G10 Philippine Theater Flashcards
Cultural communities in the country have long been performing rituals that can be
considered as theater presentations.
In celebration of different occasions such as courtship,
birth, wedding, circumcision, sickness, baptism, death, planting, hunting, fishing and
harvesting, people gather to watch performances commonly led by the _
babaylan
The proto-dramas in cultural communities feature _ _. Participants imitate the
way the animals move.
The popular examples are the monkey dance of the Negritos, the bird
dance of Tausug and the hawk dance of the Higaonon.
mimetic dances
Another popular choreography in
indigenous festivals are the _ _. Examples are the Aetas’ fish hunting
dance; the Matigsalugs’ frog hunting dance; the people from the Cordilleras’ head hunting
dance; the Tausugs’ orange picking dance; and the Mansaka’s war dance.
occupational dances
Another popular choreography in
indigenous festivals are the occupational dances. Examples are the Aetas’ fish hunting
dance; the Matigsalugs’ frog hunting dance; the people from the Cordilleras’ head hunting
dance; the Tausugs’ orange picking dance; and the Mansaka’s war dance.
The most popular drama that the Spaniards brought to the country is the _. Also
known as moro-moro, the performances typically last from three to fifteen hours.
komedya
There are
two types of komedya: the secular komedya and the religious komedya.
about the conflict between Christians and Muslims inspired by European metrical Romances
Several forms of it still exist today such as the arakyo in Nueva Ecija and the komedya
presentations in Parañaque.
Secular komedya
were used by the Spanish priests to teach
Christianity and colonial values.
They didactic and hardly survive nowadays. An example of
this is the Comedia de San Miguel in Iligan City
religious komedya
the play on
the passion and death of Christ comes with different names such as the Centurion in Laguna,
Tanggal in Camarines Sur.
senakulo
is being performed in celebration of
Palm Sunday
Osana in Malolos Bulacan
is the reenactment of the way of the cross using
pulley-manipulated images
Paete Laguna’s Via Crucis
shows the agony of Christ
on the cross
Siete Palabras in Camarines Sur
performs the fight between Michael the
Archangel and the Jews
Bakahan of Kalayaan Laguna
is about the loneliness of Mary
because of the death of her son
Soledad in Camarines Sur
dramatizes the meeting of the
Resurrected Christ and his mother
Angono Rizal’s Salubong
performs the story of the
soldier who pierced the side of Jesus
Moriones in Marinduque
depicts the
search for an inn by Joseph and Mary
Cavite’s Maytinis or Panunulyan
features young shepherds who
go house to house singing Christmas songs
Pastores in Leyte
dramatizes the
search of the three kings for the child Jesus.
Marinduque has Tatlong Hari
sarswelas made as a protest against the American regime
The important plays
during the era include
Tomas Remigio’s Malaya
Juan Abad’s Tanikalang Ginto,
Juan Matapang Cruz’s Hindi Aco Patay
Aurelio Tolentino’s Kahapon, Ngayon at Bukas
is arguably
the most popular seditious play. It featured the story of the Filipinos in the hands of
colonizers.
Aurelio Tolentino’s Kahapon, Ngayon at Bukas
Although it started in the late Spanish regime, _ continue to evolve during the American occupation.
sarswelas
most popular sarswela at the the time
Dalagang Bukid in 1919 by Hermogenes Ilagan and Leon Ignaci
The main character was portrayed by National Artist for Theater _ _ _ _ _
(Dalagang Bukid)
National Artist for Theater Honorata “Atang” de la Rama.
Some of the sarswelas were made as a protest against the American regime. The tirades against the new colonizers were hidden in allegories and metaphors.
was introduced by the Americans in 1930 with its lively skits and dance and musical numbers. It instantly eclipsed the popularity of sarswelas. Known as “stage show,” Filipino performers imitated original American presentations and made them local versions.
Bodabil
stage show
Different influences enabled the Filipinos to write their own plays. They included the “Filipino soul” on their works. They embedded in their works the unique and colorful culture of the country.
The characters were named after Filipino figures and values such as Inangbayan
who symbolizes the Filipinos, Taga-ilog represents patriotic men, Halimau is the Spanish
priests, Dilatbulag is Spain, and Bagonsibol is America.
(Aurelio Tolentino’s Kahapon, Ngayon at Bukas)
Legitimate theater found a home inside the educational institutions. These plays have
“artistic merits” and presented Western Plays in the English language. The theater groups
adapted the works of Shakespeare, Sophocles, Chekov, Wilde, Miller, and others. These
productions, as well as the bodabil, fueled the Filipino’s “_ _”
American Dream
national artists original plays
Wilfrido Ma. Guerrero “Forsaken House,”
Nick Joaquin “A Portrait of the Artist as Filipino,”
Severino Montano “The Love of Leonor Rivera.”
realism filipino plays
Bienvenido Noriega Jr’s “Bayan-Bayanan,”
Tony Perez’ “Biyaheng Timog,”
Paul Dumol’s “Maniago,”
Rene Villanueva’s “May Isang Sundalo”
Chris Millado’s “Buwan at Baril sa Eb Major”
presented
characters and situations of Filipinos in the big problems of the society
realism
western influences of non realistic plays
Anton Brecht and his Theater of Instruction
Augusto Boal’s Theater of the Oppressed
filipino non realistic plays
Maranatha by Rodulfo Galenzoga
Mayo A beinte Uno by Al Santos
Paul Dumol’s Ang Paglilitis kay Mang Serapio
Al Santos’s Ang Sistema ni Propesor Tuko
absurdism influenced plays
Paul Dumol’s Ang Paglilitis kay Mang Serapio
Al Santos’s Ang Sistema ni Propesor Tuko
filipino original musicals
Nuklyar! by Al Santos and Joey
Ayala, Magsimula Ka by Gines Tan
Bien Aligtad by Dong de los Reyes
Sining Kambayorka’s Halik sa Kampilan
Iligan Performing Arts Guild’s Ranaw
Dapat Dabaw’s Sinalimba
original musicals which exposes problems of Mindanao
Sining Kambayorka’s Halik sa Kampilan
Iligan Performing Arts Guild’s Ranaw
Dapat Dabaw’s Sinalimba
artists in the country experimented and used different techniques and ideologies in their
plays
used a chorus as narrator and commentator on the show
PETA’s Juan Tamban
had his komedya Prinsipe Rodante who rejected religious descrimination
Max Alligue
transformed the mass into a protest play in his Pagsambang Bayan
Bonifacio Ilagan
National Artist
Amelia Lapeña-Bonifacio integrated the Japanese _ to her Ang Paglalakbay ni Sisa and
_ to her Ang Madyik na Sumbrero
Noh, Kyogen
