LESSON 8

THEATER

LESSON 8.1 THEATER & History of Theater

INTENDED OUTCOMES/ LEARNING OBJECTIVES:

At the end of the lesson, the students will be able to:

1. Understand the discussion about the topic “Theater”

2. Become knowledgeable about the History of Theatre
3. Understand the definition of Theatre

INTRODUCTION

Lea Salonga, Rachelle Ann V. Go, Monique Wilson, Tom Rodriguez, Robert Seña- are you familiar
with these names and where they are usually seen and heard? These are some of the many Filipino
theatre artist that conquered both local a and International theater stage and stage plays. In the next
lessons, you will be learning about Theater, Element of Theater and get to know Talented Filipinos
that dominated the theatrical world.

MOTIVATION

MUSIC and ARTS is a big part of the history and culture of the Philippines. We Filipinos are born
musicians and artists which is evident in our daily living. Music and Drama is one way we express
ourselves

Imagine what would life be without music and drama and arts as a whole? In what ways can you
possibly express yourselves without the arts? Imagine a blank and blunt world without arts.
LESSON PROPER

Definition of Terms:

the·ater | \ ˈthē-ə-tər , ˈthēə-, usually in Southern ˈthē-ˌā- also thē-ˈā- \

The terms theater can be used in the strictest sense of the word as strictly the stage and can also be
used rather loosely to mean other things such as going to the movie theater. The word "theater" can
also be used to describe a place where an event occurs.

Theater can have many other meanings. It can refer to an actual building that houses a multipurpose
room such as that found in a public school or a town hall consisting of a stage, with a proscenium
(basically a frame that defines the stage) with a few curtains as a backdrop and an audience area. In a
non-western society if may refer to a battlefield or a divine place where rituals take place.

Whether one defines theater as an art form or a performance element, it is important to understand that
the word can have many meanings depending on the context for which the word is used and role it plays
in setting described.

Defined, Webster's first definition of a theater is as a structure:

a building or area for dramatic performances

a building or area for showing motion pictures
an outdoor structure for dramatic performances or spectacles in ancient Greece and Rome

SHORT HISTORY

Theatre has been around for what seems like forever or at least as far back as we can track society
that is. The word theatre itself means a place for seeing, usually a building where a dramatic
performance is given but theatre is so much more than that. Theatre is more than just a building. It is
the telling of stories and putting on a show. It is turning a group of people into an audience and bringing
them together through performing arts.

When you think of the historical roots of theatre it is often thought upon to go straight to Ancient Greece
and its amphitheaters which you would be right so in doing as it’s the first recorded theatre in Europe
dating back to 600 B.C. but that would be putting theatre into a box and it’s far too big for that. Arguably,
theatre can be dated back all the way to 8500 B.C. considering tribal dance and religious rituals.
Theatre, depending on how you define it, goes hand in hand with society as it has always been a part
of life to express and perform in some way or other.
Whilst theatre has always been a part of human culture in one form or another, for example the Ancient
Egyptians so great signs of being very involved in theatre and performance, but many believe that it
was in fact the Ancient Greeks who formed how we think of theatre today, despite its beginnings dating
back over 2500 years. The records state it began with a religious festival, much like the history before
them, in which they honored the God Dionysus (God of wine and fertility). The Dionysians developed
the more structured form of drama that we are influenced by today; by dancing and singing.

A lot of the influences from the Greeks are still around today, such as the masks they used to show
emotion and character, which are often used as a symbol of theatre. These masks were introduced by
Thespis himself, a poet who won a dramatic play competition, and whom actors today are often named
after:thespians. Tragedies were their forte, and told of Greek myths, many of them performed and
interpreted to this day. The Romans too, were inspired by the Greek theatre, and much like everything
else changed it to suit them. They wrote Greek plays in Latin and preferred comedies. Roman theatre
had a lot of competition, what with it being 300 B.C. and the interesting public executions that were
occurring, so from this came the need to be grander and bolder. Thus, the creation of vast and
impressive public theatres of which over the next two centuries, the Roman’s built approximately 125
of.

Despite the protests of the theatre that Christians brought, shutting down theatres and fighting, theatre
eventually rose again with religious plays, once again (although it took them a good 1000 years to get
back on track). Theatre expanded across the world, professional actors eventually making a comeback
and theatres opening everywhere, slowly but surely commencing onwards.
The 1500’s in England are what shaped a lot of our theatre today, what with Shakespeare on the scene
and the birth of Globe Theatre. With all the greats that Shakespeare has given us though, theatre didn’t
go on without its hiccups and hurdles, closing and reopening, women being allowed to perform, the
middle class dominating as the audiences and not to mention the new styles that were introduced
whether in the play itself or the costumes and sets.
Theatre has and is influenced by history and the history of theatre. All that has happened in its history
of getting here and surviving its turmoil has made it what it is. Now it is a bigger part of our culture than
ever, thanks to all that came before it, and is more accessible than before. Hopefully, it will continue to
grow and develop; and surely it will always be around.

Theater Explained in Video:

https://www.youtube.com/watch?v=sNWrOuwzax8&feature=youtu.be
 ASSESMENT

ACTIVITY 1: ESSAY

1. Have you watched any theater play? Is it live or recorded?

2. What was the play all about?
3. What was your personal experience/ observations while watching the play?

LESSON 8.2 ELEMENTS OF THEATER

INTRODUCTION

"There are certain elements common to all theater. These elements are present whenever a theater
event takes place; without them, an event ceases to be theater and becomes a different art form and
different experience".
(According to the book "Theater, The Lively Art".)

This chapter deals with the Elements of theatre and its importance.

INTENDED OUTCOMES/ LEARNING OBJECTIVES:

At the end of the lesson, the students will be able to:

1. Become familiar with the Elements of Theatre
2. Explain the other aspects of theater
3. Elaborate how Elements of theatre affects the stage

MOTIVATION:

We always enjoy watching movies in cinemas, recorded and some live theatre plays but we only
actually see the output. What makes it alive and possible are these elements.

LESSON PROPER

To sum up, the following are the major elements of theater:

1) Performers
2) Audience
3) Director
4) Theater Space
5) Design Aspects (scenery, costume, lighting, and sound)
6) Text (which includes focus, purpose, point of view, dramatic structure, and dramatic characters)
 1) Performers
People onstage presenting characters in dramatic action. The audience is coming to see a
performer pretend to be someone else. When the actor/actress is on stage, they must be
believable as the character they are portraying. If they are not believable, then the audience
will be less interested in the production.

2)Audience
The essence of theater is the interaction between the performer and audience. Theater needs to be
experienced live. There is a "call and response" atmosphere that cannot be witnessed in a movie
theater.
~ In a live theater experience, when the audience laughs out loud, or cries, then the actors respond to
that energy.
~ In a movie, there is no connection between the actors and audience, only reactions from the audience.
3) Director
The director makes certain that the performers understand the text and deliver the script excitingly
and appropriately. The director also makes sure the blocking, costume designs, set designs and other
aspects of the show blend together to make a production that works together.
All the aspects of theater should compliment each other, and the director oversees all these things.

4) Theater Space
Another necessary element of theater is the space in which performers or audiences come together.
It is essential to have a stage, or some equivalent area, where actors and actresses can perform. It is
also essential to have a place for audience members to sit or stand.

5) Design Aspects
Visual Aspects - costumes, lighting, and some form of scenic background
Nonvisual Aspect - sound.
Questions:
1) How has lighting changed over time?

2) What did performers do before the light bulb?

3) What would costumes be like in the time of Greek Dramas?

Elizabethan Theater? Modern Times?

4) Does the Theater Space "dictate" what the scenery will look like?

5) Does a budget (how much money the company has) dictate what
the scenery, costumes, and other aspects of design will be like?

6) How has sound changed with technology? What did performers do

before the microphone and recording devices?

6) Text
A final element essential to theater is the text that is performed, and it must be present for theater to
occur. Another name for the text is script. One key element for writing is CONFLICT. The characters
should have a goal to reach, but to reach that goal they must go through a series of conflicts.
Without conflict the story would be bland and boring. When writing your script, how can you make
your story more interesting?
OTHER ASPECTS OF THEATER

Technical theater consists of all the aspects of theater that enhance the story being told. From sets and
lighting to costumes and audio, technical theater makes the experience come alive for the audience.

The Technical Side of Theater

When you walk away from a live theater performance, what is it that sticks in your mind the most? It's
probably the actors, but there are so many other technical aspects that make it truly an experience to
remember. From sets and costumes to more subtle elements like lights and sounds, without the
technical side of theater the experience wouldn't be the same.

1. Setting the Stage: Set Design and Construction

One important technical area of the theater is set design and construction. This process begins with
the set designer reading the script and generating ideas. The set designer reads through the script
looking specifically for references to physical space, such as doors, stairs, and even windows. When
there are scenes that are set outdoors, the set designer will look for references to trees, rocks, and
other objects that may influence the set design. There is typically discussion with the production design
team as well to generate ideas, since most productions are a collaborative effort.
2. Dressing the Actors

Costumes are another important technical aspect of the theater. In a theatrical production, the costume
designer is in charge of designing, supervising production, and acquiring costumes. In coordination
with the director/producer, the costume designer will produce a series of sketches and pictures of
possible costumes that will need to be sewn or acquired for the performance. Those designs need to
be approved by the director and possibly even the show's producer before moving forward.

ASSESSMENT

1. In a theatrical production, the person responsible for the actual design of the sounds used in the
production is known as the _____?
a. audio designer c. sound engineer
b. set designer d. dresser

2. Who is responsible for creating the patterns used to make costumes in a theatrical production?
a. set designer b. seamsters
c. costume designer d. dressers

3. When constructing a set, the actual false walls built for the set design are known as _____?
a. flats b. wall studs
c. platforms d. stairs

4. What is another name for text?

a. line b. wall studs
c. platforms d. script

5. What is the non- visual aspect of theater?

a. sound b. actors
c. platforms d. costume
LESSON 8.3 PHILLIPINES THEATER

Introduction

Long before the different forms of theater we enjoy today, like straight plays and musicals largely
influenced by the West, the Philippines has had many types of theater through the years. It’s a rich
performing arts tradition- from folk legends passed down through generations to intellectual debates as
performance arts; from pagan practices to the deeply religious celebrations influenced by years of
colonization, here’s a look back through the colorful history and evolution of theater in the Philippines.

INTENDED OUTCOMES/ LEARNING OBJECTIVES:

At the end of the lesson, the students will be able to:

1. Become familiar with Theatre in the Philippines
2. Explain the importance of cultural traditions
3. Appreciate traditional theatre art forms in the Philippines specifically in the community.

MOTIVATION:

Theater in the Philippines is as varied as the cultural traditions and the historical influences that shaped
it through the centuries. In this modern time, we are only acquainted with the influence of the Western
countries since it is more convenient because on social media. Philippines theatre shows are only
accessible through theatre plays in cultural halls, as such is limited to some provinces. We can only
see some in annual religious events in the community.

LESSON PROPER

Watch video
https://youtu.be/fdqyVRGrH00

Theater in the Philippines is as varied as the cultural traditions and the historical influences that shaped
it through the centuries. The dramatic forms that flourished and continue to flourish among the different
peoples of the archipelago include: the indigenous theater, mainly Malay in character, which is seen in
rituals, mimetic dances, and mimetic customs; the plays with Spanish influence, among which are the
komedya, the sinakulo, the playlets, the sarswela, and the drama; and the theater with Anglo-American
influence, which encompasses bodabil and the plays in English, and the modern or original plays by
Filipinos, which employ representational and presentational styles drawn from contemporary modern
theater, or revitalize traditional forms from within or outside the country.

1. Epic poetry

Epic poetry is considered the highest point of Filipino folk literature, and dates back to the pre-colonial
period. These epics, usually of romance or adventure, are commonly presented during festivals and
gatherings such as weddings, baptisms, and wakes. Singers have been known to perform for hours at
a time. One of the most famous epic poems is Biag ni Lam-ang, the national epic of the Ilocano people,
and notable for being the first folk epic to be recorded in written form after being passed on from
generation to generation.

2. Duplo

The duplo is a poetic debate presented through song and dance, which originated from indigenous
courtship customs. Poets used proverbs and riddles to present their suit to the woman of their choice.
This ultimately evolved into a more formal debate on issues and started to be called the balagtasan.

3. Moro-moro

Moro-moro from Brittanica.com

For a time, one of the most popular types of theater in the Philippines was the Moros y
Cristianos, which is not surprising for a country that was under Spanish rule for 300 years. Commonly
called moro-moro, it is a street drama that usually lasted for several days, and presented both secular
themes like love and vengeance, and the Spanish-influenced religious theme of the conflict between
Christians and Moors. The moro-moro only survives in isolated towns today, and though an integral
part of Filipino art history, it may not bear too much close scrutiny these days with its less than admirable
depictions of intolerance.

4. Senakulo

https://youtu.be/BToQV80K7ZU

Another performing art stemming from religious custom is the senakulo or Passion Play. This is the
dramatization of the life and death of Jesus Christ and is usually presented as a community activity
during the Lenten season. This still endures to the present, ranging from simple productions to more
technically sophisticated and modernized versions.

5. Traditional Folk Dance

https://youtu.be/FJIvlTR2HDI

With its varied cultures and communities throughout its 7000 islands, the Philippines has a diverse
collection of folk dances. Some of the most popular folk dances are the Singkil, a folk dance that
originated from the Maranao people of Lake Lanao in Mindanao, from the epic
legend Darangen; the Itik-Itik, which originated as an improvised dance in Surigao del Sur and was
discovered by National Artist for Dance Francisca Reyes-Aquino; and the Tinikling, which is similar
to Singkil with its use of bamboo poles that dancers must weave through. It is supposed to mimic the
movement of the local tikling birds.

6. Bodabil

https://youtu.be/IqbME-OwVAY

It sounds like “vaudeville”, and it is. This form of theater was an American import in the pre-war era but
became uniquely Filipino with the indigenization of the name. Like its American
counterpart, bodabil featured a variety of musical numbers, comedic and dramatic skits, and song and
dance numbers. Popular Filipino performers such as Dolphy, Anita Linda, and sarsuwela legend Atang
de la Rama got their start in bodabil. It has since died out with the rise of cinema, but its influence can
still be felt in television variety shows.

7. Sarsuwela

https://youtu.be/-kxFEnA6FvY

The sarsuwela is a type of melodrama, usually in three acts, that uses alternately spoken and sung
words. It was the Spanish influence that started the sarsuwela, but it was also this colonization that led
Filipinos to incorporate nationalistic overtones in the art. This resulted in the arrest of several prominent
writers such as Aurelio Tolentino and Pascual Poblete, and eventually, the shutdown
of sarsuwela companies during the American occupation. As proof of its importance in Philippine
culture, in 2011 the National Commission for Culture and the Arts designated the sarsuwela as a
nominee for the UNESCO Intangible Cultural Heritage lists.

LESSON 8.4 FAMOUS THEATRICAL WORKS IN THE PHILIPPINES

INTRODUCTION

A recent list by Entertainment Weekly of the best plays of the last 100 years prompted a timely question
from the Script Analysis class I am conducting for the Tanghalang Pilipino Actors Company: Why is
there no such list for Philippine theater?

Here’s a list of what I believe to be a representative sampling of plays that can be considered as
landmarks of Philippine theater. The list is arranged chronologically and includes plays which were and
are considered to have broken ground in local theater history, and/or plays which best represent
particular theater movements or dramatic styles.

INTENDED OUTCOMES/ LEARNING OBJECTIVES:

At the end of the lesson, the students will be able to:

1. Appreciate Local theatre plays
2. Elaborate the Elements of theatre in selected theatre plays in the Philippines
3. Recognize Filipino Artists and their works.
MOTIVATION

Most Filipinos are undeniably influenced by the Western and other cultures especially because of social
media. It is the most convenient and influential platform for a lot of things, be it from food, fashion, Music
and Drama. It is true as well that most Filipinos are not aware of the Theatre Arts in Philippines since it
is not always on social media, only until recently when Pandemic hits and all public performances are
cancelled.

In this lesson, get to know Filipino Dramas and how are we unique from other culture. Be inspired of
“Pinoy” stories and relate to the plot and characters.

LESSON PROPER

1. ‘Orosman at Zafira’ (ca. 1857), Francisco Baltazar

Deviating from the standard komedya where the conflict is between the Moros and the Cristianos,
this verse play is about warring kingdoms in the Middle East. Zafira, the daughter of a sultan ordered
slain by Boulasem, unknowingly falls in love with Orosman, one of Boulasem’s sons. Abdalap,
Orosman’s brother, later overthrows his father and jails his brother. Various forces band together in
the end to defeat Abdalap and elevate Orosman to the throne. Significant 20th-century productions
of this play include Rolando Tinio’s staging for Teatro Pilipino in 1977 and Jonas Sebastian’s for
Tanghalang Pilipino in 1993 that was also performed at the Rond Point in Paris, France. In 2008,
Dexter Santos presented a reimagined dance theater production for Dulaang UP based on
Baltazar’s original text.
Video : https://www.youtube.com/watch?v=5JNo5RFjj7k

2. ‘Tanikalang Guinto’ (1902), Juan Abad

This play, generally considered the best example of Drama Simboliko (allegorical drama), was
banned as seditious a few months after its first performance and its author sentenced to
imprisonment. Liwanag (Light) is bethrothed to Kaulayaw (Sweetheart) but is separated from him
by her uncle Maimbot (Avaricious), aided by her traitorous brother Nagtapon (Traitor). Dalita
(Dispossessed), mother of Liwanag and Nagtapon, is disowned by Maimbot, who then tries to bribe
Liwanag to his will through a golden bracelet that turns into a chain of bondage. One notable
production of this play was by UP Broadcast Association’s Dulaang Kapiterya in 1979, which
featured Marlina Feleo Gonzales, Lou Veloso and Herman Escueta, directed by Jorge Hernandez.
Video: https://www.youtube.com/watch?v=h8rp4a5wijU

3. ‘Walang Sugat’ (1902), Severino Reyes, music by Fulgencio Tolentino

This sarswela is credited with dislodging the komedya as the dominant theater form in Manila. Set
in the last decade of the 1890s, it revolves around the love story of Tenyong and Julia amidst the
war with Spain and, later, with the Americans. A revival was produced by the Zarzuela Foundation
of the Philippines in 1970 at the Cultural Center of the Philippines, directed by Daisy Hontiveros
Avellana. Tanghalang Pilipino mounted its own productions directed by Dennis Faustino in 1992
and by Carlos Siguion-Reyna in 2012. Tanghalang Ateneo presented its own production in 2010,
 directed by Ricky Abad, with the same set and costume designs by Salvador Bernal used in
Tanghalang Pilipino’s 1992 staging.
Video: https://www.youtube.com/watch?v=ESBNfhqoRS8

4. ‘Bagong Cristo’ (1907), Aurelio Tolentino

Aurelio Tolentino also wrote “Kahapon, Ngayon at Bukas” and was sentenced to prison for it. This
play, called by its author as a drama socialista (socialist drama), represents one of the early attempts
to interpret the Christ story according to contemporary conditions. The main character is Jesus
Gatbiaya, who wins followers among the workers but angers the wealthy Magdangal. He orders
Jesus kidnapped and forces him to carry a post on which he would be crucified. Anton Juan Jr.
directed a production of the play for Dulaang Babaylan in 1977 which toured many campuses and
various sites all over the country.
Video: https://youtu.be/10UqiSlaNKQ

5. ‘Dalagang Bukid’ (1919), Hermogenes Ilagan, music by Leon Ignacio

The most popular sarswela of its time, “Dalagang Bukid” also became the basis for the first full-
length Filipino feature film. Atang de la Rama originated the title role and played it in the film version.
It is the story of Angelita, a country waif who sells flowers in a cabaret. She is courted by Don
Silvestre, a usurer, but her true love is Cipriano, a law student. The course of true love never runs
smooth, but it still wins out in the end. Tanghalang Pilipino revived the play on the occasion of the
conferment of National Artist honors on Atang de la Rama in 1987 with a production directed by
Nonon Padilla and starring Noemi Manikan-Gomez. It also served as the inaugural presentation of
the then newly-organized CCP resident theater company.
Video: https://www.youtube.com/watch?v=P2iPV4zQ5fY

The next plays are from the Martial Law period, when Filipino playwrights turned to exploration and
experimentation of themes and forms that reflected the social realities around them. It was also a way
to throw the government and its police-military arm off the scent as far as the real intent of some of
these plays were concerned. With the rise of theater groups such as Peta (founded in 1967 but which
came to epitomize the theatrical artists’ response and resistance to the Marcos regime), UP Repertory
Company (1972), Teatro Pilipino (1976), Dulaang UP (1976) and Bulwagang Gantimpala (1978), as
well as the revival of the Manila Metropolitan Theater in 1979, there was a sudden demand for original
Filipino plays, resulting in many outstanding and groundbreaking works.

6. ‘Hanggang Dito na Lamang at Maraming Salamat’ (1974), Orlando Nadres

Nadres could also be represented in this list with “Paraisong Parisukat.” But this play is regarded as
the first play to openly tackle the gender issue, earning praise for its realistic portrayal of the Filipino
homosexual. The stereotypical giggling manicurista (Julius/ Julie, played in the original production by
Len Santos, then Manny Castañeda) is contrasted with the dignified small-town businessman (Fidel,
played by Lino Brocka) whose paternal affection towards Efren (Bembol Roco) turns to sexual
attraction. Lutgardo Labad directed the first staging by Peta; the play is now a staple in many campus
groups’ repertoire. Felino Tañada adapted it into a film in 2007 with Nonie Buencamino as Efren and
Jon Santos as Julius/Julie.
Repertory Philippines’ 2009 staging of Nick Joaquin’s “A Portrait of the Artist as Filipino,” directed by
Jose Mari Avellana.

7. “Mga Kuwentong Maranao” (1974), Sining Kambayoka Ensemble

Along with Rodulfo Galenzoga’s “Maranatha,” this piece, developed under the direction of Frank Rivera,
mines the rich folklore of Mindanao. “Mga Kuwentong Maranao” utilizes five languages—Maranao,
Cebuano, Pilipino, English and Spanish—and consists of stories revolving around the adventures and
misadventures of the folk hero Pilandok, using the bayok (a verse debate from where the group derived
its name) in its exploration of such themes as the relationship between men and women, power and its
use, and corruption. Its staging normally uses various folk dances and movements and features the
many uses of the malong.

8. ‘Bayan-Bayanan’ (1975), Bienvenido Noriega Jr.

Considered as Noriega’s most famous work, this play was premiered by Teatro Pilipino in 1975 under
the direction of Rolando Tinio, and has since been staged many times by Bulwagang Gantimpala,
Tanghalang Pilipino and by other theater groups, under the direction of Tony Espejo, Pio de Castro III,
and Anton Juan Jr., among others. Widely regarded as among the best examples of psychological
realism in Philippine dramatic literature, the play is set in the home of Manang in Geneva, where Filipino
expatriates congregate. In the process, their lives interweave and interrelate as they try to find home,
community and meaning where there is none.

9. ‘Pagsambang Bayan’ (1977), Bonifacio Ilagan

Ilagan’s earlier work “Welga, Welga” could also be in this list, but this play, which was originally written
in English, gained wider popularity and influence after it was staged by the UP Repertory Company in
1977 under Behn Cervantes’ direction. The play is structured like a Roman Catholic Mass, with the
priest (played by Orestes Ojeda in the UP Rep premiere) becoming not only an interpreter of the Word
or the world, but an active participant in changing both. Mass participants are representatives of
peasants, workers, students, tribal minorities, urban poor and professionals, interacting with the priest
as they relate their everyday struggles. The play ends with the priest and the congregation uniting in
the resolve to continue Christ’s work in the only meaningful way acceptable, which was to rage against
the dictatorship at that time. Later productions were revised or modified as the circumstances
demanded, and it may be proof of the play’s potency as a social treatise that the director, along with
many others who got involved in the play’s many stagings during the Marcos regime, were either
arrested or detained, harassed or placed under constant military scrutiny.

10. ‘Ang Paglalakbay ni Sisa: Isang Noh sa Laguna’ (1977), Amelia Lapeña Bonifacio

Among the more significant experimentations with theatrical forms was this play in which the dead Sisa
comes back to haunt Padre Salvi, utilizing the form and conventions of Japanese Noh. Originally staged
by Tony Mabesa along with its companion piece “Ang Madyik na Sombrero: Isang Kyogen sa Pritil,”
which, as the title suggests, is based on the Japanese comic Kyogen, it was later adapted into a full-
length dance production for Ballet Philippines by Corazon Iñigo, who had choreographed the original
theater production.

11. ‘Mayo A-Beinte Uno at Iba pang Kabanata’ (1978), Al Santos

This play is based on the life of Lapiang Malaya founder Valentin “Tatang” de los Santos, dubbed the
“Second Messiah,” who led his group on a march to Malacañang in 1967 that resulted in the massacre
of most of its members. Tatang is sent to a mental hospital where he is later reported to have been
killed in a brawl. An expansion of the author’s earlier play called “Si Tatang atbp mga Tauhan ng Aming
Dula (1975),” this work uses radio announcements, slides and other markers of time and place,
effectively making it one of the earlier and more successful examples of the documentary style of
theater. The play won first place in the Carlos Palanca Memorial Awards in 1977. This work, directed
by Joel Lamangan in its initial presentation in UP, had Fernando Josef in the role of Tatang, and he
and the name have been associated with each other ever since.

12. ‘Juan Tamban’ (1979), Malou Leviste Jacob

“Macliing Dulag” (1988) and “Anatomiya ng Korupsyon” (1990) were also written by the same author,
but this play antedates both. After its initial production directed by Joel Lamangan, “Juan Tamban”
came to be known as the typical “Peta play,” a well-researched piece based on real-life events that
portrays contemporary social problems with accuracy and insight, combining realism and nonrealistic
styles (particularly the use of a Chorus), the better to convey to the audience the immediacy of the
situations presented and the necessary actions that need to be taken (read: unity among society’s
various sectors against the oppressors). The play follows the story of a boy named Juan Tamban
(played by Toffy Padua) who was reported in the newspapers as eating cockroaches and lizards to
attract attention. A social worker, Marina (C.B. Garrucho), investigates his case as part of her master’s
thesis and, in the process, comes face to face with the reality of the boy, his family and environment,
society and herself. The play won second place in the 1979 Carlos Palanca Memorial Awards, with
Bonifacio Ilagan’s play on the first phase of the Philippine Revolution, “Langit Ma’y Magdilim,” beating
it for the top spot. Ateneo Entablado revived the play in early 2014.

13. ‘May-i, May-i’ (1979), Eman Lacaba, Al Santos, Malou Leviste Jacob

The play is based on an original concept by Lacaba that, after his death, was rewritten and completed
by Santos and Jacob. Their historical research resulted in a play—set in the period before the Spanish
conquest of what came to be known as Maynilad/Manila—that fleshed out through rituals, movements
and martial arts insights about our past that threw light on the present. Directed by Lutgardo Labad, the
play touches on the relationship among Raha Sulayman, Lakandula, Panday Pira, Magat Salamat and
May-i, the daughter of Sulayman with Ligaya (daughter of Pira), whom the newly- arrived Spaniards
under De Goiti begin to see as a witch. Upon the defeat of her people and the loss of her loved ones,
May-i takes the name of Maria and leaves the mountains of Makiling for a place unknown. The original
production at the Rajah Sulayman Theater in Fort Santiago was nothing short of spectacular, with its
music, movement and production design all helping to create the pre-Hispanic world of the play.
 14. ‘May Katwiran ang Katwiran’ (1981), Rolando Tinio

In this play in Filipino, the Senyor must cross forest, rivers and mountains to reach a spot where he will
be rescued by a helicopter. Through all this, he takes advantage of his Kasama. When some bandits
approach, the Senyor exchanges clothes with the Kasama, who is taken by the bandits and killed when
they find out he has no money. As the bandits close in on the Senyor, the helicopter arrives, and a
machine gun shoots the bandits as the Senyor flies away to safety. Originally produced by Teatro
Pilipino under the direction of the playwright (who also played the Senyor), the play is probably the best
example of a Filipino drama written in the Brechtian tradition, where the audience is not expected to
empathize with the characters but to reflect instead on the issues and ideas presented. It has also been
performed by many school-based theater groups.

15. ‘Bombita’ (1981), Tony Perez

A number of plays by Perez can very well be in this list, but this is the first in his “road” trilogy of plays—
the other two being “Biyaheng Timog” (1984) and “Sa North Diversion Road” (1988)—that were inspired
by the characters of the myth of the Adarna bird. In this play, which won the Grand Prize in the 1981
CCP Literary Awards and originally produced in the same year by Bulwagang Gantimpala under Tony
Espejo’s direction, Air Force recruits that include obedient soldier Corporal Bombita (played by Tommy
Abuel) transport a box containing top-secret information to Kalibo, Aklan. The trip becomes a journey
of self-discovery for Bombita, who begins to question the value of following orders; he and the rest of
the team end up turning the tables on their leader. This work is among the finest examples of
psychological realism and the effective use of metaphysical constructs in Philippine drama. Gantimpala
Theater Foundation revived the play in 2007, directed by Soxie Topacio, who was in the original cast.
Tanghalang Pilipino presented its own production directed by Dennis Marasigan in 2011.

16. Mario O’Hara’s “Insiang” (2003), directed by Chris Millado

The last five plays cover the period after the “lifting” of Martial Law up to the early ’90s. It is becoming
more difficult to keep track of all the new plays being produced, especially with more theater companies
producing regularly and the annual Virgin Labfest having become a wellspring of interesting new works.
It is inevitable that a number of these recent works will turn out to be new landmarks in the panorama
of Philippine theater in the future.

17. ‘Pilipinas Circa 1907’ (1982), Nicanor G. Tiongson

Tiongson was originally asked to update Severino Reyes’ sarswela “Filipinas para los Filipinos” for a
college production in 1978, but the result was a new work that revived interest in the genre and proved
that the form could effectively take in new content. On the surface, it is about a pair of lovers—Leonor
and Emilio and her cousin Pura and Andres—during the American occupation but interspersed in the
narrative are commentaries on laws that prohibit Filipino men from marrying American women, and the
antisedition and antiflag law. Its premiere production was directed by Soxie Topacio for Peta; the play
was later produced by Tanghalang Pilipino (with additional/reworked music) in 1992 under Nonon
Padilla and was revived in 2007 under Dennis Marasigan’s direction.

18. ‘Buwan at Baril sa Eb Major’ (1985), Chris Millado

The years after the Aquino assassination in 1983 seemed to say “gloves are off” as far as Filipino
Protest Theater was concerned. But Millado’s play avoids cliches, highlighting the human dimension
 while sharply delineating its political milieu. In five distinct scenes, Millado presents a farmer and an
urban worker in the midst of Lakbayan, a protest march against the regime; a priest serving as an
interpreter between journalists and a woman from the Itawes community who had been tortured and
raped; a socialite deciding what to wear for a street demonstration, aware that she will be confronting
the military; a wife who can only watch from afar as her slain husband is laid to rest, both of them
being part of the underground; and a student and the policeman arresting him who discover common
interests between them. The play, originally produced by Peta and directed by Apo Chua, had
several repeat performances, and was later produced by Tanghalang Pilipino at the CCP in 1989.
Ateneo Entablado restaged the play in 2013, directed by Jethro Tenorio.

ASSESMENT ESSAY
CHOOSE 2 THEATRE PLAYS FROM THE LIST

1. Watch and evaluate. Why did you choose these Plays?

2. List the elements present in the works.
3. As a viewer, do you think there are essential things to improve, Discuss any recommendations on
the play.

Resources link:

https://www.semanticscholar.org/paper/The-history-of-Philippine-theatre-
THEATER/2343bed57b3a1f541ceb6444fef5c57e8ffd481d

https://study.com/academy/lesson/technical-aspects-of-theatre-theatre-production.html