CAE15. Module 101112

The Theater Experience/Juancho M.
Babista THE RETURN TO VERNACULAR
Module 10
THE RETURN TO VERNACULAR
Philippine theater in English became popular in schools.

However, when introduced to the masses, the language shifted from
English to the vernacular. The establishment of PETA added to the
fast growth of theater in Filipino. Likewise, theater groups in
various schools started to produce plays in the native language.
Moreover, the facility of understanding the message caused the drama
in Filipino to gain wider acceptance. Moreover, the introduction of
the bilingual education in the school system hastened the development
of theater in the vernacular. Likewise, translations of plays written
in English into Filipino, even in school productions, added luster to
the drama in Filipino.
At the end of this module, you are expected to achieve the
following:
1. trace the return of the drama in the vernacular;
2. cite the tole of the Philippine Educational Theater Association
in the development of drama in the vernacular; and
3. identify the contents of the drama in the vernacular.
Through the years, Philippine theater groups have staged numerous plays
both in English and in the vernacular, be it written by a foreign or local playwright.
Spanish culture and traditions have largely influenced the performing arts in the
country, but the contemporary style is adopted from the Americans. Classic
Broadway musicals have made waves in recent years due to the popularity of
Broadway musicals that were made into movies and were shown in local theaters.
The Filipino theater after the war can be seen as a great example for anyone
who would like to study the postcolonial
identity of the Philippines. The nation,
because of the difficult and complex history
it possesses, cannot be considered in a binary
differentiation of Asian versus Western.
Likewise, we should not forget that the
Philippines is not only an amalgamation of
pre-colonial, colonial, and post-colonial
cultures. There is no such thing as
‘authenticity’ or ‘pureness’ of the RAJAH SULAYMAN THEATER
The Rajah Sulayman Theater at
postcolonial theater forms, or being Fort Santiago, Intramuros, Manila is the
‘polluted’ by foreign influences. first home of PETA.
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The Theater Experience/Juancho M. Babista THE RETURN TO VERNACULAR
As long as the aim of theater for the

Filipino theater artists is to redefine their
own artistic identity, the question of what is
pure or what is influenced is trivial. Theater
is not an individual pursuit, so individuality
is out of the context. If the direction of the
theater is focused on political or social
issues, then individuality is the least
concern.
HANGGANG DITO NA LAMANG Philippine theater after the war
AT MARAMING SALAMAT gained from artistic freedom. Artistic
Orlando R. Nadres’ play is freedom is always the foundation of any art
considered the most performed play in
the country. Originally written in form. It is the freedom to imagine, create,
and distribute diverse cultural expressions
Tagalog, it tackled gender issues that is
timeless and universal. Shown is the LNCfree of government censorship, political
Dramatic Guild’s 1977 performance with
Dr. Cesar O.Engracia (Fidel) and Eppy interference, or the pressures of non-state
Macalinao (Julie). My SLSU Journey actors. It includes the right of all citizens to
Archives. have access to these works and is essential
for the well-being of societies. Creative
freedom is based on the idea of free thinking and adopting an approach that is
outside the box. It involves the fertilization of a human mind by giving it freedom
to go beyond the obvious and encounter ways into the unseen, unheard, and unfelt.
In delving with Philippine theater, it is noted that artistic ability includes
skills and talent to create works of art. Creative ability is the skill and talent to use
the imagination to create and solve. A better artist is creative, but one does not
need to be an artist to be creative.
The Return to Vernacular

By early 1960s, theater people were
noticing how difficult it was to draw audiences to
plays. Evidently, this was primarily due to
language. Though some Filipinos showed
command of the language, English is not the
language of the heart. Therefore, audiences were
limited to the highly educated, and to those
devoted to theater. Realizing this, most
playwrights translated works in English into
Filipino. Onofre Pagsanghan adapted Thornton
Wilder’s Our Town into Doon Po Sa Amin.
Rolando S. Tinio translated and staged such plays
as Tennessee Williams’ Glass Menagerie
(Laruang Kristal), Strindberg’s Miss Julie, and BAYANING HUWAD
The play that started it all for
Arthur Miller’s Death of a Salesman (Ang PETA, Bayaning Huwad is a
Pahimakas ng Isang Ahente). Tagalog adaptation of a tragedy
by Virginia Moreno. It tells the
In 1967, the Philippine Educational Theater story of a man who offers his
Association (PETA) founded by Cecile Guidote goddaughter to an American
started playing Filipino plays in English, but soldier to get back his family’s
farmlands. PETA Archives.
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redirected into adaptations, translations, and new plays in Filipino.

From laugh-out loud
The Philippine Educational Theater musicals that celebrate
Association (PETA) was founded in 1967 by Philippine pop culture, to
Cecile Guidote-Alvarez with the vision of a
Philippine Theater engaged in the straight plays that save
development of people and society. Through important stories from being
the years, it has maintained its belief that forgotten, PETA has stayed
theater is a powerful tool for social change
and development.
true to the founder’s original
vision, still starting much-
PETA’s first home was the Dulaang Rajah Soliman
located in the ruins of Fort Santiago in Intramuros. It was
needed conversations, raising
in this beautiful performance space that PETA’s dream awareness, and pushing for a
began to flourish. PETA began to nurture and cradle the revolution when needed.
hundreds of artistswho will later on share their talents
and expertise in theater, television, radio, in print and In 1971, PETA became
education. the UNESCO-ITI
Since then, PETA has been in the forefront of (International Theater
Philippine culture, coming out with over 300 plays Institute) Center in the
written, translated, adapted, published and performed
that have shaped the company’s and, indeed, the
Philippines, and in the same
country’s theater history, enriching it through theater year it organized the first
forms and techniques that express local, national, and Third World Theater Festival,
universal themes. held in the 400th year of the
In 2005, PETA moved to its new home – the PETA foundation of the City of
Theater Center. It is a home for Filipino artists and Manila. When its founder was
audiences, a space for experiential learning and a
landmark in Philippine Arts and Culture where PETA
forced to go on political exile
continues to pursue its vision for our people and society: because of Martial Law in
that their lives may be enriched and empowered with 1972, PETA’s new breed of
each gesture, word, image, sound, expression and artist-teacher-leaders
creative learning experience.
continued to steer the
company towards a People’s
Theater committed to social change.
BUKAS, MADILIM, BUKAS

Lolita Rodriguez plays the
role of Rosenda, as she
confronts her mother, Mary
Walter who plays Nyora Atang,
in a a story of deception in
Orlando Nadres’ Bukas,
Madilim, Bukas staged at the
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The Rajah Sulayman Theater at Fort Raja Sulayman Theater at Fort

Santiago. Google Images.
Santiago was home for PETA for quite a long time.
It even had film actors performing in some of the
plays presented. The theater was the training
ground for theater actors, playwrights and
production staff that in also became cinema
performers like Soxy Topacio, Lorli Villanueva,
Lino Brocka, among others. Even known film stars
took time to perform at the then PETA stage. Lolita
Rodriguez once starred in Orlando Nadres’ Bukas,
Madilim, Bukas.
PETA has been known and credited for
creating issue-based performances that mirror and
reflect the times, and for its fearless delivery of truth through a palette of theatrical
forms. Season after season, it continues to contribute to help bring about social
awareness and change through its productions, performances and workshops, as
it calls on its audiences to act and respond to the clarion call that hound the
Philippine society, using fresh, innovative and interesting techniques and
approaches, PETA welcomes challenges to push the capacity of art to inform,
influence and inspire its audience.
One factor that helped develop the
writing of drama is the establishment of the
Palance Awards or the Don Carlos Palanca
Memorial Awards for Literature which are a set
of literary awards for Filipino writers. Usually
referred to as the Pulitzer Prize of the
Philippines, it is the country’s highest literary
honor in terms of prestige. One of the country’s
longest-running awards program, it was BEN ALIGTAD
established in 1950 to inspire and recognize by Dong de los Reyes
Filipino writers, including poets and
playwrights. In the 1960s, the Palanca Awards
Committee started to fund the publication of
Palance award-winning plays, and production
funds were committed in 1975.
In the 1970s, having worked as television
playwright and found a mass audience
hospitable to the subject of his dramas, HIBLANG ABO
Florentino turned to writing in Filipino. Other by Rene Villanueva
Gantimpala Theater restages two
forces bought theater back to the vernacular: Palanca Award-winning plays
history and social movements. National during the 2nd Pearl Theater
problems precipitated not only a reexamination Festival.
of ideas and structures, but a rise of nationalism
and of student activism, giving birth to proletarian theater or street theater that
abandoned auditoriums and made the stage the streets of the Philippines, like the
Plaza Miranda. The theater was influenced by the Chinese revolutionary theater;
styles of western theater; allegory and expressionism; and arena theater or
pantomime or combination of styles because of the need for mobility and
flexibility.
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This theater took drama beyond the stages of entertainment, escape, and
exposition, and into the further stages of ideas, analysis, and persuasion.
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SINTA
Dulaang Sibol
of Ateneo High
S c h o o l h a s
p r od u ce d Si n ta ,
the longest
running musical
play. The simple
plot is intertwined
with beau tiful
songs. ADMU
Library Archives.
Let’s Do This!
A. One on One!
The dialogue in a drama gives the thoughts and emotions of a characters. During
auditions, an actor is asked to read a deliver a dialogue from a play without reading the
whole play itself. This is to determine the actor’s range of knowledge and experience in
identifying a character’s background by merely delivering long dialogues.
Ang Teenager is a character from Frank G. Rivera’s Ang Piging (translated from
Daniel Wright’s The Feast). In the scene, he is asked to deliver a speech for an
imaginary feast and is telling Ang Mama about the discontent he feels about the life he
has in his speech.
Rosenda is Orlando Nadres’ tragic spinster character from Bukas, Madilim,

Bukas. In the scene, she is speaking to her bed-ridden mother after she discovers her
deceived her by pretending she is sick and unable to walk.
Tips for Successful Dialogue Delivery

Delivering a dialogue requires preparation. The following might be helpful
pointers for a successful delivery of a declamation material:
1. Study the assigned dialogue and look for its strong emotional appeal.
2. Read the dialogue aloud several times for understanding and analysis.
3. Develop mastery of delivery by memorizing the dialogue by heart.
4. Practice delivering the dialogue from memory with conviction, using good vocal
techniques and appropriate gestures and movements to convey the meaning and
emotions.
5. Give the full force of your voice, but use vocal variety as needed to convey the
meaning of the poem.
6. Avoid histrionics.
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7. Deliver the dialogue as you believe a real person must do when faced with the same
incident.
Mechanics for Delivery of Dialogues
1. Overall intonation and rhythm.

2. Correct pronunciation and stress.
3. Proficiency in handling difficult structures.
4. Memorization.
5. Poise, posture and eye contact.
Directions: Follow the instructions below.

1. Study carefully the assigned dialogue: ANG TEENAGER for the male and
ROSENDA for the female.
2. Imagine the setting the character is in.
3. Determine the emotions embedded in the dialogue.
4. Memorize the dialogue.
Note: If it will not hamper the performance, use an idiot board.
5. Rehearse the delivery of the dialogue.
6. Face the mirror and try to bring to life the character in focus.
7. When satisfied with the rehearsals, prepare for the performance.
8. Improvise costumes. Haul the closet if necessary.
9. Video your performance using a cellphone or videocam.
10. Upload your video in _______________________.
“ANG PIGING”
A Pilipino adaptation by Frank G. Rivera
Based on the “The Feast” by Daniel Wright
TEENAGER: At maniwala kayong isang napakalaking karangalan ang makapiling kayo sa

sandaling ito. Ngayon, bayaan ninyong ibalita ko sa inyo ang isang
nakatutuwang pangyayari na naganap sa akin kaninang hapunan.
Nakaupo ako rito at inimbita ako ng matandang ito sa isang pagdiriwang,
isang katuwaan . . .
(lilingon sa matanda)
Kaya eto ako. Nais ko ring ihingi ng paumanhin ang sobrang papuri ng aking
kaibigan. Ang kanyang naging pagpapakilala sa akin ay hindi
makatotohanan . . . Ibig kong sabihi’y sobra. Pero isaalang-alang natin
kung bakit tayong lahat ay naririto. Ikaw, ano ang ating dahilan? Kayo?
(titigil sandali)
Putris, hindi ko rin alam. Tama. Ang lahat ng ito’y kabaliwan!
(lilingon sa matanda)
Walang dahilan kung bakit tayo naririto. Kaya maaari na nating idahilan ang
lahat ng mga dahilan kung bakit tayo naririto. Isipin na lang ninyo, ang
lahat ng bagay na inyong magagawa sa halip na aksayahin ninyo ang oras
sa . . . sa pagdiriwang na ito. Maaaring magtapon kayo ng basura, o kaya’y
maglinis ng inyong kotse, o mangupit kayo sa Seven Eleven o sa SM . . .
mangalikot ng tsimay, mag-isip kayo ng pambara sa inyong biyenan.
Isipin na ninyo ang lahat ng tuksong inyong magagawa kung hindi kayo nag-
aaksaya ng panahon ditto . . . Pero naririto na rin lamang kayo ay
magdiwang na rin kayo. Isang napakalaking kasiyahan para sa amin na
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narito kayo. Kaya sige lang, magpakasaya kayo dahil sa malaking

kasiyahang dulot ng inyong pagdalo.
(lilingon sa matanda para alamin kung ayos ang kanyang talumpati)
At higit sa lahat ay gusto kong ipaalam sa inyo na ako’y naniniwala na kayong

lahat ay mga dakilang tao at ako ay sumasang-ayon sa inyo sa lahat ng
bagay . . . Siyanga pala, salamat po pala!
(lilingon muli sa matanda)
Inaantig ko ang inyong mga damdamin, pinatatawa ko kayo, pinupuri ko

kayo, sinasang-ayunan ko kayo at higit sa lahat ay linalambutsing ko kayo.
Okey na ba?
“BUKAS, MADILIM, BUKAS”

Orlando Nadres
ROSENDA: Ako? Ako ay walang utang na loob?
Kayo! Kayo ang walang utang na loob!
Sinunod ko ang pakiusap ninyo . . . Sa araw ng aking kasal . . . tinalikuran ko

ang lalaking pinakaiibig ko . . . Sapagkat tadtad kayo ng sakit! Sapagkat
nalumpo kayo!
Wala naman pala kayong karamdaman . . . hindi naman pala kayo lumpo . . .
Buong buhay ko ay inialay ko sa inyo . . . pati kabataan ko ay inangkin
ninyo . . . at ngayon, ako pa ang masamang anak? Ako pa ang walang utang
na loob!
Saan ko gagamitin ang maiiwan ninyong kayamanan, Mama? Para sa isang

mag-aalaga sa akin . . . magpapakain sa akin . . . magpapaligo sa akin . . .
magbubuhat sa akin . . . maglilinis ng kuwartong ito para sa akin . . .
mamimitas ng bulaklak para sa akin . . . magbubukas ng bintana . . .
maghahawi ng kurtina para sa akin . . . kapag akoy matanda ng tulad
ninyong uugud-ugod!
Bukas . . . madilim, bukas! At iyan ay dahil sa inyong kasakiman! Sakim ka,

Mama! Sakim!
References:
Babista, Juancho M. (2018). The Theater Experience 2 (Asian-African Theater). Lucban,
Quezon: Southern Luzon State University-College of Teacher Education.
Diamond, Catherine. (1996). “Quest for the Elusive Self: The Role of Contemporary
Philippine Theatre in the Formation of Cultural Identity.” Tdr (1988), vol. 40, no.
1. (doi:10.2307/1146515).
Fernandez, Doreen G. (August 28, 2017). “Seditious and Subversive: Theater of
War.” NCCA. National Commission for Culture and the Arts.
Fernandez, Doreen G. (2000). “Philippine Theater in English.” World Literature Today,
vol. 74, no. 2. (www.jstor.org/stable/40155578).
109
Lockard, Craig. (2017). “Philippines: Pinoy, Protest, and People Power.” Dance of Life:
Popular Music and Politics in Southeast Asia. Hawaii, USA: University of Hawaii
Press.
www.actingstudiochicago.com
www.theatredumississippi.org
Module 11
THE PROTEST THEATER
The theater has been part of the Philippines’ long political struggle.
The Americans tagged the drama of the era as seditious theater, the
Japanese did not discover that the theater that was entertaining them had
guerilla movement under their noses, the Marcos regime branded the stage
and street productions of his power-hungry administration subversive.
There was no bloodshed but the theater of these periods never hesitated to
oppose the American, the Japanese, and the Marcos desire to enslave the
Filipinos. The theater kept the Filipino soul and spirit free to fight for
their very existence as free citizens of a free country.
following:
4. define theater-at-war;
5. identify the reasons that led to the rise and development of the
protest theater; and
6. state the contributions of the protest theater in the country’s
struggles for independence.
PAGSAMBANG BAYAN
With the risk of a nationwide Martial law
under the Duterte administration, playwright
Bonifacio Ilagan was compelled to revive his
notable play, Pagsambang Bayan (Liturgy of the
Masses), into a musical. First staged in 1977 at
the University of the Philippines amid Marcos’
dictatorship, the play turned musical is now
performed in several schools to enlighten the
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“Philippine theater has, through youth and reminisce the victims of the two
regimes. Heraldo Filipino.
three eras of political struggle–Filipino-
American, Japanese, anti-Marcos-, through
three eras of political struggle — Filipino-
American, Japanese, anti-Marcos — never
hesitated to go to war.” – Doreen G.
Fernandez, “Seditious and Subversive:
Theater of War”
Fernandez cited two important ideas
in her essay: that war breeds theatre and that
theatre is a particularly effective weapon of
protest. The Philippines has a long heritage of
political plays, which began in the 1900s,
when plays labelled “seditious” by Americans
were suppressed because of what they could do: stir the audience to “such a pitch of
indignation and enthusiasm that they could leave the theatre full of purpose against the
government and its emissaries.”
Decades later, during the martial law years, the
tradition of protest theatre made it possible for plays to
“stand beside the people, against the enemy,” as
Fernandez puts it. At first, subversive themes were
woven into historical plays and folk theatre fare. As
anger grew, plays became more confrontational, overtly
calling out human rights violations and decrying Marcos
as a monster and an enslaver of his countrymen.
During the pre-martial law years of nationalist
resurgence, characterized by rallies, marches,
demonstrations against imperialism, bureaucrat
capitalism, government corruption, theater responded
with plays focusing directly on national problems and
issues. Plays like Huwelga! (Strike!), Hukumang Tuwad
(Kangaroo Court), Barikada (Barricade), Tunggalian THE FOUR KINGS
Nald Galinato as Hari ng Ulan
(Conflict), Pakikibaka (Struggle) dominated the protest (foreground) and behind him (from
theater scene. Even schools produced plays that tackled left), Mike Simpao as Hari ng Dilim,
issues about the problems of the society that was caused Pat Tiongson as Hari ng Araw, and
Bennet Aquino as Hari ng Hangin in
by Martial Law. the Ateneo High School Dulaang
Sibol’s presentation. Google
These were staged on streets and plazas and in Archives.
front of factories, by nationalist groups like the
Kamanyang Players, Kalinangang Anak-Pawis, Panday-Sining, Gintong Silahis and
Tanghalang Bayan, and by the semi-professional Philippine Educational Theater
Association (PETA) and the school-based U.P. Repertory Company. The plays were brief,
urgent, and directly, confrontationally political, often advocating revolution.
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After the declaration of Martial Law in

September 1972, almost all the theater was
protest theater. To the playwrights and theater
groups, it seemed self-indulgent to write and
stage plays about emotions, personal journeys
and social interactions. Theater had to stand
beside the people, against the enemy. The
content, staging and clever indirection of the
protest plays during the Marcos-dictatorship era
was theater-at-war itself, finding its weapons
along the way, depending on the state and
strength of its enemies, Marcos and the military
that supports his regime.
It could be said that it was made possible
because of the tradition of political theater left
behind by “seditious” plays and the Japanese era
stage shows. Moreover, it could be claimed that
Filipinos had by then grown comfortable with
using theater as weapon and battle field, and used
ANG PAGLILITIS NI MANG SERAPIO it with devastating effectiveness in an internal
This Paul A. Dumol’s play was staged
by the Ateneo High School’s Dulaang Sibol. war.
ADMU Library Archives.
ADARNA
Ateneo High School Dulaang Sibol’s staging of the musical Adarna based from a Filipino mythical bird.
ADMU Library Archives.
As theater people were not allowed to confront issues directly, they had to exercise
great subtlety and craft. Historical plays were staged like Ang Walang Kamatayang
Buhay ni Juan de la Cruz Alyas . . . (The Deathless Life of Juan de la Cruz alias . . .), set in
the first decade of American era in the Philippines, when people were driven from their
homes into zones of control. Another play, Sigaw ng Bayan (The Nation’s Cry), is about
the Katipunan and revolution against an oppressive state. There were many others.
Although nothing was said about martial rule, these plays brought home to the audiences
the lessons of history, inviting comparisons. The audience themselves drew conclusions
about unchanging oppression.
Artistically, the implied and unsaid strengthened the plays, giving them power
beyond what they would have had in other times and folklore and folk theater were
especially effective because of the instant recognition. Sinakulo ng Bayan (The Nation’s
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Passion Play), based on the Lenten Passion play, had Christ as worker, plow on his
shoulder, and Annas, Caiphas and climes. Herod costumed as American Imperialism, the
Dictatorship and the Bureaucracy. The Christmas play Panunuluyan (The Search for an
Inn) took Joseph and Mary to commercial centers, landlords, factory owners, and finally
to the urban poor, to find a birthing place for Christ.
The social conditions and political climate during the Martial Law sharpened the
people-based theater aesthetic of PETA. It inspired the company to use the power of
theater as a means of producing plays for empowerment and development, especially of
the most disadvantaged sectors of society
or those in the margins. PETA began by
asserting the then radical view of creating
and performing plays in Filipino. Most of
PETA’s plays were staged at the historic
Dulaang Rajah Sulayman, an open-air
theater designed by National Artist
Leandro V. Locsin. By the 90’s, it boasted
of a solid record of some 300 plays,
written, translated, adapted, published
and performed, which shaped the
PILIPINAS CIRCA 1907 company’s theater history, enriching it
PETA’s Pilipinas Circa 1907 is set in the period
prior to the national elections in 1907 and dramatizes through theater forms and techniques
the political conflict and family relations getting in the that expressed local, national and
way of two pairs of star-crossed lovers when America universal themes.
was more in the heart. PETA Archives.
Among PETA’s earlier plays have been

Bayaning Huwad, Larawan, May-i, May-i,
Hanggang Dito na Lamang at Maraming
Salamat, Juan Tamban, Pilipinas Circa 1907,
Ang Buhay ni Galileo, Macbeth, Canuplin,
Macling Dulag, Ang Paglalakbay ni Radya
Mangandiri, 1896, and many others. The
theater even brought Minsa’y Isang Gamu-
gamo from the screen to the stage.
The Martial law machinery was not
MACLING DULAG
able to stop the theater’s subtle attacks on the PETA recounts the story of Macli-ing
regime and on the atrocities of the Dulag, a pangat of the Butbut tribe of the Kalinga
dictatorship. After the assassination of Ninoy province in the Cordillera region of the
Philippines. He is best known for his opposition
Aquino in 1983, the theater became bolder, to the Chico River Dam Project, which led to his
more assertive, more direct. “If people are assassination by the armed forces under the
marching in the streets again,” said director command of then-President and dictator
Ferdinand Marcos. PETA Archives.
Behn Cervantes, “the theater, which was
always ahead of them, must go even further.”
The prevailing situation and the sentiments of the people ushered in plays like
Ilokula, ang Ilokanong Drakula (Ilokula, the Ilocano Dracula). The drama deals about the
former dictator-president Ferdinand Marcos drinking the blood of the Filipino people. In
the play Pagsambang Bayan (The People’s Worship), in which the congregation at Mass
is composed of farmers, the urban poor, underground revolution arise, students, and
ethnic minorities. The priest comes down from the altar to join the people, changing his
vestments to peasant clothes, and tying on a bolo.
The protest theater of the martial law era was a laboratory for political theater of
many strategies. Accordingly, theater was born of war, and it entered the battlefield, shed
blood which is symbolic of actors and directors arrested and plays closed or banned, and
triumphed. The theater of the times was able to show the stark realities of the period.
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Oratoryo ng Bayan (The Nation’s

Oratorio) presented in 1984, is a play made out
of the Declaration of Human Rights. Buwan
at Baril (Moon and Gun), played in 1985,
focused on eight individual lives and reached
insights on communities, society and nation.
The end of dictatorship and the glory of
freedom brought in fresh ideas. EDSA People
Power brought Panata sa Kalayaan (Oath to
Freedom) in 1986, which fused three legends
to make a “new legend about the people,” and
MINSA’Y ISANG GAMUGAMO to integrate the experience of immediate past
PETA brought from the screen the story of
Corazon de la Cruz played by Nora Aunor who and present.
essayed the same roleon stage. PETA Archives. When the era ended, theater
was acknowledged as both warrior
and weapon, having effectively
conscientized the people, roused
them into action, and made a
difference. Today, the activist
theater groups are gone, but PETA,
university and college groups, and
community and church-based
groups remain. Their plays no
longer focus on oppressors, but on
ISANG HARDING PAPEL the problems and issues that persist
A scene from isang Harding Papel, a children’s musical like poverty, corruption,
based on the book by Augie River, music by Thea Tolentino,
book and lyrics by Nanoy Rafael and directed by Nor
oppression, especially of the lumad
Domingo. PETA Archives. or the native owners of ancestral
lands, injustice, the trampling of
human rights.
According to Fernandez (2003), the vestiges of war found in Philippine drama and
theater, therefore, are: a definite commitment to the country by a good number of theater
groups; an ease in the use of theater to deliver political messages; a repertory of plays
political but using indirect (symbolic, allegorical, suggestive) expression; a squadron of
veteran playwrights, directors and actors; a toolbox of theater techniques, strategies,
designs and devices; thus definitely a theater that derives not from fad and fashion, but
from urgency and involvement. Philippine theater has, through three eras of political
struggle, Filipino-American, Japanese, anti-Marcos, never hesitated to go to war.
In 2016 and 2017, the theatre took up the gauntlet once more via the staging of
protest and advocacy plays, among which are two martial law musicals that confront the
horrific realities of the Marcos era while linking these to those of the present regime. In
one, the weapon is wielded, so to speak, by children. The Raya School Manila’s Isang
Harding Papel is a musical adaptation of Augie Rivera’s children’s book, published in
2014, about a young girl whose mother is a political prisoner during the martial law period.
These theater productions merely prove that in any season and for any reason, the
theater will always be an important tool for advocacy.
Let’s Do This!
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B. Declaim-a-song!
Declaim-a-song is a form of oral interpretation initiated by Prof. Juancho
M. Babista. It is similar to declamation, but instead of dramatic poetry, it
employs song for a piece to be recited. Moreover, it is delivered with
background music, which is the melody of the chosen song. Likewise, the
delivery must by synchronized with the beat and rhythm of the music. It is as
if the declamer is singing the song.
Tips for Successful Declaim-a-song

Delivering a declaim-a-song requires preparation. The following might
be helpful pointers for a successful delivery of a declamation material:
8. Study the assigned song and look for its strong emotional appeal.
9. Read the lyrics of the aloud several times for understanding and analysis.
10. Develop mastery of delivery by memorizing the dialogue by heart.
11. Synchronize the delivery of the piece with the beat and rhythm of the music.
12. Practice delivering the piece from memory with conviction, using good vocal
techniques and appropriate gestures and movements to convey the meaning
and emotions.
13. Give the full force of your voice, but use vocal variety as needed to convey the
meaning of the poem.
14. Avoid histrionics.
15. Deliver the declaim-a-song like a declamation but synchronized to the
background melody.
Mechanics for Delivery of Declaim-a-song

6. Overall intonation and rhythm.
7. Synchronization with music.
8. Correct pronunciation and stress.
9. Proficiency in handling difficult structures.
10. Memorization.
11. Poise, posture and eye contact.
Directions: Follow the instructions below.

11. For Piece # 1 – Nena, if you are male, deliver the piece in the third person.
If you are female, deliver the piece in the first person.
12. Use the videoke format of the song from YouTube at
https://www.youtube.com/watch?v=OwM6KqcTsHc.
13. For Piece # 2 – Reflection, if you are male, pretend that you are gay. If you
are female, pretend you are a lesbian.
14. Use the videoke format of the song from YouTube at
https://www.youtube.com/watch?v=V1sxeMrGgwA.
15. Imagine the setting the character is in.
16. Determine the emotions embedded in the dialogue.
17. Memorize the lyrics.
Note: If it will not hamper the performance, use an idiot board.
18. Rehearse the delivery of the declaim-a-song.
19. Face the mirror and try to bring to life the character in focus.
20. When satisfied with the rehearsals, prepare for the performance.
21. Improvise costumes. Haul the closet if necessary.
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22. Video your performance using a cellphone or videocam.

23. Upload your video in _______________________.
Piece # 1
NENA
by Heber Bartolome
Ang nanay n’ya’y naglalaba, ang tatay n’ya’y pagod

Galing sa trabaho, wala pang tulog
Si Nena’y nagbabasa, nag-aaral pa
Nag-iisang anak ng kanyang ama’t ina
Tanging pag-asa ng kanyang ama’t ina
Ang nanay n’ya’y umiiyak, ang tatay n’ya’y patay
Naipit ng makina doon sa pabrika
Sinikap ng kanyang nanay na sila ay mabuhay
Sa paglalaba ay tumulong s’ya
Si Nena’y natigil sa pag-aaral n’ya
(refrain)
Lumaki si Nena, di nakapag-aral
Di natitiyak kung ano ang bukas
O, kay hirap ng buhay na kanyang dinanas
Ang tanong niya’y, “kailan ito magwawakas?”
Ang nanay n’ya’y nakahiga, mata’y nakapikit
Sa labis na trabaho, ito’y nagkasakit
Si Nena’y nababalisa, kailangan n’ya’y pera
Walang mauutangan, saan kukuha?
Kailangan niya’y pera, saan s’ya kukuha?
(refrain)
Lumaki si Nena, kaakbay ay hirap
Di natitiyak kung ano ang bukas
O, kay hirap ng buhay na kanyang dinanas
Ang tanong niya’y, “saan ito magwawakas?”
Bago dumilim, si Nena’y umaalis
Laging naka-make-up, maiksi ang damit
Ang itsura n’ya ay kaakit-akit
Bukas na ng umaga ang kanyang balik
Ayaw ni Nena, ngunit s’ya’y nagigipit
Oh hmmm
Nena, Nena
Hmmm…
(coda)
Tulad ni Nena, marami pang iba
Kahit saan maraming Nena
*****
REFLECTION
116
Matthew Wilder/David Zippel

Look at me,
I may never pass for a perfect bride,
or a perfect daughter.
Can it be,
I'm not meant to play this part?
Now I see,
that if I were truly to be myself,
I would break my family's heart.
Who is that girl I see,
staring straight back at me?
Why is my reflection someone I don't know?
Somehow, I cannot hide?
Who I am,
though I've tried.
When will my reflection show, who I am, inside?
How I pray,
that a time will come,
I can free myself, from their expectations
On that day,
I'll discover someway to be myself,
and to make my family proud.
They want a docile lamb,
No-one knows who I am.
Must there be a secret me,
I'm forced to hide?
Must I pretend that I am someone else for all time?
When will my reflection show, who I am inside?
When will my reflection show, who I am inside?
*****
References:
Babista, Juancho M. (2018). The Theater Experience 2 (Asian-African Theater). Lucban, Quezon:
Southern Luzon State University-College of Teacher Education.
Diamond, Catherine. (1996). “Quest for the Elusive Self: The Role of Contemporary Philippine
Theatre in the Formation of Cultural Identity.” Tdr (1988), vol. 40, no. 1.
(doi:10.2307/1146515).
Fernandez, Doreen G. (2000). “Philippine Theater in English.” World Literature Today, vol. 74,
no. 2. (www.jstor.org/stable/40155578).
Lockard, Craig. (2017). “Philippines: Pinoy, Protest, and People Power.” Dance of Life: Popular
Music and Politics in Southeast Asia. Hawaii, USA: University of Hawaii Press.
117
Module 12
PHILIPPINE CONTEMPORARY THEATER
Contemporary theater in the Philippines is a product of more

than 400 years of merger between the East and the West. Philippine
theater is neither Asian nor Western. It is a form of performing art
created by struggles and search for identity. Nobody can claim that
our theater had lost its Asian heritage, nor it is fully-influenced by
the Western colonizers. Whatever Asian in us, we keep; whatever
foreign influences we had, we adopt and adapt to make it our own.
It is history that records the years of being colonized, but it is the
Filipino soul that fashioned our arts, culture, traditions, and
heritage. Our theater may have been merged in our past, but the
theater we have today, and we will have in the future is one that is
forged by the Filipino heart and soul.
following:
7. describe the Philippine contemporary theater scene;
8. state the reasons why Philippine continues to thrive; and
9. provide the contributions of the protest theater in the
country’s struggles for independence.
“A child exposed to theater becomes a better adult.” – Antonin Artaud.
Performing arts is a kind of art in which artists might use their bodies,
voices, or inanimate objects to convey artistic expressions. Basically, the
performing arts proves significant for various reasons like forming new opinions,
receiving constructive criticism, solving problems better, exercising perseverance
and discipline. In performing arts,
children might learn that they
might work together in order to
achieve a common goal. All forms
of performing arts might allow
children to express any pent-up
emotions which they could be
feeling. According to studies, the
arts are important it can improve
academic performance. When it N.O.A.H. (No Ordinary Aquatic Habitat)
comes to theater impact on society, Trumpets, a theater company known for its
it includes not only entertainment value-laden productions, mostly musicals. Google
Images.
but also the values of the whole
community.
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The arts are educational, but the theater is an

educational art form that is easy to absorb. While
going to the theater, one will get a wonderful
opportunity to explore the human condition and
gather together. One might even discover that his or
her experiences are shared by other. It is the intricate
part of the human history because it has the capability
to show the best and the worst sides of human nature.
In the modern world, people may question
about the importance of theater. It is interesting to
ISANG PANAGINIP NA FILI note that theater improves the creativity level, both
Dulaang UP brings to life
Rizal’s novel on stage. This
the artist and the theater goer. Likewise, people can
time, via musical theater. easily connect with history through the stage and
Dulaang UP Archives. make an effective emotional connection to their roots.
In the process, there is education that transpires.
Thus, theater is crucial for many reasons like self-discovery, history and education,
and creativity. It is for these reasons that Philippine theater, as an art form, has
survived the changing times.
Theater is one of those human activities that does not really hurt anyone or
anything. While we are engaged in making or attending theater, or any of the arts,
we are not engaged in war, persecution, crime, or any other social or personal vices
we could be engaged. The more time and energy we, as a society, devote to theater
and the arts, the better off we will be.
The Contemporary Philippine Theater Scene

The contemporary scene in Philippines theater finds a panorama of drama
and theater molded by more than four hundred years of influences. Most of the
plays being written and presented are in the realm of social realism. There are also
plays of psychological realism. Some playwrights use legend and history to
understand contemporary problems. All the styles in world theater and traditional
repertoire are used to continuously explore today’s messages.
Themes are in realistic realm, reflecting the problems, concerns, and ideas
of the present-day Filipino. Thus, most of
these dramas are in the line of psychological
realism, about the problems created in
individuals by their particular traumas,
environments, networks of family and
heredity, and opportunity. Such plays also
tackle themes about the expatriate, the
homosexual, the alienated, the generation
gap, parent-child conflicts, marital discord.
There are also plays employing RAMA at SITA
legends and history to understand The musical based on the
contemporary problems like dramas drawn Philippine version of the Ramayana was
staged at the UP Theater and led by Lani
from parts of Rizal’s novels; sketches from Misalucha, Ariel Rivera, Eugene
the biographies of Bonifacio, Gabriela Villaluz, Raymond Lauchengco and Jaya
Silang, Aguinaldo; and reinterpretation of Ramsey. Google Images
folktales and myths like Bernardo Carpio.
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Theater in schools is seldom in English. The

Nationalist movement of late 60s and early 70s
created a theater in the national language, and in the
vernaculars. Occasional English productions,
especially in musicals, have been staged by such
schools as St. Paul’s College of Manila. Sometimes,
the Ateneo theater groups (Dulaang Sibol and
Tanghalang Ateneo) and the former Teatro Filipino
of CCP have staged Shakespeare in both English and
Filipino.
Few playwrights still write in English. Notable
exceptions are Nick Joaquin and Elsa Martinez MONICA BRAVA
Coscolluela (In My Father's House, 1987). Virginia Tanghalang Pilipino’s
adaptation of Bertolt Brecht’s
Moreno's Straw Patriot (1956) was first staged in Mother Courage and Her
Tagalog translation, as Bayaning Huwad (1969) by Children is set in war-torn
PETA. Mindanao, and focuses on the
current issues of war and
Plays in English are now almost the exclusive survival in the war-torn
region. Veteran theater
domain of Repertory Philippines, a theatre company actress Shamaine Centenera
founded in 1967 by Zenaida Amador, who wished to Buencamino plays the title
make theatre-going a social habit in the Philippines. role. Tanghalang Pilipino
In pursuit of this goal, Repertory Philippines Archives.
presents annual seasons of popular foreign plays,
mostly from Broadway and London's West End. In 1998, in observance of the
centennial of the Philippine revolution against Spain, it staged its first play written
by Filipinos (Joy Virata and Ramon Santos, with music by Monsod). Miong was
about General Emilio Aguinaldo, the leader of the revolution and president of the
first Philippine republic. It was presented using the English language, and the
combination of subject matter and language was well received by its audiences.
A special role played by Repertory Philippines has been the training of
actors in the modes of
the Western theatre.
Its training
effectiveness has been
proven by the success
with which many of
the company's actors,
A CHRISTMAS CAROL WEST SIDE STORY
Lea Salonga, Junix
Inocian, Pinky
Amador, Monique
Wilson, among others.
They have found roles
in Miss Saigon and
other productions in
London’s West End
and New York’s
RENT CATS Broadway. Repertory
From time to time, theater groups present theater in
English like Christmas Carol. However, most English productions Philippines, to this
are musicals like West Side Story, Rent and Cats. Google Images day, continues to
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produce plays in the English language.

For the rest of the country, however,
most theatre is in Filipino and the other
vernaculars, and it is vigorous and daring,
even combative when the times call for it.
Theatre in English, although endowed with a
significant history as it was impelled and
demanded by the times and with a collection
of important texts, is now only a story to be
recalled and retold, and an occasional
ANG NAWAWALANG KAPATID adventure and pleasure.
Floy Quintos distilled the epic poem
and focused on themes that Filipino Some schools continue to develop
theater and creative dramatics and
audiences can easily connect with: the
warring saga between the royal clans of
experiment on theater techniques. UP
the Pandavas and Khauravas, and the
Repertory Company stages traditional and
moral dilemma of the “lost brother” Karna
contemporary Philippine plays, Dulaang UP
if he will uphold family ties and blood lines
specializes in translations from world
or his obligations to self and state in
Dulaang UP’s Nawawalang Kapatid, based
from the Hindu epic Mahabharata.
theater, Mindanao State University’s Sining
Dulaang UP Archives Kambayoka (indigenous folk form that the
theater group applies to both folkloric and
contemporary subject matter), Integrated Performing Arts Guild (IPAG) of the
Mindanao State University in Iligan, Ateneo High School’s Dulaang Sibol which is
directed by Onofre Pagsanghan who sees the group as training ground for
professional theater artists.
Professional theater is not popular among Filipinos. The nearest to a
professional group is Philippine Educational Theater Association (PETA), the
Tanghalang Pilipino which is the resident theater company of the Cultural Center
of the Philippines, the Repertory Philippines and Trumpets, both specialize in
English language drama and musicals. Unlike theater in New York or in London,
theater companies in the country still rely on sponsorship to manage a
production.
CULTURAL CENTER OF THE PHILIPPINES

The CCP has been a potent force in the development of Philippine theater.CCP Library.
121
Theater companies do not have the

year-round productions and touring
companies to reach other parts of the
country. They do not have ticket sales that
are sold in advance to assure the success of
productions. Most performances are done
weekends, with three days and with a
matinee and gala, and for four weeks on the
average.
The Philippines has no national
theater as the idea of national theater is
understood in First World nations: complex
of buildings and people, devoted to a nation’s
theater, both in tradition and change. It is
ironical that a nation of theater savvy has no
national theater where individuals who have
passion for the art would make it not only as
a source of livelihood but also the medium by
which these artists could pass on a cultural
heritage.
The Cultural Center of the Philippines
(CCP) has three venues for theater, a resident
theater company, the beginning of a
professional school for actors, an outreach
program, modest grants and aids for other
theater companies, programs and festivals,
and a vision for theater that is moving
towards national dimensions, all which are
geared for a national theater.
Often, our theaters suffer from
neglect, like the Manila Metropolitan
Theater, an art-deco theater in Manila.
Reconstruction and preservation of such
theaters are done though sponsorship or
donations from private citizens and
enterprises. Moreover, our theater artists
need another job in order to survive. They
only do theater for the love of performing in
theater itself.
ZSA-ZSA ZATURNNAH ZE MUZIKAL
Eula Valdez plays Zsa-Zsa Unlike in the US and in United
Kingdom, and in other countries where
Zaturnnah in the musical based on the
comic book written by Carlo Vergara.
theater is professionalized, our theater
The play is directed by Chris Millado.
CCP Library. community is not yet an industry that can
contribute to our economy. If we can only
professionalize our theater communities, we can see theater houses opening that
122
can attract audiences. This may resort to restaurants opening, thus creating jobs.
When this happens, the areas in the vicinity of the theaters need improvement,
like better sidewalks and better neighborhoods, thus creating vibrant hubs of
activities. This happened in the pre-war years, and the contemporary age needs
to repeat the glorious past.
123
MISS SAIGON
Purpose of Filipino artists perform on world
Theater in stage as Lea Salonga plays Kim in Miss
Saigon, a West Eng musical. Leo Valdez
plays the Engineer and Isay Alvarez is
Gigi.
FLORES PARA LOS MUERTOS

Tanghalang Pilipino’s Contemporary Setting
production of Tennessee
Williams’ A Streetcar Named Theater is a collaborative form of the fine art
Desire, translated by the late which is using live performance to present
Orlando R. Nadres. Eula experience of the imagined or real event. Music,
Valdez essayed the pathetic
Blance DuBois and Neil Ryan
dance, theater, object manipulation and other kinds
Sese plays Stanley of the performances are present in the human
Kowalski.Tanghalang Pilipino cultures
Archives.
Theater is a sophisticated expression of a
basic human need. One might call it instinct but we like to mimic, to project stories
onto ourselves and others, and to create meaning through narrative and metaphor.
We see this instinct expressed in children when they act out real or imagined
characters and events. Theater matters, in essence, because we cannot help it. It is
part of what makes us human.
To entertain is the theater’s perceived purpose. The theater is a performing
arts form that is concerned with acting out stories in front of an audience. It is a
specialized form of the arts in which artists can perform their work live to an
audience.
Theater provides intrinsic values. Theater can improve life skills. The
making of theater and attending of theater promote education and literacy.
Performing arts in school has been proven to be one of the best ways for students
to express their emotions and feelings via role play and acting. Moreover, making
plays together draws children and youth out of their shells and helps them learn to
socialize in a productive and healthy way.
Watching the characters talk back and forth in the theater is tricky. It
requires attention, quick mental shifts, and nimble language skills. It teaches us
about human motivation and psychology. In historical plays we get lessons in
government and leadership. In contemporary plays, we learn about people and
cultures in different parts of the country, or in other countries in case of adapted
or translated plays.
The contemporary theater scene gives us a healthy scenario on the level of
acceptance of the masses to theater. Without really knowing, we, the audience, may
have seen that theater helps us see a different perspective from our own. Theater
shows us humanity, psychology, motivations, conflicts and resolutions. We get to
witness the trajectory of persons other than ourselves. Artists let themselves into
emotional and intellectual situations that may never arise in their personal lives.
124
Post-war period Renovated and Reopened 1981
Renovated 2010 Renovated 2020

MANILA METROPOLITAN THEATER
The Manila Metropolitan Theater still stands as a living symbol of the glorious
history of Philippine theater. Google Images.
On the other hand, the theater goers see in the artists what they see in
themselves in the same situation that they may have not experienced in real life. It
is a vicarious experience that triggers emotions and provokes their thoughts.
Theater promotes us to give power to truth, to take risks and to advocate for new
and diverse voices.
Theater reminds us that
we are not alone. Evan if a
theater enthusiast watches a
performance alone, he or she is
in a community. Not only are the
theater goers sharing space and
experience with the performers
on stage, they are sharing the
same experience with the fellow
audience members.
That same intimacy or
sense of participation is not
experienced by people who
watch movies and television. We MAXIE, The Musical
Jayvhot Galang stars in PETA’s screen to musical
might be with an audience inside stage rendition of Ang Pagdadalaga ni Maximo Oliveros
a movie house or with somebody at the PETA Theater. The libretto is by Nicolas Pichay
when watching television, but and directed by Dexter Santos.
we do have share that intimacy
with the artists on screen.
125
It is not only valuable to share an

experience with live actors and live audience,
it is necessary for human connection.
Therefore, theater brings people together. The
audience might be composed of complete
strangers, but during a theater performance,
there is that feeling of being acquaintances.
There is that feeling that you are one with the
artists on stage and with the theater goers.
For a performance to happen,
anywhere from a hundred to a thousand or
more people need to gather in one place for a
couple of hours, and share together in
witnessing and contemplating an event that
may be beautiful, funny, moving, thought-
provoking, or hopefully at least, diverting. At
this point that social media hinders our face-
to-face communication with a screen, this
gathering function of theater, in and of itself,
HIMALA, The Musical
is something that matters. Tanghalang Pilipino’s staged the
Martial Law movie Himala into a
Live theater performance, therefore, musical at CCP’s Tanghalang Aurelio
helps promote social discourse, dialogue and Tolentiono. Aicelle Santos gives
potential social change. Theater is a cultural justice to the role of Elsa played by
phenomenon because it demands, in a subtle Nora Aunor on film.Tanghalang
Pilipino Archives..
or implicit manner, society to examine itself in
the mirror. In the contemporary setting, we can study the problems of society and
attempts to find solutions. When we come to
a theater, we become a community that
listens, and then then ponders. Whether we
agree or not with the views, we share our
perspectives.
Theater becomes a public discourse
that lies in the heart of a democratic life, and
builds our skills for listening to different
sides of an argument, and empathizes with
the struggles of our fellow human beings,
whatever their views or perspectives may be.
When we watch a play, we learn what
happens when conflicts are resolved and
when they are not. We develop our faculty
for imagining the outcomes of our various
choice we might make in our personal lives
and political lives. Therefore, it is not
RAK OF AEGIS
PETA used the music of the rock surprising that, in repressive societies,
band Aegis to put up a musical about the theater has often been aligned with the
flooding and hardships experienced by movement toward openness and freedom,
the people in the slums area. Aicelle
Santos and Jerald Napoles play the lead.
just as we have experienced with our
PETA Archives. seditious and protest theaters from the
American era to the Marcos regime.
126
Theater influences the way we think and

feel about our own lives and encourages us to
take a hard look at ourselves. One of the
reasons that we go to theater is to look at the
lives of people the artists are portraying. This
makes us measure our own lives against the
lives depicted on the stage, or to imagine what
it would be like if we have those lives instead.
Theater is also immediate, evolving and
ANG HULING EL BIMBO
Woven from the songs of the 90s always different. Although the script may be
band, Eraserheads, this musical is the same every night, the performance is
directed by Dexter Santos.Google unique, each and every time it happens. No two
Images.
performances are ever the same. In this way,
everyone involved has a distinct and unique
experience that can never be replicated.
Theater, or the performing arts as a whole, is about being creative and it

teaches us how to express ourselves more effectively. The performing arts are
offering wonderful numbers of the benefits such as self-presentation skills, higher
academic achievement, self-expression, empathy, compassion, and problem-
solving. It is really useful to teach children and youth both collaboration and self-
reliance with others to reach their goals. Performing arts are beneficial to promote
interpersonal skills.
Let’s Do This!
C. Action Speaks Louder!

Pantomime is the art of acting without words. It is often called the art of silence.
The art of pantomime is basic to the training of an actor because a character is
portrayed through gestures, facial expressions, and movement, the first things the
audience notice. It can also be defined as any of various dramatic or dancing
performances in which a story is told by expressive bodily or facial movements of the
performers
Improvisation teacher and author Dan Klein says: “I really like doing
improvisation that involves pantomiming and interacting with invisible, imaginary
objects. There’s a really intriguing exercise where you pretend to have a lump of magic
clay, and push and pull on it until it starts to feel like it’s turning into something. Then,
all of a sudden, it does become that item in real life.”
The following activities are taken from the work of Dan Klein.
Method 1: PRACTICING BY YOURSELF AND WITH OTHERS
127
1. Portray different personalities to create a repertoire of characters.

When you first start out in pantomime, it is important to learn to showcase
different personality traits. It is often helpful to watch a lot of pantomime to observe
how other actors are able to express different emotions. Check out some of the more
common traits that you should be able to embody.
a. Self-assured or confident
A self-assured person stands with their chest held high, their shoulders back, and
takes firm, confident steps. They hold their head up and create space around
them.
b. Shy
A shy person may hunch their shoulder or look at the ground often. They may
shuffle their feet when they walk or avoid making eye contact with other people.
c. Smitten
A dreamy look while watching someone will convey puppy-love. A smitten
person may clutch their hands together over their chest, follow behind someone
closely, or swoon.
d. Evil or Manipulative
This person will have a conniving smile on their face and raised eyebrows. They
may hunch over when they’re working on something intently, but when they
move around the stage, they will appear confident.
e. Bumbling or Clumsy
This person may trip, run into imaginary things, and have a loping gait. They
may scratch their head to show confusion, or they could pantomime that they’ve
hurt themselves by falling.
2. Practice in front of the mirror to make your movements more exact.

If you are working by yourself, use a mirror to make small modifications to
make your expressions and movements more precise. Pantomime is not a subtle art,
so err on the side of over-exaggeration
a. You may think that your facial expressions are clear and focused, but watch
yourself in the mirror to see if your transitions from one expression to the next
are sudden and defined.
b. This is also a good way to check that pantomiming with an invisible prop looks
genuine and understandable.
c. You could also have someone videotape you going through some exercises and
review them later to make notes on where you could improve.
128
3. Mirror a partner to work on timing and fluidity.

Sit or stand in front of another person (this works best with someone who is
also interested in pantomime). Choose one person to be the leader and one to be the
follower. The leader will make specific facial movements and bodily gestures, and the
follower’s goal is to mimic the leader as quickly and as accurately as possible. The
leader can switch from persona to persona at their discretion.
a. Set a timer for 3 minutes, then switch so that the leader has a chance to be the
follower.
4. Have a “pass the face” circle to practice thinking on your feet.

This is an exercise that needs to be done with a group of 5 or more people. Have
everyone stand in a circle and choose who will go first. That person will make a
specific face to convey a particular emotion and will turn to the person on their right.
That person will copy that face, but then change it to a different expression before
turning to the person on their right. Continue going around the circle until it gets
back to the original person.
a. The goal is to come up with a unique expression different from the one presented
to you. It helps you think quickly and transition from moment to moment with
more fluidity.
5. Do a tug-of-war to practice realistic movements.

It helps if there are 2 or more people, but you technically could do this
exercise on your own. Pretend that you are holding a thick rope and get into a
129
squatting stance, just like you would if you were going to play an actual game of tug-
of-war. Imagine what your body would look like pulled forward by excessive strength
from the other side of the rope, or what it would look like as your side starts to win
and pull back.
a. Remember to strain your muscles to give the appearance of pulling on an actual
rope.
b. Check your entire body as you go through this exercise: are your feet, legs, torso,
shoulders, arms, and head in the right position? If you can, do this in front of a
mirror to check how realistic your positions and movements look.
6. Take a pantomime class to get more instruction on mastering the basics.

Pantomime is a pretty popular sect of acting, and lots of art, drama, and
community centers offer pantomime-specific classes. You’ll learn more about common
movements, facial expressions, and stage presence, and you’ll get to work with other
students and learn from them.
a. Taking a class could also help get you into a pantomime show. Some classes end their
semester by producing a short show, or you could learn more about other productions
in your community that you could audition for.
Method 2: USING PRECISE BODY LANGUAGE
1. Exaggerate your movements to express a specific action.

Practice doing specific things that you would do around the house, but
do them in pantomime. Whatever movement you would normally make,
exaggerate it to make it more visual and obvious. Try practicing a few of these
actions to begin building your pantomime skills:
a. Opening a window or a stuck door
b. Unwrapping a present
c. Peeling a banana
d. Buying something at a shop
130
e. Putting on a jacket or shoes

f. Cleaning
g. Brushing your teeth
2. Isolate each part of your body to make your movements more precise.
Pantomime is about specific, exaggerated movements, whether or not
you’re working with an imagined prop. To help yourself achieve this, examine each
part of your body as you practice. From your feet to your waist to your hands and
arms, each part of your body should support the scene you’re trying to portray.
a. Isolating each part may take a while when you first start, but over time it’ll
become a habit that will help make your acting stronger.
3. Show emotions through your facial expressions and body language.

Because you do not use words, you have to use all the non-verbals at your disposal
to communicate with the audience. When you think of how your face looks in any
particular emotion, multiply that expression by 5 to get what you need to
communicate in pantomime.
a. Happiness
A wide, open smile, happy eyes, raised eyebrows.
b. Surprise
An “OH” expression with your mouth, raised eyebrows, hands held up in
shock.
c. Sadness
A downturned smile, a head that tilts to the side or hung low, sorrowful eyes.
d. Anger
A tight face, muscles taut, quick, fast body movements.
131
4. Visualize what you are going to do when you are working with a prop.
When you work with an imaginary prop, think through what your
movements should look like before you actually start acting.
a. Where will you pick up the item from?
b. How heavy or how light will it be in your hands?
c. Where will you make the space to complete whatever action you’ll be doing?
For example, if you are a server at a restaurant and will be pantomiming
grinding pepper onto a guest’s plate, ask yourself the following questions:
a. Where is the grinder coming from?
b. Do you pick it up from the table or was it tucked into your apron?
c. Will you need to bend at the waist to reach the guest’s plate?
d. What hand movements will you use to show what is happening?
Visualizing this beforehand helps you prepare better for the actual
action.
5. Imagine the prop in different spaces to make it more real.

The goal with visualizing and imagining this imaginary prop in different
spaces is to make it more physical in your mind, which will help you give a more
realistic presentation. For example, if your prop is an apple, what would it look like
to pick it up from a fruit bowl? What if you were to cut it into pieces on the counter?
Perhaps it was in a purse or backpack and you need to pull it out.
a. Remember that any item, no matter how small, takes up space. Visualizing the
object in different places can help make it more real in your mind.
132
6. Interact with the “object” in different ways to get your technique down.
This is something you can do throughout the day, even when you aren’t at
practice. For example, if you’re putting on a jacket in a scene, what does it look like
to fold that jacket or to hang it up on a peg? What about shaking it out or reaching
into its pockets? The more you interact with the object, the more realistic your
scene will be.
a. Use the physical object in front of a mirror if you are having trouble imagining
what the pantomime should look like.
b. Pay attention to what your hand(s) looks like around it, how your body moves,
what the weight and heft are like.
c. Use all these things to create a more realistic pantomime.
Now that you have mastered your pantomime skills, dramatize the song below
through pantomime. Use the music of Eraserheads from YouTube at
https://www.youtube.com/watch?v=Bt0bwA7AEXE. Retain the song with lyrics in your
performance.
ANG HULING EL BIMBO
by Eraserheads
Kamukha mo si Paraluman
Nung tayo ay bata pa
At ang galing galing mong sumayaw
Mapa boogie man o cha cha
Ngunit ang paborito
Ay ang pagsayaw mo ng El Bimbo
Nakakaindak, nakakaaliw
Nakakatindig balahibo
Pagkaggaling sa eskwela
Ay dideretso na sa inyo
At buong maghapon ay tinuturuan mo ako
Magkahawak ang ating kamay
At walang kamalaymalay
Na tinuruan mo ang puso ko
Na umibig ng tunay
Naninigas ang aking katawan
Kapag umikot na ang plaka
Patay sa kembot ng beywang mo
At pungay ng yong mga mata
Lumiliwanag ang buhay
Habang tayo'y magkaakbay
At dahang dahang dumudulas
Ang kamay ko sa makinis mong braso
Sana noon pa man ay sinabi na sa iyo
At kahit hindi na uso ay ito lang ang alam ko
133

Na umibig ng tunay
La la la la la . . .
At lumipas ang maraming taon
Hindi na tayo nagkita
Balita ko'y may anak ka na
Ngunit walang asawa
Tagahugas ka raw ng pinggan sa may Ermita
At isang gabi'y nasagasaan sa isang madilim na eskenita
Lahat ng pangarap ko'y bigla lang natunaw
Sa panaginip na lang pala kita maisasayaw

Na umibig ng tunay
Na umibig ng tunay
La la la la la . . .
References:
Babista, Juancho M. (2018). The Theater Experience 2 (Asian-African Theater). Lucban,
Quezon: Southern Luzon State University-College of Teacher Education.
Diamond, Catherine. (1996). “Quest for the Elusive Self: The Role of Contemporary
Philippine Theatre in the Formation of Cultural Identity.” Tdr (1988), vol. 40, no.
1. (doi:10.2307/1146515).
Fernandez, Doreen G. (2000). “Philippine Theater in English.” World Literature Today,
vol. 74, no. 2. (www.jstor.org/stable/40155578).
Klein, Dan. (July 12, 2019). How to Pantomine.
Lockard, Craig. (2017). “Philippines: Pinoy, Protest, and People Power.” Dance of Life:
Popular Music and Politics in Southeast Asia. Hawaii, USA: University of Hawaii
Press.
www.actingstudiochicago.com
www.theatredumississippi.org
134
135

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The Theater Experience/Juancho M.

Babista THE RETURN TO VERNACULAR

Philippine theater in English became popular in schools.

As long as the aim of theater for the

The Return to Vernacular

redirected into adaptations, translations, and new plays in Filipino.

BUKAS, MADILIM, BUKAS

The Rajah Sulayman Theater at Fort Raja Sulayman Theater at Fort

Rosenda is Orlando Nadres’ tragic spinster character from Bukas, Madilim,

Tips for Successful Dialogue Delivery

Mechanics for Delivery of Dialogues

1. Overall intonation and rhythm.

Directions: Follow the instructions below.

TEENAGER: At maniwala kayong isang napakalaking karangalan ang makapiling kayo sa

Putris, hindi ko rin alam. Tama. Ang lahat ng ito’y kabaliwan!

narito kayo. Kaya sige lang, magpakasaya kayo dahil sa malaking

(lilingon sa matanda para alamin kung ayos ang kanyang talumpati)

At higit sa lahat ay gusto kong ipaalam sa inyo na ako’y naniniwala na kayong

(lilingon muli sa matanda)

Inaantig ko ang inyong mga damdamin, pinatatawa ko kayo, pinupuri ko

“BUKAS, MADILIM, BUKAS”

ROSENDA: Ako? Ako ay walang utang na loob?

Kayo! Kayo ang walang utang na loob!

Sinunod ko ang pakiusap ninyo . . . Sa araw ng aking kasal . . . tinalikuran ko

Saan ko gagamitin ang maiiwan ninyong kayamanan, Mama? Para sa isang

Bukas . . . madilim, bukas! At iyan ay dahil sa inyong kasakiman! Sakim ka,

After the declaration of Martial Law in

Among PETA’s earlier plays have been

Oratoryo ng Bayan (The Nation’s

Tips for Successful Declaim-a-song

Mechanics for Delivery of Declaim-a-song

Directions: Follow the instructions below.

22. Video your performance using a cellphone or videocam.

Ang nanay n’ya’y naglalaba, ang tatay n’ya’y pagod

Matthew Wilder/David Zippel

Contemporary theater in the Philippines is a product of more

The arts are educational, but the theater is an

The Contemporary Philippine Theater Scene

Theater in schools is seldom in English. The

produce plays in the English language.

CULTURAL CENTER OF THE PHILIPPINES

Theater companies do not have the

FLORES PARA LOS MUERTOS

Post-war period Renovated and Reopened 1981

Renovated 2010 Renovated 2020

It is not only valuable to share an

Theater influences the way we think and

Theater, or the performing arts as a whole, is about being creative and it

C. Action Speaks Louder!

Method 1: PRACTICING BY YOURSELF AND WITH OTHERS

1. Portray different personalities to create a repertoire of characters.

2. Practice in front of the mirror to make your movements more exact.

3. Mirror a partner to work on timing and fluidity.

4. Have a “pass the face” circle to practice thinking on your feet.

5. Do a tug-of-war to practice realistic movements.

6. Take a pantomime class to get more instruction on mastering the basics.

Method 2: USING PRECISE BODY LANGUAGE

1. Exaggerate your movements to express a specific action.

e. Putting on a jacket or shoes

3. Show emotions through your facial expressions and body language.

5. Imagine the prop in different spaces to make it more real.

Magkahawak ang ating kamay

Magkahawak ang ating kamay