What is the present state of theater in the country and globally

Para kay Y nang Bayan

Mga Tipak ng Gintong Diwa mula sa Karanasan ng Dulang Filipino

NTF 2012

Kailangang magmuhon ng mga karanasan

Kailangang matandaan ang mga tipak ng diwa mula sa mga karanasang nagmarka

Kailangang maging gabay ang mga marka sa paglikha ng kinabukasan

PETA’s Makiisa Festival (1983 and 1984) Kalasikas Saulog Mindulani Festivals CCP’s Unang Tagpo (1992) at Ikalawang Tagpo (1996) at Ikatlong Tagpo (2003) Ani ng Sining at Iba pang mga Pista ng Dula Tanghalin ang Tanghalan (Unang Pambansang Kumperensiya sa Estetika ng Dulang Filipino (2011)

Unang Tagpo 1992

Ikalawa at Ikatlong Tagpo

MAKIISA FESTIVAL 1984

ANI NG SINING TANGHAL 6 (2012)

LUZON Dap-ayan ti Kultura iti Kordilyera (DKK) Barasoain Kalinangan Foundation Inc (BKFI) S.T.A.G.E. ARTIST-Korido Theater Ensemble

VISAYAS Dagyaw Theater Company MASKARA Theater Ensemble KALINGAW Institute of Dramatic Arts Kanlaon Theater Guild Pasundayag Cultural Network Iloilo National High School’s Dagyaw Contemporary Music Theatre in Cebu & Bohol

MINDANAO Integrated Performing Arts Guild Sining Kambayoka Ensemble Kaliwat Theater Collective Kapapagariya Ensemble Kahayag Community Theater and Dance Co. Kulturang Atin Foundation Inc. MINDULANI

NCR PETA Special Program for the Arts Arena Theater in PNU Dulaang UP Tanghalang Ateneo Palanca plays Alyansa, Inc. PHILSTAGE Teatro Pilipino Dulang Kalbaryo Theater Reviews in PDI

Para saan ang pagsasadula?

Para sa mga mandudula, ang pagtataguyod ng dula ay pagsisikap sa pagpapaunlad ng bayan

Isa itong rallying point , mula sa iba’t ibang antas ng lipunan, anumang lapot o labnaw ng pagtataguyod nito.

Sa mga buod ng mga papel mula sa NCR,Luzon,Visayas, Mindanao, ang konsepto ng pag-aalay sa bayan ay tanglaw na gabay sa mga pagtatanghal. At karaniwan nang present si Ynang Bayan sa mga pagsasadula.

Si Ynang Bayan sa Kahapon Ngayon at Bukas

•  Si Ynang Bayan ang bida sa dulang “Kahapon Ngayon at Bukas”

• Kilala siya sa kanyang tapang, talas at matibay na paninindigang labanan ang mga mapang-aping dayuhan

Unang labas ni Ynang Bayan Kahapon Ngayon at Bukas (1903) Mga walang loob Mga walang damdam Kayo’y masasaya Bago’y nagluluksa Ang kawawang bayan.

Mga walang puso Mga walang dangal Nahan ang pangakong kayo ay dadamay Sa mga pumanaw? Edna Zapanta-Manlapaz.”Kahapon Ngayon at Bukas (1903)” Aurelio Tolentino.Selected Writings.Q.C. UP Library. 1975.p18.

Sedisyoso

Sedisyoso

• Matapang /Bold • May matayog na layuning ipinaglalaban para sa

kagalingan ng mamamayan/Vision Beneficial to the People

• Bago at tungo sa pagbabago/Innovative

Locating/Marking Contemporary Philippine Theater Practices 1992 onwards

Buhay at pumipintig ang dula sa kahit saan—totoong buhay, sa buhay sa network , sa cyberspace, sa imagination

Plays produced

Mga Dulang Likha • Originals from local histories local narratives

local languages • Hybrids (contemporarized forms from

traditional forms/histories/ evolved from other art forms)

•  Imported • Revivals •  Translations ( languages/ cross-art

forms/”Insiang” Bona /North Diversion/Anatomiya)

Sulyap Entry-

“DULA TA” (Lets Play) MSU GENSAN – KABPAPAGARIYA ENSEMBLE

ORIGINAL

TATLONG MARIA

Barasoain Kalinangan

Kalingaw Theater Group ( West Negros College)

Maria Cacao (University of Cebu)

Traditional forms

Imported

Revivals

Translation/Adaptation from other art forms

KALBARYO NG MARALITANG TAGA-LUNGSOD

INSIANG

NORTH DIVERSION ROAD

Mula sa mga plaza at liwasan ng simbahan tungo sa mga paaralan tungo sa munisipyo at city hall tungo sa “Broadway” tungo sa cyberspace at social media networks.

COMMUNITY PERFORMANCE, CEBU

RAHA SULAYMAN THEATER THEATER AMONG THE RUINS

Rubberworld compound,Novaliches

Systems/Procedures Tools for Theater production

•  Short term theater training programs “summer workshops”

•  Year round workshops

• Curriculum based training (degree granting courses)

•  Program-based

Bola sa Kili-kili

ARTIST Inc.(Luzon) Delfin Tolentino Jr. From Practice to Theory. Some Issues in Articulating the Aesthetics of Philippine Theater. Paper presented at the Tanghalin ang Tanghalan.1st National Theater Aesthetics Conference September 28-29,2012 CCP

•  There is the concept of the evolving script—the script as text that is continually processed as it opens itself to the intervention of various people, hence a script that interrogates its own authority. This self-deconstructing tendency is also evident in Korido’s essentially Brechtian approach to theater-audience relationship. In many instances, the members of the audience are asked to participate in the performance, to suggest a form of closure for the play, to offer an opinion, or even to add new material to the story. In so doing, the production exposes its own innards, allowing an emotionally distanced audience to think critically about what it hears and sees.

Barasoain Kalinangan’s 7 year training program

Anti-Dekopyu Street play

Mindanao

Agustin Pagusara “Gikan sa Masa”

“Collaborative efforts with members of the (cultural)

group sitting down to share their reading of the local realities”. In every play production venture, his

injunction would always be “lingkuran gyud nato ni” (pag-

usapannatin ‘to), so that the finished product is a genuine

fruit of “collective work in writing the script, role

assignments, directing...”

KALIWAT THEATER COLLECTIVE’S PLAY DEVELOPMENT PROCESS

Mindanao Workshops

Theater Workshop with Romeo Narvaez and Felimon Blanco

NCR •  PETA training • BITAW • Major Season

Production Training

Currciulum Based Training--Dulaang UP/Tanghalang Ateneo/Dulaang Sibol

Repertory Philippines

Ang mga Mandudulang Nag-uusap –mula sa dekada

40,50,60,70,80,90,dantaong 20

Ang Di Natitinag na Commitment ng Artists-Community-oriented-Teachers-Leaders-

Managers-Organizers-Researchers

Artistic Development •  From student /community theater to city based

theater groups (actors/playwrights/dancers/directors/prod/stage managers) to LGU LEADERS/teachers/community organizers/professional actors

•  “fluidity” non linear progression based on need/context/opportunities present

Generations of Artists Developed

• Artists who took on theater as a profession (TV/movie/stage/ advertising/LGU work/teaching)

• Artists who took on theater for advocacy (education, com.dev. NGO work, Social concerns –women children etc.)

• Artists who took on theater for governance

Nabuhay sa hugpungan ng pagdakila sa Kanluranin dula samantalang nagsisikap bunuin ang hamon ng pagkamakabayan at paglilingkod sa bayan sa pamamagitan ng dula

Inianak ng mabilis na ragasa ng teknolohiya ng makina at computer technology at ngayon ay naglalakabay at tumitindig sa mga lokal na likha ng lupa, ng bakal, kahoy at plastic computer chips

Pinanday at natutuo sa pagkakababad sa hilaw na sangkap ng buhay habang nasasaksihan ang mabilis na pagkahubog ng mga bagong mandudula sa mabilisang pagkatuto at pagsasanay na ala-ready mix at fast food.

Pinaghele sa lagim ng batas militar ngunit nagsikap magbalikwas gamit ang malayang espasyong nalikha ng dula

Influences/Confluences •  Zenaida Amador •  Cervantes,Guerrero,

Mabesa, Juan •  Montano •  Pagsanhan, Abad •  Asian influence

(Japan,China, Indonesia,Korea)

•  PETA (Brecht,Freire,Boal,Spolin,Baker,Heathcote)

•  Traditional forms (sinakulo,comedia,bodabil)

Partnerships and Linkages/Engagements and Relationships

•  Local government • Church • Media •  Theater Communities •  Public school system •  Private schools • Advertising and corporate linkages

Histories Manifestations of Theater Practices Nuggests of Learning

Iba na ang Dula— Bago,/Nagbabago,Umaangkop, Participatory

• Written • Rehearsed •  Trained •  “Staged” •  Socially relevant

•  Improvised •  Spontaneous • Untrained • Anywhere •  Socially relevant

Mayroong Y nang B (ayan) • Social relevance

• Para saan? • Para Kanino (nakararami/kapwa) • Masang Pilipino

•  Ang konsepto ng paglilingkod sa bayan ay isang given ngunit ang pag-unawa at pagsasalin nito sa praktika ng paglikha ng dula ay nag-iiba iba depende sa pinagmumulang pananaw ng lumilikha

Rica Saturay Palis. Bola sa Kili-kili

• “Hindi masasabing pagtatanghal ng Korido ang isang dula kung wala itong sinasabi tungkol sa kalagayan ng lipunan, kung hindi nito iniuugnay ang paksa ng dula sa mga kasalukuyang suliranin ng lipunan.”

May Y nang U

• Rooted/Nakaugat

• Routed /May patutunguhan

Barasoain Kalinangan

•  “Isinasapook ang mga dulang ito. Hinahanapan ng mga paraan upang malitaw ang mga kulturang iwi sa lalawigan.”

•  sumasalamin sa isang dinamikong pamumuhay ng mga Bulakenyo noon hanggang ngayon, na may makatao, makakalikasan at makabayang pagmumulat….”

Hobart P. Savior. THE THEATRE PRACTICE OF THE INTEGRATED

PERFORMING ARTS GUILD. Paper presented at the Tanghalan A

Preliminary Survey and Research on Regional Theater Aesthetics. December

2009, Xavier University, Cagayan de Oro City.

•  the IPAG also expressed its definition and perception of theatre. Back then, the company believed that “(a) theatre reflects Filipino values and realities; (b) theater caters to the Filipino majority rather than the elite; (c) theater should be an agent for social change and national unity, and cause the Filipino to be aware of deficiencies, so he may re-evaluate present values for correction or improvement; and lastly, (d) theater should titillate the senses as means of driving across theme and meaning.” The above enumerated definitions and perceptions explain the IPAG’s intention of maximizing the sense of nationalism so the company becomes a truly Filipino theater.

Errol Linus Miranda.Vignettes on Davao Theater. Paper

presented at the Tanghalan A Preliminary Survey and

Research

•  The community-based theatre group-Kaliwat Theatre Collective focused on themes on Culture, Peace, and Development, these theatrical masterpieces were : Asin Sa Katawhan; Bakwit; Pagbati; Siak Sa Duha Ka Damgo; Oya, Arakan! and Mindasilang. These artistic expressions were focused on the myriad forms of interactions between its members and the sources of the stories—grassroots communities. Utilizing art and theatre-making processes, cultural action methodologies, community dialogue, cultural research and collaborative processes, plays were developed based on real-life situations.

• 

Mula sa ulat ni Jerry Respeto “Ang Dating sa mga Dula sa Kabesera ng Bayan” presented at the Tanghalin ang Tanghalan

1st National Theater Aesthetics Conference September 28-29,2012 CCP

Sa mga tanaw na ito nagtatagpo ang mga piling organisasyon na tila binigkis ng iisang adhikain na humulagpos sa Kanluraning oryentasyon ng dula sa Pilipinas, at sa kabilang banda’y higit na maitanghal ang pagka-Filipino sa kanilang mga dula.

May Y nang Bu

Buhay(!)(Alive/living) Nabubuhay/Nakakabuhay

Sariwa Bago Nagbabago Para sa Pagbabago

Agustin Pagusara “Gikan sa Masa” paper presented at the Tanghalin ang Tanghalan 1st National Theater Aesthetics Conference September 28-29,2011 CCP

• The Theatre Movement in Mandanao-- at least, at a certain stage of its vigor and intensity -- grew out of a sociological reality and necessity--of social conflicts and struggles, of political and ideological allignments, of individual conviction, choices and commitments.

Influences on Mindanao theatre works and artists as first generation aesthetics

1. University Theatre tradition of English Plays (Greek to Shakespeare to modern playwrights)

2. University seasons of musicales mostly Broadway musicales. 3. Religious rituals, rites, celebrations, 4. Popular media such as radio dramas, komiks, road shows like

circus, etc. 5. Nationalist plays originating from Manila 6. PETA produced and inspired plays and artists 7. Freire’s conscientization popular methods, including the study

of Boal in the 70s 8. Popular education and popular communication programs of

ASI, CFA, etc. (Executive Summary ,Mindanao Report .Tanghalin ang Tanghalan 1st National Theater Aesthetics Conference September 28-29,2012 CCP

Pagpapanata at Propesyonalismo

Pagsasapanahon at Pamantayan

Pagsasateatro at Kaakuan

Pagpapatuloy (Sustainability)

Pag-aakma (Appropriation)

Pag-aangkin

PAGLU UKONG ng Gawaing Panteatro sa Luzon

BKFI in ARTIST Photo File

LINANG Network in ARTIST Photo File

Sining Makipamuhay in ARTIST Photo File

Challenges/Hamon

Pagtataguyod ng konsepto ng Y nang Buhay ng bayan

• Y ang dahilan • Nang • Buhay na • Pagsasabuhay sa Buhay • Ng Bayan • (Y nang Buhay ng Bayan)

 Paglikha ng mga akdang malaya at mapagpalaya (Artistic freedom and ethical responsibility)

How how

Rustom Bharucha, Indian dramaturg

From Cecile Nava’s A COMPARATIVE STUDY OF PLAYS PRODUCED BY 3 BACOLOD SCHOOL-BASED THEATER GROUPS (1973-2009) paper presented at the Tanghalan A

Preliminary Survey and Research on Regional Theater Aesthetics November 2009,Cebu City

•  “there is something anachronistic about our insistence on following Western models and appropriating Western experiences as our own rather than turning to our own native soil and history for inspiration in order to forge dramas and a Filipino dramaturgy in the smithies of our souls.”

•  And let us also celebrate the Present because it is a gift. We need to recognize and be proud of our current community of cultural workers and leaders. May the new breed of leadership take full accountability and responsibility in their task of reimagining our cultural movement.

And to the “old generation”, I now say, kindly pass on the torch.

From Arnel Mardoquio “Pass the Torch” paper presented at the Tanghalin ang Tanghalan 1st

National Conference on Philippine Theater Aesthetics,September 28-29,2012,CCP.

Pass on the Torch

Mula sa Tanghalin ang Tanghalan forum Tanghalin ang Tanghalan 1st National

Theater Aesthetics Conference September 28-29,2012

Pagtatala ng Sariling Karanasan sa Dula

• Pagpapaunlad ng theater criticism (scholars and theater practitioners)

• Pagtatala /documentation ng theater experience

Pagtatataguyod ng Pambansang Ugnayan ng mga Dulaan •  Strengthen the national theater network linkages Through exchange programs and sustained

programs for artistic excellence and sustainability

Harapin ang challenge ng epekto ng bagong technology, representations at linkages

Geejay Arriola Our Own Voice.July 2002

• History has provided us enough examples of how actual realities, myths and folklore have easily been reinvented to promote and impose a particular political and cultural viewpoint. But in the context of the continuing exploitation by the powers-that-be of these cultural dimensions in people's lives, no one particular group of people can better challenge this cultural brainwashing than artists themselves.

1960s 1986 1970s 1987

MARCOS

REBOLUSYONG

EDSA AQUINO RAMOS ESTRADA ARROYO

GLOBALISASYON

•  Sining ng bayan •  Sining bilang edukasyon,

pagpapahayag, serbisyo, adbokasiya, komitment

•  Kilusang Pangkultura

•  Sining Popular.Dayuhang Panlasa, Broadway, Exotic,

•  Propesyon, Career •  Kompetisyon, Festival, Turi

smo

DOMINANT/ STANDARD/ CANON

RESISTANCE/ ASSERTION

Kolektibo Kapwa

Broadway Western standard

Exotic

Ritwal Katutubo

Makabayan Lokalisasyon

Pera Papuri

Pangalan

Serbisyo Adbokasiya Edukasyon

ORGANISASYON ARTISTIKO ORYENTASYON

Compe&&on  Self    

Theater Advocacies---service to the public • Theater as a profession/artistic excellence • Theater for development and advocacy • Theater as governance • Theater as education

Mga Alalahanin

• Nakakatugon ba tayo sa ating advocacies /roles bilang ACTORS?

• Nakakatugon ba ang ating advocacies sa needs ng ating audience/mamamayan?

• Nakalilikha ba tayo ng sustained support system para sa ating trabaho?

• Anong advocacies ang dapat isulong ng mga government agencies bilang suporta sa dula sa komunidad?

Mula sa Taumbayan ng Kahapon Ngayon at Bukas..

•  Tahiin natin ang bandilang maningning •  Sagisag ng bayan natin •  Sa panahong sasapitin

• 

• Kami ay may sadiang lakas na laan • Kung may bagabag • At may pusong walang gulat • Sa lalong malaking sindak • Na kung sakaling lalagpak.

• Nangagkalat ang marunong • Sa aming lipi • Mayayabong ang bayan;saan man

lumingon • Nakikita’y pag-uusbong • Balang binhi ng panahon.

• Bukod dito’y iisa ang aming kalulua • Sa aming balang mapita • Ngayo’y lubos na hindi na • Kami-.kami’y nagbabaka

• Sa minsang pagsigaw lamang ng irog na Ynangbayan

• Kung tungkol sa kalayaan, • Bubugso ang mga bayan • Sa digma, yao’y asahan.

•  Mula sa “Kahapon Ngayon at Bukas” (1903)

• Hayo na’t sumuong sa digma ng paglikha

• Para sa Ynang Bayan • Para sa Y nang Buhay ng Bayan

Para sa Y nang B!