexican, American and to some extent Chinese, Indian and Islamic. It is thus difficult to strictly classify the whole corpus of Philippine music as either Western or Eastern.
A frequently used system is to classify it according to ethno-linguistic or cultural divisions: for example, traditional Tagalog music, which is somewhat more Hispanic in flavour, differs from Ifugao music and Maranao kulintang music.
Vocal music[edit]
A commonality is that vocal music is of significant import to every ethnic group in the country. Although there is some music intended for dance, the best-preserved form of traditional music is that intended for the voice, with chanting epic poetry as having been the earliest form and later augmented by instrumental accompaniment. Regarded to have a wide range, as most of them stretch more than an octave, they are still considered within the capacity of even an average singer.
Linguistics of traditional music[edit]
Borromeo also noted that one interesting feature of Western-influenced traditional music is that a tune is not bound to a particular language or dialect. The country is an archipelago, and thus Filipinos did not have a unifying language during the Spanish Era (Filipino was only adopted as a national language in 1936).
Many songs in the different Philippine languages, however, share the same tune, such as the Tagalog Magtanim ay 'Di Biro, Kapampangan Deting Tanaman Pale and the Gaddang So Payao. Another example is the Visayan song Ako Ining Kailu, which has the same melody as the Ibanag Melogo y Aya and Kapampangan Ing Manai.
Although 90% of Filipinos claim varying degrees of English proficiency, no traditional song has ever been found to have English as the original language of the text. The largest body of songs are those using the various vernacular languages, especially the eight major languages in the country. Many of the collected traditional songs have a translation in Filipino, the national language, but most scholars tend to ignore its existence.
Songs from the various minority languages rank second in recognition, while those in Spanish rank third. This does not include the closest local language to Spanish, called Chavacano, which has a degree of mutual intelligibility with Castilian. The most famous songs in this classification are perhaps No Te Vayas de Zamboanga and Viva! Señor Sto. Niño.
Dance music[edit]
After vocal music, dance music is the next most important form of traditional Philippine music. As mentioned above, the best form of preserved music are those with lyrics, and this is also true for music intended to accompany a dance. According to Francisca Reyes-Aquino, known for her voluminous collection of folk dances, people watching the dance sing the songs in the same way that cheerers chant in a game. This is very evident especially in songs where interjections Ay!, Aruy-Aruy!, Uy! and Hmp! are present, such as Paru-parong Bukid.
Music falling under this category may be classified as those belonging to Christianised Groups, Muslim Groups, and the other Ethnic Groups.
Christianised groups[edit]
As Christianity came to the Philippines through its Western conquerors, Dance Music classified as belonging to the Christianised Groups are somewhat related to Western music as well. Dance Music falling under this category may also be called Habanera, Jota, Fandango, Polka, Curacha, etc. and has the same characteristics as each namesakes in the Western Hemisphere.
However, there are also indigenous forms like the Balitao, Tinikling and Cariñosa (the national dance). In a study by National Artist for Music Dr. Antonio Molina, the Balitao, famous in Tagalog and Visayan regions, employs a 3/4 time signature with a "crotchet-quaver-quaver-crotchet" beat. Others use the "crotchet-minim" scheme, while others use the "dotted quaver-semiquaver-crotchet-quaver-quaver" scheme.
This type of music is generally recreational and, like traditional music from the West, is used for socialising.
Muslimised groups[edit]
Kulintang ensemble of the Mindanao people.
See also: kulintang
The court and folk dance music of the Muslim-Filipino groups have somewhat preserved ancient Southeast Asian musical instruments, modes and repertoires lost to Hispanicised islands further north. It is important to note that stricter interpretations of Islam do not condone musical entertainment, and thus the musical genres among the Muslimised Filipinos cannot be considered "Islamic".
Genres shares characteristics with other Southeast-Asian court and folk music: Indonesian Gamelan, Thai Piphat, Malay Caklempong, Okinawan Min'yō and to a lesser extent, through cultural transference through the rest of Southeast Asia, is comparable even to the music of the remote Indian Sub-Continent.
Generally, music falling under this category tells a story. An example is the Singkil, which relates an episode from the Darangen (the Maranao version of the ancient Indian epic, the Ramayana). The dance recounts the story of Putri Gandingan (Sita) as she was saved by Rajahmuda Bantugan (Rama) from crashing rocks, represented by bamboo poles. The Singkil is considered the most famous in the Philippines under this category for its perceived elegance, and is also performed by Filipinos from other ethnic groups throughout the country.
Music is related in war in some regions in the country, as it is a way to show the emotions of victory and defeat, as well as the resolution of conflict. Philippine music also depends on the biographical factors: in cooler regions such as the Cordilleras, the beat of the music is so slower, while in warmer areas it is quite fast.
Indigenous groups[edit]
Like secular songs from the same group, this form of music has a sort of beat, even though it is hard to put it in a form of time signature. Percussions are mainly used for these type of music and sometimes, a gong is enough.
As closeness to Nature is a main feature of these ethnic groups, one can expect that dance steps falling under this category are a mimicry of the movements of plants and animals of a certain locality. Some music is simply called the 'Monkey Dance' or the 'Robin Dance' for identification.
Some of the music falling under this category is ritual music: thus there are dances used for marriage, worship, and even preparation for a war.
Popularity[edit]
Video compact discs of some popular Ilocano folk songs.
Unlike folk music in Ireland, Hungary, the Czech Republic and neighbouring Malaysia, traditional music in the Philippines has never reached contemporary popularity. Perhaps, it is partly due to the fact every region of the Philippines has its own language, and several decades of Americanisation.
Though some groups tried to collect songs from the different ethnolinguistic groups, none has so far succeeded in making traditional music a part of the national identity, much more a national symbol. It is rarely taught in Elementary school, as in Ireland, aside from Children's songs. This results in a mentality that traditional songs are children's songs.
The decline was accelerated with the entry of television, making popular culture from Europe and the United States easily accessible to a common Filipino. Though most Europeans would say that Filipinos are music-loving people, traditional music is always at risk of being left in oblivion.
Attempts have been made to collect and preserve Traditional Philippine Music but most of them focus only on the Vocal form. Under the 400 years of Spanish colonization of the Philippines, no collection of the traditional music was ever made. There are however studies made regarding this subject in the late 19th Century, when the Romanticists of Europe began to find the value of folk songs.
Even during the American Era, attempts to collect traditional music came rather late. Perhaps the first collection was in 1919 by Fr. Morice Vanoverberg, which is focused on the traditional music of the Lepanto Igorots of the north. Unfortunately, only the words and not the tunes are included in the collection.
The collection entitled 'Filipino Folk Songs' by Emilia Cavan is considered to be the earliest collection with tunes, published in 1924. Perhaps, the most important collection of Folk Songs is the 'Philippine Progressive Music Series' by Norberto Romualdez published in the late 1920s.
Unfortunately, the collectors who worked with Romualdez did not present the songs in their original languages but rather translated them into English and Filipino. This collection also included some songs aimed to promote National Identity, like the National Anthem of the Philippines, Philippines Our Native Land and even Philippines the Beautiful (an adaptation of America the Beautiful). The collection also included some folk songs from other countries.
For a period of time, Romualdez's collection became the textbook for teaching music in the Primary School. It also ensured that folk tunes from every part of the country is preserved and will be passed to the next generation of Filipinos. Until now, this collection remains to be the most important collection of traditional music from the Philippines, since a copy of it is still available in major Municipal and Provincial Libraries in the country.
Other collections like the 'Filipino Folk Songs' by Emilia Reysio-Cruz caters to the so- called 'Eight Major Languages' of the country and according to some, the collection is the best representation of the songs from these ethnolinguistic groups.
Dr. Jose Maceda, former chair of the Department of Asian Music Research of the College of Music of the University of the Philippines, also did some collection which began in 1953 and lasted until 1972. This was followed by collections from his students as well.
During the last years of the 20th Century until the early 21st Century, Raul Sunico, Dean of the Conservatory of Music of the University of Santo Tomas, published his own collection. He began with publishing a collection of lullabies, followed by love songs, then by work songs. Finally, he published a collection of songs about Filipino women, a major topic of traditional songs from all the ethnolinguistic groups. All these collections were arranged for the piano and the words are given in their original languages. A translation is also supplied, not to mention a brief backgrounder about the culture of the specific ethnic groups.
Forms
It has the:
Strophic/unitary form
Binary form
Ternary form
Rondo form
With regard to traditional dance music, the seven volume collection of Francisca Reyes-Aquino is still the most important collection. None has yet followed her lead until now.
Commercial use[edit]
Some Philippine rock icons from the 1970s tried to record folk songs. Florante, and Joey Ayala, Bayang Barrios, Freddie Aguilar and the group Asin, propagated Filipino folk songs akin to the phenomenon in the United States.
Many serious musicians have also recorded folk songs but none yet have made a folk song so successful that it would penetrate the commercial charts. Nowadays, popular musicians tend to overlook this genre. Its continuity is now deferred mostly to musicians in the academic sphere.
References[edit]
Philippine Literature: Folk Music by Mauricia Borromeo
Philippine Progressive Music Series by Norberto Romualdez.
The Encyclopedia of Philippine Art, Volume 6: Philippine Music by the Cultural Centre of the Philippines
Himig: A Collection of Traditional Songs from the Philippines by Raul Sunico
Filipino Folk Songs
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