José Rizal’s foundational novel Noli Me Tángere undergoes a profound theatrical transformation in Fiestas y Muertos. Beautifully translated into Filipino by National Artist Virgilio S. Almario, the novel offers a sweeping, layered critique of Spanish colonial rule in the Philippines, revealing society’s structural rot through a broad cast of characters. Condensed and reimagined for the…
Tag: Philippine Theatre
Fiestas y Muertos, a dramaturgical concept
Fiestas y Muertos serves as the core dramaturgical concept for the reimagination of Dulaang UP’s Noli Me Tángere (Noli). It divides the narrative into two stark visual and emotional realms: the chaotic, enforced joy of public festivities (fiestas) and the silent, haunting truth of systemic decline and death (muertos). This dichotomy reflects the societal ailment…
Dulaang UP’s Kung Paano Nano sa Karera si Rosang Taba: Dramaturgical Notes
ʙᴀᴛᴀʏ ꜱᴀ ᴍᴀɪᴋʟɪɴɢ ᴋᴡᴇɴᴛᴏɴɢ “𝘏𝘰𝘸 𝘙𝘰𝘴𝘢𝘯𝘨 𝘛𝘢𝘣𝘢 𝘞𝘰𝘯 𝘢 𝘙𝘢𝘤𝘦”ni Dean Francis Alfar ᴀᴅᴀᴘᴛᴀꜱʏᴏɴ ɴɪɴᴀ Rody Vera at Maynard Manansala ᴅɪʀᴇᴋꜱʏᴏɴ ɴɪɴᴀ José Estrella, Issa Manalo Lopez, at Mark Daniel Dalacat ɪᴛɪɴᴀᴛᴀᴍᴘᴏᴋ ꜱɪɴᴀ Kiki Baento, Peewee O’Hara, Meann Espinosa, Victor Sy, Jojo Cayabyab, Aldo Vencilao, Garnet Acala, Dyas Adarlo, Danzar Dellomas, Moi Gealogo, Lia Lilagan,…
In Angeles, there’s a funeral of the Dead Christ every Good Friday
Every Good Friday, the congregation of the Shrine of the Holy Sepulcher (locally known as Apung Mamacalulu or the dead Christ) in Lourdes Sur, Angeles City mourn the death of Christ right after the Catholic Church-endorsed ritual of the Veneration of the Cross. At 3 p.m., the Veneration of the Cross commences and is headed by the…
Derivatives, Entanglement and the Dramaturg: Contemporary Theatre in Manila (Last Part: Dramaturg)
This essay originally came out in Philippine Panorama: Sunday Magazine of the Manila Bulletin Volume 44 (12): 8 – 11, 2016. [Cover Photo: a scene from Bilanggo ng Pag-ibig, adaptation by Rody Vera, directed by Jose Estrella; Photo courtesy of Dulaang UP]. Theater in the Philippines is often conceived to be a theater of the director….
Derivatives, Entanglement and the Dramaturg: Contemporary Theatre in Manila (Part Two: Entanglement)
This essay originally came out in Philippine Panorama: Sunday Magazine of the Manila Bulletin Volume 44 (12): 8 – 11, 2016. [Cover Photo: a scene from the children’s play Umaaraw, Umuulan, Kinakasal ang Tikbalang, a children’s story by Gilda Cordero-Fernando, adaptation by Rody Vera, directed by Jose Estrella; Photo courtesy of Dulaang UP]. Considering these issues…
Derivatives, Entanglement and the Dramaturg: Contemporary Theatre in Manila (Part One: Derivatives)
This essay originally came out in Philippine Panorama: Sunday Magazine of the Manila Bulletin Volume 44 (12): 8 – 11, 2016. [Cover Photo: Mailes Kanapi as Mephistopholes and Jack Yabut as Faust in Dulaang UP’s production of Faust, adaptation by Rody Vera, directed by Jose Estrella; Courtesy of Dulaang UP]. Every time I encounter the question…
National Theatre Academy: A Concept and a Proposal
* Presented on 22 August 2020 via a webinar/conference TAMPOK 2020: SABADULAAN organized by the National Commission on Dramatic Arts of the National Commission for Culture and the Arts Maraming salamat, Mr. Eric Divinagracia for that generous introduction. Maraming salamat rin sa NCCA, lalo na kina Lutgardo Labad, Filemon Blanco at Dessa Quesada Palm for…
Articulating the Cosmopolitan in the Theatre
This post is a continuation of my 12 August post on my seduction to cosmopolitanism, which may be viewed here. My attraction to cosmopolitanism vis-à-vis the theatre experience is based on a vision of community that may be perceived in the relationship among audience members and the relationship between the audience and the performance. The…
Throwback: National Sarsuwela Festival 2009 at the University of the Philippines Diliman
After the success of the University of the Philippines (UP) Komedya Fiesta 2008, Virgilio Almario, National Artist for Literature and then College of Arts & Letters (CAL) Dean proclaimed that after komedya, the sarsuwela is the second national theatre form in the Philippines truly deserving to be examined. In his opening remarks in the Sarsuwela…
