Journey to Original

Performance with the Use

of Different Media

Philippine Theater
• Theater in the Philippines has been in
existence even before the Spanish
occupation. It developed and changed as
different colonizers came and important
events have happened to the country.
Indegenous Theater

• Cultural communities in the country have long been performing

rituals that can be considered as theater presentations. In
celebration of different occasions such as courtship, birth,
wedding, circumcision, sickness, baptism, death, planting,
hunting, fishing and harvesting, people gather to watch
performances commonly led by the babaylan.
• The proto-dramas in cultural communities feature mimetic dances.
Participants imitate the way the animals move. The popular
examples are the monkey dance of the Negritos, the bird dance of
Tausug and the hawk dance of the Higaonon. Another popular
choreography in indigenous festivals are the occupational dances.
Examples are the Aetas’ fish hunting dance; the Matigsalugs’ frog
hunting dance; the people from the Cordilleras’ head hunting
dance; the Tausugs’ orange picking dance; and the Mansaka’s war
dance.
• Some of the indigenous rituals were Christianized and still in
existence. The Ibanag atang-atang ritual for the sick is still practiced.
Chritian prayers are used to heal the ill instead of indigenous chants.

• The indigenous people did not think of these as arts but part of their
traditions and customs. Their beliefs may be different from what the
modern Filipinos have nowadays, but these cultural wonders must be
preserved and protected.
Spanish Occupation

• The Spaniards came and spread Christianity to the country.

They brought with them their traditions and celebrations that
heavily influenced the Philippine Theater. They popularized
religious and secular plays along with fiestas that honor
different saints, Easter, and Christmas
• The most popular drama that the Spaniards brought to the country
is the komedya. Also known as moro-moro, the performances
typically last from three to fifteen hours. There are two types of
komedya: the secular komedya and the religious komedya. Secular
komedya is about the conflict between Christians and Muslims
inspired by European metrical Romances. Several forms of it still
exist today such as the arakyo in Nueva Ecija and the komedya
presentations in Parañaque. The religious komedya were used by
the Spanish priests to teach Christianity and colonial values. They
didactic and hardly survive nowadays. An example of this is the
Comedia de San Miguel in Iligan City.
• The Spaniards brought many plays inspired by the Lent season. The senakulo or
the play on the passion and death of Christ comes with different names such as
the Centurion in Laguna, Tanggal in Camarines Sur. The Osana in Malolos
Bulacan is being performed in celebration of Palm Sunday. Paete Laguna’s Via
Crucis is the reenactment of the way of the cross using pulley-manipulated
images. The Siete Palabras in Camarines Sur shows the agony of Christ on the
cross. The Bakahan of Kalayaan Laguna performs the fight between Michael the
Archangel and the Jews. The Soledad in Camarines Sur is about the loneliness of
Mary because of the death of her son. Angono Rizal’s Salubong dramatizes the
meeting of the Resurrected Christ and his mother. The Moriones in Marinduque
performs the story of the soldier who pierced the side of Jesus.
• There are also Christmas-inspired presentations. Cavite’s
Maytinis or Panunulyan depicts the search for an inn by
Joseph and Mary. The Pastores in Leyte features young
shepherds who go house to house singing Christmas
songs. Marinduque has Tatlong Hari that dramatizes the
search of the three kings for the child Jesus.
 American Period

• Although it started in the late Spanish regime, sarswelas

continue to evolve during the American occupation. The
most popular during that time was the Dalagang Bukid in
1919 by Hermogenes Ilagan and Leon Ignacio. The main
character was portrayed by National Artist for Theater
Honorata “Atang” de la Rama. The story revolves around the
love of a country maiden, Angelita and a law student,
Cipriano. The main antagonist of the story is Don Silvestre, a
rich old man who also sues Angelita.
• Some of the sarswelas were made as a protest against the American regime.
The tirades against the new colonizers were hidden in allegories and
metaphors. The important plays during the era include Tomas Remigio’s
Malaya, Juan Abad’s Tanikalang Ginto, and Juan Matapang Cruz’s Hindi Aco
Patay. Aurelio Tolentino’s Kahapon, Ngayon at Bukas is arguably the most
popular seditious play. It featured the story of the Filipinos in the hands of
colonizers. The characters were named after Filipino figures and values such
as Inangbayan who symbolizes the Filipinos, Taga-ilog represents patriotic
men, Halimau is the Spanish priests, Dilatbulag is Spain, and Bagonsibol is
America.
• Bodabil was introduced by the Americans in 1930 with its lively
skits and dance and musical numbers. It instantly eclipsed the
popularity of sarswelas. Known as “stage show,” Filipino
performers imitated original American presentations and made
them local versions. Bodabil reigned even during the Japanese
times who incorporated melodrama in the presentations. After
World War II, its popularity dwindled as Filipinos opted to
watch motion pictures.
• Legitimate theater found a home inside the educational
institutions. These plays have “artistic merits” and presented
Western Plays in the English language. The theater groups
adapted the works of Shakespeare, Sophocles, Chekov, Wilde,
Miller, and others. These productions, as well as the bodabil,
fueled the Filipino’s “American Dream.”
Original Plays

• Different influences enabled the Filipinos to write their own plays.

They included the “Filipino soul” on their works. They embedded in
their works the unique and colorful culture of the country. National
Artists led the way with Wilfrido Ma. Guerrero and his “Forsaken
House,” Nick Joaquin and his “A Portrait of the Artist as Filipino,”
and Severino Montano and his “The Love of Leonor Rivera.”
• Realism became a popular genre among Filipino plays. The
productions of Bienvenido Noriega Jr’s “Bayan-Bayanan,”
Tony Perez’ “Biyaheng Timog,” Paul Dumol’s “Maniago,” Rene
Villanueva’s “May Isang Sundalo” and Chris Millado’s “Buwan
at Baril sa Eb Major” presented characters and situations of
Filipinos in the big problems of the society.
• Non-Realistic plays also became popular among Filipino
dramatists. Influenced by Western Greats Anton Brecht and his
Theater of Instruction, and Augusto Boal’s Theater of the
Oppressed, plays like Maranatha by Rodulfo Galenzoga and
Mayo A beinte Uno by Al Santos were produced. Absurdism
also influenced playwrights like Paul Dumol who wrote Ang
Paglilitis kay Mang Serapio and Al Santos who was behind Ang
Sistema ni Propesor Tuko.
• Filipinos also started producing original musicals. The likes of
Nuklyar! by Al Santos and Joey Ayala, Magsimula Ka by Gines
Tan and Bien Aligtad by Dong de los Reyes were seen on stage
and captured the hearts of many by addressing timely issues.
The problems of Mindanao were exposed in Sining
Kambayorka’s Halik sa Kampilan, Iligan Performing Arts
Guild’s Ranaw and Dapat Dabaw’s Sinalimba.
• The artists in the country experimented and used different
techniques and ideologies in their plays. PETA’s Juan Tamban
used a chorus as narrator and commentator on the show. Max
Alligue had his komedya Prinsipe Rodante who rejected religious
descrimination. Bonifacio Ilagan transformed the mass into a
protest play in his Pagsambang Bayan. National Artist Amelia
Lapeña-Bonifacio integrated the Japanese Noh to her Ang
Paglalakbay ni Sisa and Kyogen to her Ang Madyik na Sumbrero.
• The Philippine theater continues to evolve. With the new breed
of thespians, the future is bright for this performing art.
 Journey to Original
Performance with the Use
of Different Media
Learn from the Award-Winning Philippine
Theater Groups
• Philstage started when a group of artistic directors was invited by
Australian journalist to do an interview at Manila Polo Club in
1997. Coming from competing companies are Audie Gemora of
Triumphant People's Evangelistic Theater Society (Trumpets),
Beng Cabangon of Philippine Educational Theater Association
(PETA), Bibot Amador of Repertory Philippines, Bart Guingona of
Actor’s Actors Inc., Celeste Legaspi of Musical Theater Philippines
(Musicat), Tony Espejo of Gantimpala Theater and Nonon Padilla
of Tanghalang Pilipino who decided to band together.
• Philstage wants to promote camaraderie among members and
set excellence standards and professionalism. They influence the
government policies on arts-related issues and cultural
development. To ensure their long-time commitment, any
professional dance and theater group who wish to be part of the
organization must be in existence for three years or staged at
least three productions.
Notable Philstage Members

• In 1991, Thespian Audie Gemora and Businessman Butch Jimenez formed

the Triumphant People's Evangelistic Theater Society. Known as Asia’s
first professional gospel theater group, the company uses its productions to
share the wonderful life that can be found in Jesus. Some of their popular
plays are the Pamilya Maleta; The Horse And His Boy; The Bluebird of
Happiness; Peter Pan and the Time Machine; Joseph the Dreamer; and The
Lion, The Witch, and the Wardrobe.
• Zenaida A. Amador together with Leo Martinez, Carmen
Barredo, and Tony and Monica Mercado founded the so-
called Philippines’ most professional English-speaking
theater company, the Repertory Philippines Foundation,
Inc. Also known as “Rep”, it produces modern and
classical Western plays like Les Miserables, Evita, A
Christmas Carol, Jesus Christ Superstar, The King and I,
Amadeus, and others. It was able to hone the talents of
famous actors like Monique Wilson, Red Concepcion,
Maya Barredo, and Lea Salonga—who played the lead
role in Annie.
• Established in 1987, Cultural Center of the Philippines’
Tanghalang Pilipino is rooted in the country’s history and culture
with its theme Utak, Puso, Bayan. Its widely diverse productions
include Filipino classics and contemporary works; adaptations and
translations of international theater materials; and children’s
theater. While being considered as the CCP resident company with
the most attendance records, it does not forget to uphold the truth
and stay committed to its convictions.
• Unlike the other groups, Tanghalang Pilipino is the
only one which maintains a core of actors who are
trained full-time by its TP Actors Company. It also
gives back to the community by conducting
workshops that promote cultural heritage through
their Kamalayang Pilipino Workshop in the Arts or
KAPWA. Some of the notable productions of the
group are Mabining Mandirgma, Ang Pag-uusig,
Aurelio Sedisyoso, Coroliano, Lukot Lukot Bilog
Bilog, Manila Notes, and many more.
• Another project of Tanghalang Pilipino is the Virgin
Labfest. In partnership with Writer’s Bloc Inc., this
yearly festival showcases unpublished, unstaged,
untried, and untested works. This gives the opportunity
for new writers and directors to show their potentials
and talents.
• Known as the People’s Theater, the Philippine Educational
Theater Association or PETA is committed to developing the
society and its people. Founded by Cecile Guidote-Alvarez in
1967, the group is known for its Filipino plays with radical
views. PETA was proclaimed as the UNESCO International
Theater Institute Center in the Philippines in 1971. In the same
year, it hosted the first Third World Theater Festival.
• PETA used to hold its production at Dulaang Rajah Sulayman
in Intramuros until it transferred to its permanent home at The
PETA Theater Center in Quezon City in 2005. It offers
different workshops such as the one by their PETA School of
People’s Theater using their tested pedagogy. Some of its
renowned productions are Larawan, Pilipinas Circa 1907,
Canuplin, Minsa’y Isang Gamu-Gamo, Mga Kuwento ni Lola
Basyang, Care Divas, 3 Stars and a Sun (based on the songs
of Francis Magalona), Ako si Josephine featuring the songs of
Yeng Constantino, and the phenomenal Rak of Aegis inspired
by the songs of the iconic band Aegis.
• Started as a resident theater group of the Cultural Center of the Philippines, the
Gantimpala Theater Foundation, formerly known as Bulwagang Gantimpala continues to
produce shows with their all-year-round seasons. The group was founded by the first
Asian scholar at London’s Royal Academy of Dramatic Arts who graduated his course at
Production and Stage Management, Tony Espejo. From the blackbox theater Espejo
introduced in CCP (now known as Tanghalang Huseng Batute), it transferred to different
locations such as in Luneta Park’s open-air auditorium, Manila Metropolitan Theater, and
the Armed Forces of the Philippines Theater in Camp Aguinaldo in Quezon City.
Considered as a Pioneer in Edutainment, Gantimpala has the “Four Classics” (Ibong
Adarna, Florante at Laura, Noli Mi Tangere, and El Filibusterismo) as a fixture on its
annual season lineup.
• The country’s leading professional classical and
contemporary dance company, Ballet Philippines was
founded by the National Artist for Dance Alice Reyes.
Together with Eddie Elejar, the two started CCP’s first
resident company in 1969. The group already traveled
the world with their wide-ranging, eclectic repertory.
One of the most notable productions of the group is the
2016 dance musical: “Awitin Mo At Isasayaw Ko”
featuring the songs of VST & Co and made possible
through collaboration with ABS-CBN and ABS-CBN
Philharmonic Orchestra.
• Another resident performing group of the Cultural Center of the
Philippines is the Philippine Ballet Theater. Established after the
People Power Revolution in 1986, it is a collaboration and
merging of four dance companies: Tony Fabella and Eddie
Elejar’s Manila Metropolis Ballet; Vella Damian and Eric Cruz’s'
Dance Concert Company; Inday Manosa and Totoy de Oteyza’s
Hariraya Ballet Company and Eddie Elejar, Tita Radaic, and Julie
Borromeo's Dante Theater Philippines. The companies were
joined by Sony Lopez-Gonzales and National Artist Leonor
Orosa-Goquinco. The group continues its founders fighting
spirits: Bold, Brave, and Beautiful. Their shows are held in
Tanghalang Nicanor Abelardo.
• Right beside the Cultural Center of the Philippines is the
home of another leading classical dance company the
Ballet Manila. Established by the so-called “Prima
Ballerina” Liza Macuja, with Osias Barroso and ten
others, the group aims to “bring ballet to the people and
people to the ballet.” With most of its shows held at the
Aliw Theater in Pasay, many Filipinos are able to watch
world-class presentations such as Swan Lake, The
Nutcracker, Don Quixote, Romeo and Juliet, Tatlong
Kuwento ni Lola Basyang, and Alamat: Si Sibol at Si
Gunaw.
• Different performing companies add up to Philstage. The Red Turnip
which is behind the “A Doll’s House, Part 2”, while Sandbox Theater
which produced “Lungs.” Philstage members’ musicals attract audiences.
The 9 Works Theatrical is known for their “Eto Na! Musikal nAPO!”
which featured the songs of the iconic Filipino trio of APO Hiking Society
and “Himala: Isang Musikal” which is an adaptation of multi-awarded
Nora Aunor film. The resident theater group of Resorts World Manila, the
Full House Theater Company produced the musical play adaptation of the
Sharon Cuneta movie “Bituing Walang Ningning,” and “Ang Huling El
Bimbo” based on the songs of Filipino legendary band the Eraserheads.
 Gawad Buhay

• Philstage started giving honors to outstanding performances and

performances of their members in 2008. Under the leadership of
Dennis Marasigan, Gawad Buhay was aimed to be the Filipino
counterpart of West End’s Olivier Awards and Broadway’s Tony
Awards. Independent people from the academe and press are
chosen every year to watch and critic all of the Philstage
members’ productions during the season. After deliberations of
the jury and secret balloting, nominees are made public until the
announcement of winners on the Gawad Buhay Ceremonies.
• From 2008 to 2018, several achievements are noteworthy. Actor-writer-
director Rody Vera won 7 out of his 11 nominations making him as the
most awarded individual of the festival. He won 5 awards for his librettos
and adaptations, 1 for co-direction, and 1 for acting in a musical. The
Ballet Philippines’ “Rama Hari” is the most nominated and most awarded
production of Gawad Buhay. Winning 14 out of its 22 nominations in
2012, it is an adaptation by National Artist Bienvenido Lumbera of the
Indian epic “Ramayana”.
• Dancer Rita won six out of 10 nominatiWinder has the record of most
number of performance awards. She ons in four dance categories namely:
Featured Performance in Classical Dance, Featured Performance in
Modern Dance, Female Lead in Classical Dance, and Female Lead in
Modern Dance all for Ballet Philippines. Cris Villonco, on the other hand,
is the most awarded actress, winning five of her 11 nominations. Ballet
Manila’s Liza Macuja-Elizalde has the longest winning streak of Female
Lead Performance in Classical Dance from 2010-2013.
• Ballet Philippines’ Encantada won all four design awards in 2011 for
the set, costumes, sound, and light design. John Batalla has 20
nominations for lighting design. In 2009, Vincent de Jesus got six
nominations script, libretto, musical direction, and original
composition for Tanghalang Pilipino’s “ZsaZsa Zaturnnah Ze
Musikal” and PETA’s “Si Juan Tamad, ang Diyablo at ang Limang
Milyong Boto.” In 2011, he got the most nomination for a single
production PETA’s “Care Divas”.
• In 2009, Repertory Philippines’ “Sweeney Todd”
won all four acting categories (male, female
leads, and featured parts). It was the only musical
play to do the feat. In 2012, PETA’s Bona also
won the four acting categories, but that time for a
non-musical production.