BABAS, QUINEA S.

2019-20048 Theatre 11: Dula at Palabas (16174) THV-1

October 22, 2019 Prof. Banaue Miclat-Janssen, MFA

FILIPINO THEATRE IN FILIPINO

FROM THEATRE IN ENGLISH TO FILIPINO

I. American Occupation

The problem with the English language being used in theatre rooted from the loss of nationalism
in the Philippines. Since the language being used was not the native language, it was difficult for the
directors, like Lamberto Avellana, to have genuine English theatre enthusiasts. Moreover, without
possessing the native language, the actors’ diction and intonation are not that impressive.

For example, during the Filipino version of the play, The House of Bernarda Alba or Ang Tahanan
ni Bernarda Alba, the audience were more reactive and connected to the play compared to the
English version. (personal observation)

During the American colonization, the public mass schooling is greatly emphasized by the
Americans by using the English language as a medium of teaching to the Filipinos (Maca,11). The
pensionado, Fulbright and other grant programs were not only convenient and helpful, but also seen as
highly desirable, necessary for ascent in the academic and cultural ladders.

However, more Filipinos are still experiencing a language crisis wherein they have not mastered it in
terms of diction and intonation. Eventually, universities searched for an explanation for this based on their
social outlook and according to the nationalist idea of Recto, they came with the idea of “search for a
national identity”.

Where is Filipino theatre when its content and its medium were of foreign origin?
- Bienvenido Lumbrera

Nationalist Movement

-awareness of the inordinate impact of the American orientation on Philippine cultural life was a hallmark
of the movement.

- conscious search for Filipino artifacts, culture, identity, and language

Proponent who made the American theatrical scene their model and ideal.

 UP Repertory (Behn Cervantes)  Ateneo Experimental Theater (Rolando

 PETA (Cecile Guidote-Alvarez) S. Tinio)
  Repertory Philippines (Zeneida  Dulaang Unibersidad ng Pilipinas
Amador) (Antonio Mabesa)

- potent factor in the absorption of foreign theater influences and the formation of Contemporary
Philippine Theatre.

- interacted with playwrights

II. Japanese Occupation

During the Japanese occupation, the Japanese banned the use of the English language in literatures. They
favored Tagalog during this era (“Philippine Literature during the Japanese Era”,n.d.).

During the 1880’s, a group of well-educated individuals, wrote literary pieces that sparked the
nationalistic tradition in the Philippine literature. Thus, the nationalistic movement provoked a revolt by
the masses. According to Hernandez, “The Revolution was the climax of the social, political, cultural,
dramatic and theatrical processes which began in the 1850's, and which served as catalytic forces in the
eventual birth of modern Filipino drama. The early manifestations of this drama include anti-colonialist
plays, both musical and non-musical; native zarzuelas on domestic themes; and domestic, non-musical
plays--all in the vernacular.”

The idea of using English was a wrong idea for Philippine theater and was recognized in two ways:

Adaptation and Translation

- Put the vernacular back on stage

- A new respectability in the eyes of the English-educated
- Earned theatre some new audience
- The language was Filipino or Tagalog, Cebuano, Ilocano

III. PROPONENTS
A. TRANSLATION
 Rolando Tinio- translated Westren drama into Pilipino

Works:

Tennessee William’s The Glass Mengerie (Laruang Cristal)

August Strindberg’s Miss Julie

Arthur Miller’s Death of a Salesman ( Pahimakas ng Isang Ahente) – with electrifying effect
on the audience
 B. ADAPTATION
 Onofre Pagsanghan- trained in Western theatre. Works:

Thornton Wilder’s Our Town to Doon po sa amin (Grover’s Corners into Barrio San Roque,
Filipinizing the small town experience.)

 Dulaang Sibol- the Ateneo de Manila High School drama group, moved away from English
and had young playwrights writing original plays in Filipino, in a style that has been called
“poetic realism”
Realism
- Focusing on people and their formation, aspirations, and interaction in the context of society.
- Have explored many levels and angles
 Street/ Protest Theater

Influences from American, European, Chinese and native theaters converged with the need to convey
urgent messages of protest and change and resulted in the street plays staged at Plaza Miranda, in front of
factories and buildings, during rallies and demonstrations.

These protest theaters were visibly evident during Martial Law. This became a way for the people to
demand for justice. According to Atienza (2010), the plays back then were written and presented in
English since it was the language that the “educated” usually uses. However, she argued that these plays
presented in English would not make an effect to the people without using that the vernacular. The aim
was to appeal to the heart of the people and urge them to fight for their country.

C. Lope de Vega- Fuenteovejuna

D. Clifford Odet- Waiting for Lefty

New content for the Philippine vernacular drama

IV. Contemporary Philippine Drama

a. Immediate
b. Relevant
c. Realistic in temper

PROPONENTS

I. Paul Dumol
- One of the two major talents that emerged from Sibol.
- Paglilitis ni Mang Serapio (1968)
o One of the most frequently performed one-act plays in current dramatic literature.
o Where loving is a crime and eye-gouging a form of kindness because blindness in an asset for
beggars.
- Francisco Maniago (1987)
o Dramatizes Maniago’s realization that one can only be loyal to the king of Spain at the
expense of one’s devotion to self, family, and the community.
- Kabesang Tales (1975)
o a major work skillfully crafted on the Brechtian model, in which the Tales story from Rizal’s
El filibusterismos generates forceful insights into injustice, social structure, and the limits of
man’s endurance.
II. Tony Perez
- Emerged from Sibol
- His concern lay in the psychology, traumas and hang-ups of a particular social class.
- Si Lucas sa Lalawigan, Si Lucio sa Lunsod (1976)
o Experimental in form, was concerned with primitivism and liberation.
- Bombita (1981)- veered towards comedy and satirical social comment.
- Psychological Realism
o Puts emphasis on interior characterization and motives.
o Tony’s explorations of usap-usapana (human interactions) within the family, school, and
workplace, among intimates, peers, and superiors.
- Biyaheng Timog (1984) and Sa North Diversion Road (1988)
- Bayan-bayanan (1975)
o Bienvenido Noriega’s inquiry into ideas of home among Filipino expatriates in Europe.
- In my Father’s house (1987)
o Elsa Martinez-Coscolluela’ss evocation of individual and familial disintegration.
- Mga Buhay na Apoy (2015)- Kanakan Balintagos
o About a family’s struggle to come to terms with its indigenous roots.
- He also wrote a trilogy of plays that touch on middle-class characters dealing with the psychological
underpinnings of love and loss
o Saan ba tayo Ihahatid ng Disyembre?
 2009, stage by PETA
o Oktubre, Noong Tayo’y Nagmamahalan Pa
 1933, staged by Tanghalang Pilipino
o Nobyembre, Noong Akala Ko’y Mahal Kita
 1944, staged by Tanghalang Pilipino

Revival and Revitalization

A research into pre-American theater occurred, exploring the komedya, sinakulo, sarsuwela and other
native theatre forms.
During these processes of research, lectures and discussions, there was a deliberate effort to synthesize
Philippine theatre and tradition and influences.

 PILIPNAS CIRCA 1907 NI NICANOR G. TIONGSON

 PRINSIPE RODANTE NI MAX ALLANIGUE

Carlos Tanguinlay Palanca, Sr.

 one of the most prominent Filipino-Chinese or Tsinoy businessmen and philanthropists during the
American era
 His heirs decided it was fitting that his name be commemorated in an endeavor that would help
enrich the country's cultural heritage.
 the Carlos Palanca Memorial Awards for Literature
o were established in 1950
o a continuing touchstone in Philippine literature, with most of the great writers having
ended up on their illustrious roster
o the longest-running and most prestigious literary contest in the country
A. English Division – Short Story, Short Story for Children, Essay, Poetry, Poetry Written for
Children, One-act Play, and Full-length Play
B. Filipino Division – Maikling Kuwento, Maikling Kuwentong Pambata, Sanaysay, Tula, Tulang
Para sa mga Bata, Dulang May Isang Yugto, Dulang Ganap ang Haba, and Dulang Pampelikula;
C. Regional Languages Division – Short Story-Cebuano, Short Story-Hiligaynon, and Short Story-
Ilokano.
REFERENCES

_______,. “Carlos Tanguinlay Palanca, Sr.” https://www.geni.com/people/Carlos-Palanca-

Sr/6000000016468561900

_______,.CCP Encyclopedia of Philippine Art. Manila: Cultural Center of the Philippines, 1994.

_______. “Philippine Literature during the Japanese Era”. Scribd, n.d. 318893718-Philippine-Literature-
During-the-Japanese-Era.pdf.

“Translation vs Adaptation - What's the difference?”. Wikidiff, n.d.

https://wikidiff.com/translation/adaptation#targetText=As%20nouns%20the%20difference%20between,b
eing%20adapted%3B%20adaption%3B%20adjustment.

Atienza, Glecy. “Spectacle: The power of protest and drama during martial law”. Ateneo de Manila
University. 2010, pp. 124-126

Cid. “69th Carlos Palanca Memorial Awards for Literature, now accepting entries.”
https://pia.gov.ph/news/articles/1021067

Dela Cruz, Christa. “10 Shows From 2018 That Deserve a Standing Ovation”. https://www.spot.ph/arts-
culture/performing-arts-2/76522/best-shows-philippine-theater-2018-a833-20190107-lfrm

Hernandez, Tomas. “The Emergence of Modern Drama in the Philippines (1898-1912). Asian Studies
Program. June 1976.

Maca, Mark. “American colonial education policy and Filipino labour migration to the US
(1900–1935)”. Asia Pacific Journal of Education. July 2017, p. 11.

Tiatco, Anril. “The Philippine Komedya and the Recuperation of the Cosmopolitan: From Colonial
Legacy to Cross-Cultural Encounter”. University of Toronto Press. 2014.
ACTIVITY: (ADAPTATION)

1. The class will be grouped by pairs.

2. Each pairs will be assigned with a story.
3. The pair will be creating a Filipino literary piece based from their adaptation with the story given
to them.

Pairs:
1. MIJON & NAT ESTRADA – AS YOU LIKE IT
2. SEAN & MAMEL- THE ALCHEMIST
3. NAT ANAS & JANNO- OEDIPUS REX
4. KARLA & ALLELIE- PRIDE AND PREJUDICE