Theatre 11 THV

Lecture 1 - “Lingon sa Iskolarship sa Dulaan” By Apo Chua “Palabas: Essays on Philippine

Theatre History” by Doreen Fernandez

● Diachronic ​ay ang kabuuang timeline ng pangyayari.

● Synchronic ​naman ay ang pahimay sa mga mahahalagang bahagi ng timeline. (Eg.
50s-60s)
● Dekada ’50 at ’60​; dito nabuo ang ​pasusuri sa pansining na pananaliksik. Ang ​playscript
o playwright​ ang naging malaking parte noong panahon na ito.
● Dekada ’60 at ’70​; namayagpag ang mga pag-aaral o​ thesis nina Zenaida Amador,
Rodolfo Cortez, Amelia Lapeña-Bonifacio, Jose Lukban, Cecilia Reyes-Guidote.
● Dekada ’70 at ’80​; dito nabuo ang ​dulaan​ bilang ​produktong panlipunan.
● Dekada ’80 at ’90​; dito nabuo ang ​kultura​ ng dulaan o ang ​theatre as a social product​.

Tuesday, 22 January 2019

Lecture 2 - “Lingon sa Iskolarship sa Dulaan” By Apo Chua “Palabas: Essays on Philippine
Theatre History” by Doreen Fernandez

● Unang Tutok ​ay ang ​panitikan​. Ang pokus ng tutok na ito ay ang plot at karakter, at
ang boses na namamayani ay ang author o ang ​playwright​.
○ Drama as text
○ Dramatic analysis
○ Fictive cosmos:​ playwright has authority over text
■ Key terms: genre, period or historical frame, masterpieces
● Pangalawang Tutok ​ay ang from page-to-stage o ang ​pagsasaentablado​; ang mga
methodology ay fieldwork at ethnography, kung saan binubuksan ng dula kung saan ang
pinagmulan nito.
○ Participant observation: researcher becomes a participant in studied event
○ Fieldwork is done to immerse in culture
○ Ethnography: locality of particular topic
● Pangatlong Tutok ​ay​ ​ang nation state progress o ang D ​ ulaan at Lipunan​. Nagpalakas
ng hatak ng programang Philippine Studies, Marxism, at Social Sciences. Ang
methodolohiya ng tutok na Ito ay multidisciplinal at interdisciplinal.
● Ika-apat na Tutok ​ay dalumat at ​kultura​ ng dulaan. Konseptwal ang hataw at kumikiling
sa antropolohikal na dalumat (framing).

Thursday, 24 January 2019

Lecture 3 - “What is Philippine Theatre?” By Nicanor G. Tiongson “From Ritual to Realism” by
Doreen Fernandez “A Reader in Philippine Theatre” by Bienvenido Lumbera

● Nicanor G. Tiongson​’s perspective:

● Drama ​- drama is drama because of the principal elements of ​mimesis​, that is, the
imitation by an actor of actions that happened in real life. Mimesis dictates the inclusion
 in the study of the various indigenous Philippine presentations that have neither the
external trappings nor the internal qualities of Western theatre.

Mimesis​ : Panggagaya/pagtutulad, suspension of disbelief pertaining to spacial difference. (Eg.

Last scene of Romeo & Juliet)

● Dulaan ​-
● Palabas ​-
● Teatro ​-
● Pagtatangghal ​-
● Entablado​ -
● Indios​ had no theatre of our own, except that represented by the plays and spurs they
copied translated from Spanish culture. - ​Lope De Vega and Juan Del Encina (What
is Philippine Drama?)
● Mimesis is manifested in the rituals, dances and customs of early Filipino tribes.

Indigenous Period Spanish Colonial Early American Later American

Regime Occupation Period

Rituals (involving komedya

catalonan or
babaylan)
Indigenous dances

1. Earlier assumptions on Philippine Theater

a. “Indios” had no theater of their own, except that represented by the plays and
skits copied and translated from Spanish culture (Juan dek Encina and Lope de
Vega, from Tiongson’s What is Philippine Drama).
2. Effect of the Golden Age of Spanish Theater
3. Effect of American Influenced education (English lit – Ibsen, Strindberg, Miller and
Williams, etc.)
4. Tiongson: Drama is drama bc of the principa elements of mimesis, that is, the imitation
by an actor of actions that happens in real life
- mimesis dictates inclusion in study of various indigenous Philippines presentations that
have neither external trappings nor internal qualities of western theater
- pangagaya, pang-gagagad
- suspension of disbelief​: what the audience is watching is not real

● L. De Vega & J. Del Encina carried the ​Golden Age of Spanish Theatre.​ This was what
they called legitimate theatre.
 ● Philippine-ness ​must have the following defining features: (A. Chua)

1.) Reflect the culture of the Filipino -​ Material culture​, ​Metaphysical culture
(values), ​Economic Structure ​(class, religion, government)
2.) Answer the need of the Filipinos at given time; - Theatres that do more that
just mirror society; more than just entertainment; Theatre that expose the
shortcomings, ills, and basic contradictions in society; Theatre that calls and
exhorts its audience to do something about this conditions;​ Theatres that
educate, move audience to action​.
3.) Work for the welfare of the greater many, specifically, the masses of peasants
and workers - ​Aim: final liberation of the masses.

● Tadhana at kulturang hindi matatakasan: ​Martial Law orchestration, ginamit Nina ang
kultura at sining pang manalo sa pangangampanya. (Eg. Si Malakas at Maganda, The
Epic of Ferdinand Marcos & Imelda Marcos, Matsa ng Bagong Lipunan)
● University of the Philippines during that time: sinuportahan nila ​Nicanor Abelardo, Jose
Corazon De Jesus, atbp.​ ang orkestrasyon ng batas militar.
● Nicanor G. Tiongson​ ay ilinaban ang Nationalistic, Scientific, and Mass-oriented
Philippine Theatre, na isinulong ng mga aktibista sa pagpapabagsak ng diktador. Siya
ay naging Bagong artistic director ng CCP nang naipabagsak na ang dictator noon 1986
○ pagbalik sa katutubong kabihasnan ng mga Pilipino (Ateneo)
○ Kasaysayan at Estetika ng Sinakulo at ibang Dulang Panrelihiyon s​ a Malolos
(1976)
○ Kasaysayan ng Komedya sa Pilipinas 1976-1982
○ PhD mula sa UP
○ kamalayang politika
○ PAKSA (Panulat para sa Kaunlaran ng Sambayanan)
○ Kulturang “makabayan, siyentipiko, at makamasa (panitikang rebolusyunaryo
○ dulaang Babaylan (1973) naging daan para matipon ang aktibista ng teatro
○ Post-Marcos era (1986-1987)
■ Tiongson bilang artistic Director ng CCP
■ pagbuwag ng kultura ng Bagong Lipunan
● “Natutunan na ng mga Pilipinonh manlilikha, manonood, at mambabasa na may
pamantayang katutubo…” - ​B. Lumbera
● Tiatco​: ​“Positioning Philippine Theater”​ i​ n Entablado “theatres and performances in the
Ph” “Situating Philipine-ness”
● Turner, Victor​ (1979)
○ Criticism against Anthro
○ ethnographies into play scripts/playing of ethnography
○ to perform ethnography, then is to bring data home to us in their fullness,
plenitude of their action-meaning
○ criticism against “drama”
Tuesday, 29 January 2019
Lecture 4 - “Situating Philippine Theatricality in Asia: A Critique on the
Asian-ness/Philippine-ness of Philippine Theatre(s)” by April Pineda Tiatco

● Nationalist/​Essentialist​ Pespective; Common Denominator/ Generalization of

Phenomenon/Homogeneity.
● Orientalism​; looking at eastern culture with the western gaze.
● Assimilation​ is the process where groups adapt to the culture of the prevailing culture.
● (3) Essential Characteristics of Philippine Theatre​, must;

1.) Reflect the Philippine culture;

2.) Answer the needs of the Filipino people;
3.) For the greater good of the many, specifically the peasants and workers

● “Philippines as a nation is not composed of a singular culture.” (​Tiatco​, p.133)

● The (4) major foundations & components of Asian theatrical tradition​, according to
Amelia Lapeña-Bonifacio;

1.) Dedication & religious component

2.) Material: Improvisation & Extension
3.) The use of total theatre
4.) Social, political, and education components

● “It’s not about these components that make theatre’s Asian-ness/Philippine-ness, but it’s
just a geographical marker.” (​Tiatco​, p.139)

Some examples:
1.) Nang Yai in ​Thailand
​ ahabharata
2.) Wayang Kulit Gambah & Wayang Kulit Arja in M
3.) Beijing Opera in ​China
4.) P’ansori in ​Korea

● “​Othering​” as a concept of alienation.

● Structuralism ​refers to dichotomy.
● Tiatco​ aims to break this “othering” or divide between the traditional and modern through
post-structuralism.
● Examples of Dula contradicting A.L.B.’s claim; Repertory Philippines & Dulaang UP
● “​Cultural identity​ is such a difficult concept because it is never fixed.” (​Jazmin Llana​,
p.140)
● “We have to write against culture; culture homogeneity.” ​Lila Abulughod
● This article encourages to accept and embrace the diversity of cultures which is the
essence of Philippine-ness & Asian-ness.

Tuesday, 12 February 2019

Lecture 7 - “What is Performance Studies?”

● 1979 Dramatic to Ritual

○ Criticisms against “Anthropology”
○ Ethnographies into play scripts
○ Criticisms against “Drama”
○ Problem: ​how to turn ethnography into script then vice versa.
● Ethnodramatics​ is engaged in theatrical processes out of anthropological dramaturg.
Performances are actions

1.) Behaviour is the object of the study/repertory.

2.) Artistic practice.
3.) Fieldwork as participant observation.
4.) Actively involved in social practices & advocacies. There is no ideological neutrality.

● Performance Studies​ as a field is sympathetic to the Avantgarde, the marginal, the

offbeat, the minority, the subversive, the twisted, the queer, people of color, and the
formerly colonized.

Tuesday, 12 February 2019

Lecture 8 - “What is Performance Studies?”

● 2 Premises or Trends Center to Turner’s Interests

1.) ​The Performative Turn​ is the study of performative events as a method for
the understanding of cultural patterns in general. (Eg. Religion)
2.) A belief that the anthropological category of “culture” should best be
understood as a process, perhaps as a series of performances.

● Liminality​ is the between and in between. (Eg, Transitioning of Marriage - Couples are
liminal entities)
● Performance Studies​ as a lens:

• From Theatre to ​Performance

• From Theatre to ​Dance Rituals/ritual dances
• From Theatre to ​Oral Performance (Eg. Balagtasan)
• From Theatre to ​Cultural Performance

● Everything can be studied as performance, but you have to beware of generalizations.

(Turner)
● Performances ​can be generalized, the differences enact the conventions and traditions
of a genre, etc. Generalization is a trap because certain communities have set
parameters.
● Ritual, Play, and Performance:
 - ​Rituals have repetition and can be understood from 4 perspectives:
1.) Structure - Whatness
2.) Function - Whyness
3.) Process - How
4.) Experiences - Overall subjectivity

Performance Studies
Performances are actions:
1.​ ​Behavior is the “object of the study” focus on repertory
2.​ ​Contributing artists
3.​ ​fieldwork as participant observation: cultures other than that of fieldworker, crtitical distance,
self reflexivity
4.​ ​PS is actively involved in social practices and advocacies
“Performance” (Schechner)
-​ ​“broad spectrum” or “continuum of human actions ranting frm:
o​ ​ritual, play, sport, popular entertainments
o​ ​the performing arts (th, dance music) and everyday life performances to
enactment of social, professional, gender, race, class roles, and on to healing
(frm shamanism to surgery) the mediaand the internet
Performance Studies
-​ ​sympathetic to avant-garde, marginal, offbeat, minoritarian, subversive, twisted, queer,
people of color, and formerly colonized
-​ ​projects within PS often act on or against strictly ordered or settled hierarchies of ideas, orgs
or people

Feb 19 2019
Trends central to V. Turner’s interest (the performative turn)
1.​ ​performative events as a method for understanding of cultural patterns in general
2.​ ​belief that anthropological category of “culture” should best be understood as process,
perhaps as series of performances
PS as a lens
-​ ​from theatre to performance
-​ ​from theatre to dance rituals/ritual dances like subli, etc.
-​ ​from theatre to oral performance like balagtasan
-​ ​from theatre to cultural performance
Beware of generalizations
-​ ​performances can be generalized at theoretical level of restoration behavior (habit/habitus).
however, as embodied practice and every performance is specific and different frm each
other
-​ ​differences enact conventions and traditions of a genre, personal choices made by
performers, various cultural patterns, historical circumstances, and particularities
Ritual, play, performance
-​ ​performance may be ritualized behavior conditioned/permeated by play
-​ ​ritual and play both lead ppl into “second reality” separate from ordinary life
Ritual:
-​ ​way people remember
-​ ​memories in action, encoded actions
-​ ​help people (and animals) deal w difficult transitions, ambivalent relationships, hierarchies,
and desires that trouble, exceed, or violate norms of daily life
-​ ​“rites of passage,” rituals that transform people permanently (initiations, weddings, funerals)
Play
-​ ​gives people a chance to temporarily experience tabu, excessive, risky
-​ ​transformations a re temporary, bounded by rules of the game
Sacred Rituals
-​ ​associated w expressing or enacting religious beliefs
-​ ​assumed that religious beliefs involve communicating w, praying, or otherwise appealing to
supernatural forces
secular Rituals
-​ ​associated w state ceremonies, everyday life, sports, and any other activity not spec.
religious in character
-​ ​life roles
-​ ​each profession
Structures, functions, processes, and experiences
-​ ​rituals and ritualizing can be understood frm at least four perspectives:
o​ ​structures: what rituals look and sound like, how they use space, who performs
them, and how they are performed
o​ ​functions – what rituals accomplish for groups
o​ ​processes – underlying dynamic driving rituals, how rituals enact and bring abt
change
o​ ​experiences – what it’s like to be in a ritual

Tuesday, 12 February 2019

Lecture 10 - “The Theatricality of the Coronation Ritual in Marinduque, Philippines: A Communal
Choreographic Experience” by Professor Bryan Viray

● The ​Tubong/Putong​ is a Coronation Ritual consist of the ​manunubong​ or ritual reader

and the audience or the community members. It has sacred acts consist of various
theatrical performance; music, poetry, and dances.
○ Functions: Healing, Veneration, and Thanks Giving
● Transformation into a Saint is the liminal part oft the ritual of praise.
● Estima​ is a combination of expressive, affective, and gestural approach towards others.
● It is a communal choreographic experience.
● Rights of passages: ​1, 7, 12, 16, 18, 21, 30, 60/65 years old

from Reporting:

SENAKULO

LOOB NG SIMBAHAN
● pahintulot
● perpormatibo ngunit hindi teatrikal
● text based
○ missale romanum (liturgy of the word)
 ○ brevariu, romanus (book of prayers)
○ lumang tipan (genesis -prophetic books)

● nakahango sa 4 na gospels ang senakulo

○ john at luke - pinakadetalyadong naratibo ng buhay ni Hesus

LABAS NG SIMBAHAN
● inisyatibo
● agsasadula ng mga orihinal
○ Pasyong Genesis
○ Casaysayan ng Pasiong Mahal na Jesucristong Panginoon natin na sukat
ipag-alab ang puso nang sino mang babasa
○ mula sa pagkalalang ni hesus
● Pasyong Kandaba

HISTORY OF SENAKULO
● 17th century - the passion of Jesus was first staged
● 20th century -
● di purket nagkaroon ng bagong techniques ay nagbago na ang content

● Traditional
○ takes too much time → eliminated
○ painted backdrop

● Modern
○ lines: declaimed in prose
○ topical issues have been inserted → for relevance
■ ex. panahon ni Marcos
front curtain

more on physical changes ang nangyari , pero hindi nagbago ang essence ng tradiitional
senakulo

SINAKULO SA TIKAY
(kasaysayan at kumbensiyon)
● PAGKABUO NG SINAKULONG TIKAY ( samahán mismo)
○ mga dayuhang sinakulista sa MAlolos
○ 3 salik (stabilized the culture of Sinakulo sa TIkay)
■ direktor --different directors have their own interpretations → a
certain director (papelitos - pieces of the script of sinakulo)
■ Personahe
■ taunang pagtatanghal
○ SAMAHAN NG MGA SINAKULISTA SA TIKAY
 ■ modernisasyon (of physical elements) → kailangan ng maraming
katulong
■ Layunin:
● makalikom ng pondo
● pagkakasia -- iisa ang relihiyon ng tikay dahil sa sinakulo;
unify the community in religious sense
● solicitation
● ELEMENTS:
○ ENTABLADO
■ bago ang linggo ng palaspa
■ bukas sa lahat ng direksyon
○ TELON AT MGA GAMIT SA ENTABLADO
■ telong katsa - tagpo (backdrop) (painted) ng mga eksena
■ mga gamit (set props): physical elements
○ TUNOG AT MUSIKA
■ sound system (mic, amplifier)
■ arkiladong banda
○ ARTIPIYALES
■ ilusyon o special effects (kidlat, kulog)
■ artipisyales ng paggalaw
○ DIREKTRO AT MGA KATULONG
■ taga-ayos
■ mula casting (major event: panliligaw -- surveying ng kung sinong
bagay na Santa Maria and liligawan), pag-eensayo, pagbabago ng
linya
■ punong - abala
■ walang bayad
○ PERSONAHE
■ mga tauhan
■ panliligaw
■ learn: pag-arte, pagpunto, paggalaw sa entablado
■ pinakamalaking factor para ma-cast: availability for practice
○ KASUOTAN GAMIT AT MEYKAP
■ layunin: mailarawan ang pagkakaiba ng mga karakter → hindi
mahalata ang nag-uulit na personahe
○ MANONOOD
■ dumadagsa miyerkules santo at linggo ng pagkabuhay
■ kakaunti ang manonood sa unang tatlong araw ng Kuwaresma
■ eksenang nakakapagpatahimik:
● Pasyon
● eksenang katatawanan
● eksenang may artipisyales
 ● PURSUIT OF PHILIPPINE THEATRE: how is SINAKULO appropriated?
○ remember: standards given by Tiongson
■ Reflect the culture of the Filipinos
● minahal na rin naman natin ang Kristiyanismo
● reflects religious culture of Tikay people
■ answers needs
● sa mga personahe → sense of fulfillment, belongingness
● political issues
■ work for welfare

MORIONES FESTIVAL
- moriones -- helments
- Longinus -- soldier na nagtusok sa tagiliran ni jesus, first na naging christian

Actors of moriones
● traditionally drawn from the poor barrios located outside town proper
● panata to purge their sins
● morions become renewed individuals at the end of the whole week of the panata
● being an actor is a SECRET
● used to hid his mask behind the toilet
● today : it is common to see morions off duty “ -- hindi na tinatago ang pagiging morion

costume
- capes and breastplates
- ibat ibang kulay -- expresses diversity
- mask ni Longinus -- one eye is closed shut as if blinking ----- initial blindness

Cutud’s Ritual of Nailing on the Cross (Cutud, Pampanga)

● flagellation -- paglalatay sa sarili, pagpapasalibatbat

Panata -- religious vow, devotee promises to do a sacrifice for his fatih until Good friday
- modified to suit specific communal needs of ordinary Filipinos -- indigenizing Catholicism
- sacrifice in hopes of being rewarded by divine response

panata
as an act of utang na loob sa Diyos
wishing to grant something

notion of obligatory reciprocity

for the people ---

 their best way to get closer to god
important sign of reverence as well as an offering to the creator
(re: LABAS NG SIMBAHAN -- initiative)
kelan masasabing enough na yung reciprocation?

3 reasons for their panata

1. petition to the divine + intention to gain assistance
2. utang na loob
3. bigat ng loob

Roots of the ritual

Pamagdarame - involves performance of sinakulo
- written by Ricardo Navarro (local playwright)
- similar to ritual of flagellation in Medieval Europe
- categorized as “Folk Christianity”
- hindi naman approved talaga ng church
- kailangan ng initiative ng community

Evolved in to three performances

1. Mamisan Krus -- carrying of cross
2. Pamamalaspas or Pamagparaya-- self-whipping
3. Pamagsalibatbat -- crawling in the street

Felipe Jocano:
“damay” - filipino cultural concept na pwedeng mag-explain bat ganto ang pag-iisip ng locals

modern senakulo
mga politically motivated -- politicians using this performance for their benefit
senakulo with activism

Palm SUnday
(Linggo ng Palaspas, Domingo de Ramos, “Branches SUnday”)
● worshippers bear palaspas
● some places hold a procession into church
● reading of pasyon
● 3-night of Sinakulo
○ the pasyon → form to voice out their feeling against friars
○ written by Gaspar Aquino de Belen
■ laging nag-oopen sa the Last Supper
■ yung iba (extended version) -- the Creation -- Pasyon Genesis (opens
with adam and Eve’s story)
videos:
- significance of Senakulo accdg to priest
- palaspas hosanna angels
- via dolorosa: sa jerusalem
- kuaresma: pasyon at senakulo
- kinakanta,

Senakulo in Boac, Marinduque

● staged by amateur actors - approach their role with gravity
● director + actor playing LOnginus and Pontius Pilate -- ALL EMPLOYEES of provincial
government
○ Allen Madrigal (Christ)
● audience -- youthful and local,20 is median age
● younger people occupy standing positions
● inverted arena theatre
○ moving kasi yung play
○ intimate set up
● entire Tagalog soundtrack is pre-recorded

Holy Monday and Holy Tuesday

● before 2nd ww --
● regular working days

Holy Wednesday
● evening, provinces of Pampanga, BUlacan, Rizal, Laguna and Ilocandia
● usually dito nagsisimula ang senakulo pero in some places sa Palm SUnday

Maundy THursday
● priests’ renewal of vows
● oil of catechumens
● one of the most important traditions : Visita Iglesia - 7 churches

conclusion ng senakulo sa Boac: pagpapakamatay ni Hudas -- highlight ng Maundy Thursday

Good Friday
● Siete Palabras
● dramatized events of Good Friday -- essential to Easter Story
● silent na pagpatak ng 3pm sa community -- Filipinos extend their sense of “damay” to
now crucified Christ
● audience can also participate in beating
● hindi talaga pinapako si Christ dito pero merong fresh wounds
● Santo entierro
 ○ they burn balat ng lanzones

Black Friday (Sabado de Gloria)

● morions sing for money and clearly enjoy breaking from solemnity of prev day acts
● same Roman centurions ay gagala sa mga kalsada, kumakanta ng light hearted songs
● beheadibg of Longinus
○ kasi naging Christian siya after gumaling yung pagkabulag niya from

Eastern Sunday (linggo ng Pagkabuhay)

● marked w joyous celebs
○ first: (pre-dawn rite) Salubong in Filipino, Sugat in cebuano
○ ritual depicts reunion of christ and mother
■ statues ni mary, joseph, mary magdalene
○ Salubong has 2 related (but slightly diff meanings);
■ “to meet along the way”
■ “to meet or receive someone who has just come”

reflection: contestation between church and community (tiatco)

(article ni --- ) between state and community

expression of catholic faith -- maraming underlying context