Zarzuela (Spanish pronunciation: [arwela]) is a Spanish lyric-dramatic genre that alternates between spoken and

sung scenes, the latter incorporating operatic and popular song, as well as dance. The etymology of the name
is uncertain, but some propose it may derive from the name of a Royal hunting lodge, the Palacio de la
Zarzuela near Madrid, where, allegedly, this type of entertainment was first presented to the court.
[1]
The palace
was named after the place called "La Zarzuela" because of the profusion of brambles (zarzas) that grew there,
and so the festivities held within the walls became known as "Zarzuelas".
There are two main forms of zarzuela: Baroque zarzuela (c.16301750), the earliest style,
and Romantic zarzuela (c.18501950), which can be further divided into two. Main sub-genres are gnero
grande and gnero chico, although other sub-divisions exist.
Zarzuela spread to the Spanish colonies, and many Hispanic countries notably Cuba developed their own
traditions. There is also a strong tradition in the Philippines where it is also known
as sarswela/sarsuela.
[2]
Other regional and linguistic variants in Spain include the Basque zartzuela and
the Catalan sarsuela.
A masque-like musical theatre had existed in Spain since the time of Juan del Encina. The zarzuela genre was
innovative in giving a dramatic function to the musical numbers, which were integrated into the argument of the
work. Dances and choruses were incorporated as well as solo and ensemble numbers, all to orchestral
accompaniment.

A PLAY that empowers the appreciation of Filipino culture and values, and is packaged in a comical and musical style are
what define the zarzuela.
The zarzuela is a beautiful art form of lyric theater drama incorporated with singing, dancing and dialogue. It is comical in
nature.
What is great about a zarzuela is that it is a komedya or a comedy, meaning it portrays typical Filipino stories and realities in
domestic and social relations, such as marriage and family, elections and feasts, vices and values, which the viewers can
relate much in their lives.
The Filipino culture and values are uniquely formed by cross-cultures. Surprisingly, the zarzuela is of Spanish origin that was
later considered as a Filipino stage play.
The zarzuela is one of the art forms of another country. It was transformed and became a part of our own culture.
According to Rachel Penn Adams, an American historian, the zarzuela emerged from
Spains long tradition of musical drama and dance.
The roots of the zarzuela can be found in the 12th century when religious dramas, known as autos, first combined poetry
with instrumental music in Spain.
These autoswritten in the vernacular instead of Latin as earlier medieval liturgical dramashad been the first indication
that Spanish musical theater was moving in the direction of lyric drama that was representative of the people.
The name of zarzuela was known to the people of Spain in the 17th century. In 1895, zarzuelas were clearly the dominant
entertainment form of choice.
Based on the seventh volume of the Cultural Center of the Philippines Encyclopedia of
Philippine Art, the zarzuela was brought to Manila in 1879 with a performance of Jugar con fuego (Play with Fire) by the
troupe of Dario de Cespedes; and the El barberillo de Lavapies (The Little Barber of Lavapies).
The complete Filipinization of the form came when the zarzuela unfolded topics that concern the Filipinos and written in the
Filipino languages. Among the first zarzuelas that were recorded are: Budhing Nagpahamak, 1890; Ang Pagtabang ni San
Miguel, 1899 by Norberto Romualdez, a Waray zarzuela; Ing Managpe, 1900 by Mariano Processo; Say Limanag Naketket,
Pampinsionan, 1901 written in Pangasinan; and Maputiug Maitum, 1902 by Vicente Sotto, which was written in Cebuano.
Among the major zarzuelas of the Philippines, the most famous was Severino Reyes Walang Sugat, 1902. It is about lovers
separated by the cruelty of friars and the revolution against Spain.
Several zarzuelas were staged at the 19th century of the peak of its popularity. Its popularity gave birth to the Arts Counci l of
Cebu Foundation Inc. in August 1960. The council promotes and develops artistic and cultural endeavours in the Cebuano
community by providing programs and scholarships in arts, culture and theater, which generates awareness and concern for
the preservation of our cultural heritage.
Caridad D. Balicasan, Saint Theresas College (STC) museums person-in-charge, said that the zarzuelas that were
produced in Cebu were mostly school-based. STC is a school known to produce several zarzuelas.
Among these were Hagit, 1900, directed by Al Santos; Mini, 1970; Kagahapon, 1974, performed by the STC and University
of San Carlos (USC) Seminarian; Terana, 1975, directed by Delia Alio-Villacastin and was also performed by the STC and
USC Seminarian; Ang Bukid, 1977, also directed by Delia Villacastin; Juan Tamban, 1980; Walang Sugat, 1989, by
Severino Reyes in Cebuano adaptation by Fulgencio Tolentino, and many others.
A zarzuela does not only introduce Filipino values to the young, but it also offers entertainment that is creatively presented. It
can be appreciated by both the young and the old. However, the popularity of zarzuelas has declined over the years.
Nonetheless, Filipino zarzuelas are still around. Dalagang Bukid was staged in STC from Aug. 28-31 to celebrate Buwan ng
Wika in August as well mark the schools 80th anniversary. The stage play was directed by Delia Alio-Villacastin, a
renowned director in Cebu.
The Cebuano-spoken zarzuela has been the core of a value-filled entertainment in Cebu. Watching such plays opens the
heart of the youth to appreciate the Filipino cultureand to love the Cebuano tongue.
One has to watch a zarzuela play to see the true beauty of the zarzuela, Villacastin said. Christell Marie B. Rosales

Long before the coming of cinema in the Philippines, theater originated in the culture of the country's early
societies. Their theatron was on the ground within the community. The ritual practitioners in their dance-
dramas used imitative dances to propitiate the supernatural powers tjat were believed to control forces to
regulate the seasons and elements; to ensure the earth's fertility; and to grant the tribe success in hunting
and warfare.

At the turn of the 19th century, the zarzuela, a traditional Spanish one-act comic opera with satirical
theme; and the vaudeville, a stage show consisting of various acts, such as singing, dancing, and
comedy, became famous and prominent among the Filipinos. These were shown and performed at town
fiestas where Filipino viewers go eagerly from different parts of the province so as not to miss the stage
plays.

The Spanish Operetta or musical comedy introduced by a political deportee from Spain, Don Narciso de
Escosura, at Teatro de Binondo or Castellano in 1848, was given impetus by Don Alejandro Cubero, the
faher of Spanish zarzuela in the Philippines, at Teatro Filipino on Calle Echague.

The Tagalog zarzuela found a home at Teatro Zorilla, the only surviving 19th century theater located at
the corner of Calle San Pedro (now Evangelista) and abbreviated the Iris which formed part of Calle
Azcarraga (now Recto). It provided ready material for the nascent Filipino silent motion picture.

The zarzuela usually involves love and political issues.

Vic Omila and Aga Villagomeza sing "Mga Manok Ay Himasin" from "Ana Maria", a Filipino zarzuela written
by Severino Reyes and composed by Antonio Molina. Piano accompaniment by Nhick Ramiro Pacis.
Performed on March 31, 2012 in Tampa, FLorida, "Ana Maria" is a musical play about the saga of a Filipina
woman and her husband who is addicted to gambling and cockfighting.

Directed by Nhick Ramiro Pacis.

Severino Reyes
From Wikipedia, the free encyclopedia
Severino Reyes
Born February 11, 1861
Santa Cruz, Manila
Died September 15, 1942 (aged 81)
Pen name Lola Basyang
Occupation Writer
Language Tagalog, Spanish, English
Nationality Filipino
Citizenship Filipino
Alma mater Colegio de San Juan de Letran,University of Santo Tomas
Genres Plays
Notable
work(s)
Walang Sugat (literally "No Wounds", meaning "not
wounded", with the concept of being "unscathed")
Children Jose Reyes and Torcuato Reyes

Literature portal
Severino Reyes (February 11, 1861 September 15, 1942) was a Filipino writer, playwright, and
director of plays. He used the pen name Lola Basyang.
[1][2]
He was nicknamed "Don Binoy". Reyes
is known as the "Father of Tagalog Plays" and as the "Father of the Tagalog Zarzuela".
[3]

Biography[edit]
Reyes is one of the children of Andrea Rivera and Rufino Reyes. He was born in Sta. Cruz, Manila. He studied
at the Colegio de San Juan de Letran. He started writing plays when he stopped studying at the University of
Santo Tomas after the death of his father. He translated Spanish-language plays into the Tagalog language,
until he was able to create his own original works. Reyes is one of the followers of plays performed at
the Teatro Zorrilla, where he witnessed both the period of popularity and then the abandonment of the said
theater house.

Walang Sugat
From Wikipedia, the free encyclopedia
Walang Sugat (literally, "no wound" or "unwounded")
[1]
is an 1898 Tagalog-language zarzuela (a
Spanish lyric-dramatic genre that includes music, singing, and poetry) written
byFilipino playwright Severino Reyes. The music for the original version of the play was written by
Filipino composer Fulgencio Tolentino.
[2]
Walang Sugat was written when the zarzuela became a
"potent means" of expressing Filipino nationalism during the American Occupation of
the Philippines that followed three centuries of Spanish rule.
[3]

Description[edit]
Set in the Philippine Revolution of 1896, Walang Sugat was first published in 1898, and first performed in 1902
at the Teatro Libertad.
[3]
The play is about the injustices Filipinos suffered under Spanish colonial
rule,
[2]
including the oppression of Filipino prisoners by Spanish friars
[4]
for expressing their patriotism.
[1]

Although Walang Sugat is one of the major and more popular zarzuelas in the Philippines,
[1]
it was one of the
plays considered "too subversive" by the American colonial authorities, and its author Reyes was
imprisoned.
[3]
A typical and traditional Filipino sarsuwela
[2]
or sarswela,
[4]
it portrays the dilemmas of domestic
life through dialogue, song, and dance. In addition, the sarsuwela is laden with romance, humour, and
conflict.
[2]
Reyes, also known as the "Father of the Tagalog Zarzuela" and under the nom de plume"Lola
Basyang", wrote Walang Sugat as his "statement against imperialism."
[1]

Plot[edit]
Apart from the political themes, Walang Sugat is also a love story.
[4]
Towards the end of the Philippine
Revolution, Tenyong leaves Julia to become a member of the Katipunan. In his absence, Julia is continuously
pressured by her mother to marry the rich Miguel; she succumbs when she stopped receiving news from
Tenyong. As Julia and Miguel are being wed, Tenyong arrives to interrupt the service, and is dying of injuries
sustained in combat. Tenyong mentions his dying wish to Julia, but the play
[2]
features an "unexpected twist"
that shows how Tenyong is able to outwit the persons separating him from his beloved Julia.
[1]


SINAKULO or SENAKULO
also spelled senakulo
sinakulo: a play depicting the life and sufferings of Jesus Christ


derived from the Spanish cenculo, meaning "cenacle," which is the place where Jesus Christ celebrated the Last
Supper with his disciples

Sinakulo is a Lenten play that is a dramatic presentation of the Passion of Jesus Christ -- his trial, suffering and
death. The senakulo is performed during Holy Week in the Philippines. It takes eight nights -- from Palm Sunday to
Easter -- to present the entire sinakulo.