THEATRE (DRAMA) WRITTEN REPORT

THEATRE

a deliberate performance created by live actors and intended for a live audience. Typically
making use of a scripted language.

The history of drama closely related to the history of humanity. As civilizations developed in
different cultures drama took different forms. People worshiped gods and glorified earthy
leaders with elaborate pageantry. Tales retold of the epic adventures of noble characters
engaged in mighty conflicts or humorous characters bumbling through their comic paces. these
tales led to dramatic presentations ultimately to be written and acted out again and again as a
societal rule.

It traces its origin in Egypt as far back as 4000 B.C.

WORLD HISTORY OF DRAMA

Greek drama
Western drama started to develop in Greece in the 6th century BC as part of the
worship of the Greek god Dionysus. To commemorate the god’s death a group of
chanters, called the chorus, danced around an altar on In which goat was sacrificed.
therefore these chorus was called the goat-singers or tragos. From tragus toward
tragedy was derived. these ceremonies in honor of Dionysus involved in two dramatic
contest . According to Greek folklore, Thespis won the first competition. Legend says
that when thespis stepped from the chorus and engaged in a dialogue with the other
members he became the first actor. This term thespian has been given two actors ever
since.
Overtime the responsibilities of the chorus diminished as the scope of the actors roles
were expanded. The chorus in anouilh Antigone and eL gallo in the fantasticks are well
known examples of a modern see chorus.

Roman Drama
Roman drama was largely an imitation of Greek drama. In fact, the first work of Roman
drama was commissioned to andronicus, an author from a Greek colony. The first
Roman tragedy was most likely a translation of a Greek play, and most Roman dramas
that followed were adaptations of Greek place. There were, however, a few plays
written about the history about the of Rome . The majority of original Roman place
where comic representations of daily life, focusing on comical business rather than the
development of blood or character. Plautus and Terence with two notable writers of
Roman comedy. Only Terrance’s plays, however, showed appreciable improvement on
their Greek counterparts.
At the time Terence and Plautus, were writing, there were no permanent theaters. The
stage was erected only when needed for presentation. Over the next 200 years, interest
in entertainment evolved, in theaters expanded into amphitheaters, large circular arenas
that we're surrounded by tiers of seat. At this time, the beginning of the 1st century AD,
Seneca,a writer of bombastic tragedies, was the only author to attempt anything like a
play. Ironically, his plays,called closet dramas, were intended to be read rather than
performed.

Medieval drama
the earliest evidence of drama in the Middle Ages is a partial manuscript from a western
European liturgical drama dating to the 10th century. However, the prohibitions
established by the Roman Catholic Church again secular drama suggests the existence
of other performances: acrobats, mimes, and dancers. The liturgical drama of this time
was definitely influential in the development of drama, but did not direct the course of
later secular plays.

The Renaissance
Renaissance (meaning “rebirth”) is the term commonly used to describe the transition
from the medieval to the modern world in western Europe.Beginning in Italy in the early
fourteenth century, the Renaissance eventually reached all of Europe and England. This
rebirth of interest in the clas-sics and belief in the potential for human perfection
touched almost every aspect of life. Painting, sculpture, and architecture flourished, but
drama didn't—at least not for many years

- In Italy
Early offering of Italian playwrights featured weak imitations of classical plays, cheap
obscenities, or poorly constructed scripts, some advances in the dramatic arts were
made in Italy during Renaissance. Theater architecture was developed, as was stage
equipment. Sets with perspective and colored lighting were introduced. Another
contribution to drama made by Italy during the Renaissance was the opera, an attempt
to revive the simplicity and humanism of ancient Greek drama.

SPANISH THEATRE
The Golden Age of Spanish Theatre was between 1500s and the 1700s. By 1700,
30,000 plays were written.In quantity and vigor, the Spanish theatre was equal to
England’s between 1585 and 1642, Spanish drama flourished in the 16th and 17th
centuries, like England, but came form different influences, Catholicism was able to
become secure in Spain while religious infighting was rampant in the rest of Europe:
Ferdinand and Isabella, after 1479, were able to unite much of Spain establish the
Inquisition to hunt down and punish heretics, expel Moors and Jews—Catholicism
became secure.

ENGLISH THEATRE
The climax of Renaissance drama came during the Elizabethan Age in
England. This was a period in which drama was the expression of the soul
of a nation, and theater became a vital force in the lives of the people.
One of the first English comedies, Ralph Roister Doister, was pro-
duced in 1552. The author, Nicholas Udall (1504–1556), modeled his com-
edy on Plautus’s plays. The first true English tragedy was Gorboduc,
which was performed in 1562. Many other notable plays were written in
England during this period.

FRENCH THEATRE
has a history dating all the way back to the 12th century when the idea of dramatic
performances for entertainment, not just for religious education, was starting to emerge.
Granted, most of it was written and performed in Latin but it was a start.
The origins of farce and comic theater are also a little fuzzy - some historians think it
came from pagans and folk festivals whereas the more pious amongst them would
believe that comedic theater was invented by the Church (unlikely). Believe what you
will.

Whilst French theater was around in the Middle Ages, it really came into its own in the
Renaissance and most specifically under the reign of King Louis XIV.

RUSSIAN THEATRE
In comparison to the rest of Europe, Russian theatre in its current form is fairly young.
At the turn of the 17th Century, when Shakespeare was writing, theatre in Russia only
existed in the form of pagan plays and fables that were often persecuted by the church.
It was only in 1702 that Peter I opened the first public theatre in Moscow and drama
began to take shape in secular Russian society. Here is a short overview of how
Russian theatre has developed since the 19th Century.

ASIAN DRAMA

China
Drama in China dates back to AD 200, beginning with rituals that combined song,
dance, gestures, and costumes. When theater captured the Interest of the ruling
dynasties, drama based on Chinese myths and legends became an important art form.
 Peking Opera, developed early in nineteenth century, incorporates aspects of historical
drama, spoken drama, song drama, dance drama, and ballet – 5 main dramas in China
today. Despite the history of government regulation, many traditional aspects have
remained intact in the various types of Chinese drama.
Japan
3 forms of dramas that are uniquely Japanese – No, Bunraku or doll theater, and
Kabuki- have been introduced to the rest of the world.

● No
th
In an attempt to create a form of drama suitable for the Japanese nobility, 14 century
actor Zeami Motokiyo fused and refined 2 earlier and rougher forms of entertainment.
Zeami looked to classical Japanese literature for the subject matter of No, bringing to
life brave warriors, honorable young women, and revered gods and demons. No
combines words, dance, and music that are rythmically coordinated to the events of the
story. These traditional forms of No havr been passed down from generation to
generation by actors who dedicate their lives to the art form. No is still performed in
Japan much as it was performed almost 600 years ago. In Keeping with tradition, only
men are players in No. However, due to the changing tastes of audiences, the tempo of
No has slowed over the centuries.

● Bunraku
In the late 1600s, puppets, chanting, and music were combined in Buraku, or Japanese
doll theater. Bunraku puppets are four-foot tall marionettes carved from wood in intricate
detail including realistic, moveable eyes, eyebrows, and mouths. Each puppet is
manipulated by 3 puppeteers dressed in black who hold the puppet close to their bodies
as they move around the stage. Dialogue is assigned to specialized chanters who
appear onstage to perform each scene. As in No, only men players are in Bunraku.

● Kabuki
th
In 17 century, Kabuki developed as a form of entertainment for the general
population. Striving to be fashionable and up-to-date, Kabuki shows popular aspects of
many Japanese drama styles, including No and Bunraku. Like these 2 forms of drama,
Kabuki permits only male performers; however, Kabuki distinguishes itself through
characteristic makeup and costuming, assorted musical styles, demanding vocal
displays, and production-enhancing stage settings.

United States

However, theatre in the New World struggled during the 18th century as a result of
several factors. Tensions between the colonies and Britain increased, and concerns
over the moral implications of both acting in and viewing plays arose. In colonies like
Massachusetts or Pennsylvania, laws were passed to forbid the production and
performance of plays.

This opinion was supported by many prominent philosophers and even the governing
bodies of the era. Prior to the penning of the Declaration of Independence, the first
Continental Congress passed the Articles of Association, a document written in
response to the British intolerable acts. The Articles in part called for a “discountenance
and discourage [of] every species of extravagance and dissipation, especially…
exhibitions of shows, plays, and other expensive diversions.” As British rule and culture
were increasingly criticized in the colonies, tenets of British society such as theatre
came to be almost abhorred in the colonies, who attempted to distance themselves from
their rulers. As a result, theatre was denounced in the same vein as vices like gambling
and animal fighting. 

Years following World War II saw the true international fame of American theatre.
Productions like The Crucible by Arthur Miller in 1953 and A Streetcar Named Desire by
Tennessee Williams in 1947 became international sensations, and Williams’ play was
produced on the London stage by 1949. Musical theatre also maintained its popularity
following WWII, and developed along with traditional theatre into more daring
productions during the 50s and 60s.

As modern society began to develop, musical and dramatic theatre progressed into
“agenda” theatre, particularly during the Civil Rights Movement. This type of theatre
attempted to address the social justice issues of the era, and musical productions such
as Hair and West Side Story referenced subjects such as drug culture, racism, and
cultural divides. As a result, drama has historically become a way for playwrights to
address social rights issues, personal experiences, and pass their own judgment on
society.

LOCAL HISTORY OF DRAMA

Pre-colonial Time
During the pre-historic times, theater in the Philippines was in the form of indigenous rituals,
verbal jousts or games, or songs and dances to praise gods.

These mimetic performances mostly dramatized primitive rituals and epic poetry about
deities and mythical legends, where the spirit of the deities would seemingly possess a
catalonan (priest) or babaylan (priestess).
During this entranced state, the priest or priestess would consume the sacrificial offering,
which could be in the form of a pig, chicken, rice, wine, or nuts.
 "…seemed to shoot flames from her eyes; her hair stood on end, a fearful sight to those
beholding, and she uttered words of arrogance and superiority." – Juan de Plasencia,
1590
Perhaps the very first native ritual recorded and reported to the Western world was that
documented by Pigafetta in his Primer Viaggio Intomo al Mondo, and seen by Magellan
and his men. In it two priestesses brought in offerings of food, made obeisance to the
sun, then chanted, danced, and sacrificed a pig.

Incorporated in their reports to their religious superiors in Spain detailed reports of rituals
for marriage, for going to war, for birth and death, for planting and harvest, for illness and
victory - for all the important landmarks in tribal life, all the touchstones of survival as a
tribal community.

According to early chronicles, pre-historic dramas consisted of three elements – myth, mimesis,
and spectacle.
Myth - a traditional story, especially one concerning the early history of a people or
explaining some natural or social phenomenon, and typically involving supernatural
beings or events.
Mimesis - including imitatio, imitation, nonsensuous similarity, receptivity,
representation, mimicry, the act of expression, the act of resembling,
Spectacle - a visually striking performance or display.
"the acrobatic feats make a good spectacle"

Spanish Regime

The friars used drama incorporated with themes of religion, in their eagerness for the
Christianization of the natives.

When the country was colonized, Spanish culture was introduced to the
Philippines. While the soldiers were believed to have been the ones to bring chivalry of
the lives of saints and martyrs. The friars, on the other hand, in their eagerness for the
Christianization of the natives, used many methods of communicating their message,
including the drama or dramatization, a tool long used by the Jesuits in their teachings

Plays and Drama popular during the Spanish era

COMEDIA
In the Spanish Golden Age (Siglo de Oro) tradition, a comedia is a three-
act play combining dramatic and comic elements.
The principal characters are noblemen (galanes, sing. galán) and ladies (damas) who
work out a plot involving love, jealousy, honor and sometimes also piety or patriotism.
Specific forms include the comedia de capa y espada, a cloak-and-sword comedy of
 love and intrigue, and the comedia de figuron, a form in which the emphasis is placed on
one particular character, who is presented as an exaggerated personification of a vice or
flaw.
1598- The first recorded drama was staged in Cebu.
It was a Comedia written and performed in honor of Cebu’s first bishop.
1598- The first recorded drama was staged in Cebu. It was a Comedia written by Vicente Puche
and was performed in honor of Msgr. Pedro de Agurto, Cebu’s first bishop.

Cenakulo / senakulo

Derived from the Spanish cenáculo, meaning “cenacle,” which is the place where Jesus Christ
celebrated the Last Supper with His disciples. It is a very heavy drama shown in relation to the
life, sacrifices, and death of Jesus Christ.
It is like a passion play presented and celebrated during the month of March or April,
depending upon the exact date of the Holy Week.

Two kinds of presentations

Ablada – oral/ spoken
Kantada – song

 Moro-Moro

It is a cloak-and-dagger play depicting the wars between the Christians and the Muslims, with
the Christians always on the winning side.
refers to a type of folk drama performed in villages throughout the Philippines, usually
during fiestas. Although each village's moro-moro is a little different in terms of
treatment, all are full of romance and melodrama, and the highpoint is always a battle
between Muslims and Christians.
The first Moro-Moro was written by Fr. Jeronimo Perez and was staged in manila in
1637, to commemorate Governor General Consueras’ victory over the Muslims of
Mindanao, muslim Maguindanao chieftain, qudaran in mindanao.

Zarzuela / Sarsuela / Sarswela

It is a melodrama with songs and dances that have a three-in-one-act play. It is intended to
make the mass feeling towards love, fear, grief, sorrow or any emotional reactions sublime. It
sometimes shows the political and social conditions of our country.
Zarzuela Jose Rizal wrote a zarzuela entitled Junto Al Pasig (Beside the Pasig). A
sarwela about Christianity, good evil paganism. It explained that culture made us
believed in mythical creatures and if ony we have stronger faith, god is the only one who
can save us. It was staged at the Ateneo de Manila on December 8, 1880 on the
occasion of the celebration of the Feast Day of the Immaculate Conception, patron saint
of the college.

Cinema in the Philippines

It is a kind of drama that has been called “a wild combination of art, culture, commerce, and
technology.”
Cinema film extensively makes use of sound and light. It has its intellectual, imaginative,
and technical aspects.

Cinema Students, industries and our government uses it for educational, to advertise
their products and to inform and influence the Filipino and people from other countries.
It is an art form that has been called “a wild combination of art, culture, commerce, and
technology.”

The cinema of the Philippines (Filipino: Pelikulang Pilipino or Sine Pilipino) began with the

introduction of the first moving pictures to the country on August 31, 1897 at the Salón de
Pertierra in Manila. the first film shown was Espectaculo Scientifico, and followed by other four
movies, namely, Un Homme Au Chapeau (Man with a Hat), Une scène de danse
japonnaise (Scene from a Japanese Dance), Les Boxers (The Boxers), and La Place de L'
Opéra (The Place L' Opéra), were shown via 60 mm Gaumont Chrono-photograph projector at
the Salon de Pertierra at No.12 Escolta in Manila.

On September 12, 1919, Dalagang Bukid (Country Maiden), a movie based on a popular

musical play, was the first movie made and shown by Filipino filmmaker José Nepomuceno.
[6]
 Dubbed as the "Father of Philippine Cinema", his work marked the start of cinema as an art
form in the Philippines.[7]

Over the years, Filipino films have been recognized not only in their own country, but also
globally in different countries. Competing with international films, Filipino films have earned
many different rewards such as the Golden Lion in the 2016 Venice Film Festival won by Ang
Babaeng Humayo (The Woman Who Left) by Lav Diaz, the Audience Choice Award in
the Tokyo International Film Festival won by Die Beautiful by Jun Lana, or the Silver Bear Alfred
Bauer Prize at the 66th Berlin International Film Festival won by Hele sa Hiwagang Hapis (A
Lullaby to the Sorrowful Mystery) also by Lav Diaz. All these films were granted these awards in
the year of 2016 among many other Philippine films. [102] In the years before, other films equally
gaining recognition internationally include Pamilya Ordinaryo by Eduardo Roy Jr.;[102] Toto by
John Paul Su;[102] Taklub by Brillante Mendoza;[103] Metro Manila by Sean Ellis;[104] and Foster
Child by Brillante Mendoza

ELEMENTS OF DRAMA

1. PLOT

-series of events that take place

-the structure of the whole story

-forms the framework cohesively and sensibly

PLOT STRUCTURE OF ROMEO AND JULIET (William Shakespeare)

We meet Romeo Montague and Juliet Capulet, whose families hate each other -Exposition

Romeo and Juliet meet at the Capulet Masquerade party - Conflict

Romeo and Juliet fall in love and get married. – Rising Action

Romeo kills Juliet's cousin in a fight. - Climax

Romeo learns of Juliet’s death and buys illegal posion – Falling Action

Romeo and Juliet BOTH DIE and the feud ends – Resolution

Not all playwrights follow the flow of the traditional plot, they may change the sequence of
events to give the audience a different presentation. Whatever they decide, playwrights control
our expectations about what is happening through plot. By rearranging incidents they may
create suspense, evoke laughter, cause anxiety or elicit surprise (DiYanni, 2000)

2.CHARACTER
-Characters are the people in the story

- protagonist (central character) or an antagonist (forces working against the protagonist).

Playwrights do not give unnecessary information about the characters. Only those that the
audience need to know because of its relevance to the story (DiYanni, 2000).

3. DIALOGUE

-refers to the words characters say to each other.

-It is the talking/conversation taking place as the story advances.

-As characters talk, they reveal the kind of character they are portraying which is essential to the
advancement of the plot.

4. STAGING

-involves all the spectacle a play presents during a performance.

-It shows to the audience visual details that add to the realistic effect of the play.

-This includes things like:

· positions of the actors on stage (blocking)

· gestures and movements

· scenic background

· props (properties)

· costumes

· lighting and sound effects.

5. THEME

-the basic idea of a drama; the idea, the point of view that binds together a work of art

-The theme of the drama is its meaning and significance (DiYanni, 2000)
 -theme is not the moral of the story

For example, the play Romeo and Juliet, is based on a brutal and overpowering romantic love
between Romeo and Juliet that forces them to go to extremes, finally leading them to self-
destruction.

KNOWN INTERNATIONAL ARTIST FOR DRAMA

1. MOLIERE

· Jean-Baptiste Poquelin

· January 15, 1622 – February 17, 1673

· French actor and playwright

· The greatest of all writers of French Comedy

· Famous Plays: “Tartuffe,” “The Miser,” “The

Bourgeois Gentleman,” “The Imaginary Invalid

2. ANTON CHEKHOV

· Anton Pavlovich Chekhov

· January 29, 1860 – July 15, 1904

· Best known for his short stories and plays and known for his Realism Writing
Style.

· Famous Plays: “The Seagull,” “Uncle Vanya,” “Ward No. 6”

3. EDMOND ROSTAND

· April 1, 1868 – December 2, 1918

· French playwright, poet, and dramatist

· He was an acclaimed 19th century playwright most

famous for “Cyrano de Bergerac”`

· Notable Works: Cyrano de Bergerac, L’Aiglon

4. BERTOLT BRECHT

· Eugen Berthold Friedrich Brecht

· German playwright, poet, theatre practitioner and art

director

· February 10, 1898 – August 14, 1956

· He leads the theoretician of “Epic Theatre”

· Notable Works: “The Threepenny Opea,” The Good Woman of Setzuan,” “The Life of
Galileo,” “The Resistable Rise of Arturo Ui”

5. LAURENCE OLIVIER

· Laurence Kerr Olivier

· May 22, 1907 – July 11, 1989

· English actor and director

· One of the trinity of male actors who dominated the

British stage of the mid-20th century along with Ralph
Richardson and John Gielgud

· Notable Works: “Henry V,” “Richard III,” “Hamlet”

KNOWN LOCAL ARTIST IN THE PHILIPPINES

1. MANUEL CONDE
● Came from: Daet, Camarines Norte
● Screen name as actor: Juan Urbano
● christened Manuel Pabustan Urbano
● Born: October 9, 1915 (Daet, Camarines)
● Died: August 11, 1985 (age 69)
● Filipino actor, director and producer, writer
● Notable works:
○ Genghis Khan (1950)
○ Ibong Adarna (1941)
 ○ Ang Ibong Adarna (1955)
○ Juan Tamad film series (1947 to 1963)
○ Prinsipe Teñoso (1954)
○ Siete Infantes de Lara (1950, and remake in 1973)
○ Molave (1961)
● the first to bring Philippine cinema to the international stage with his epic film Genghis
Khan at the 1952 Venice Film Festival.
● He created Juan Tamad, a character which personifies laziness. It was made into a
comic story, TV series, and appeared in several movies.
● his first film entitled Mahiwagang Biyolin in 1935
● He was a prolific actor, director, and producer, and was known for successfully finishing
films of epic scale in terms of production design despite shoe-string budgets.
● conferred the title of National Artist for Cinema in 2009
● Contribution:
○ by revitalizing folk culture with urgent issues, fresh themes and new techniques
○ by depicting and critiquing Filipino customs, values and traditions according to
the needs of the present
○ by employing and at the same time innovating on the traditional cinematic genres
of his time
● In doing films on these world figures, Conde had in effect forced the Filipino moviegoer
out of the parochial and predictable concerns of the run-of-the-mill formulaic film and
thrust him into a larger world where visions and emotions were loftier and nobler and
very very far from the pedestrian whims and sentiments that constituted the Filipino
moviegoer’s usual fare.

2. GERARDO DE LEON
● Born: September 12, 1913
● Died: July 25, 1981 ( a year later was conferred as National Artist for Cinema. )
● Notable works:
○ Noli Me Tangere (1961)
○ El Filibusterismo (1962)
○ Sisa (1951), Banaue: Stairway to the Sky (1975)
○ Dyesebel (1953)
○ Pedro Penduko (1954)
○ American-financed cult horror films in the 1960s like Terror is a Man (1959)
○ Brides of Blood (1968)
○ Mad Doctor of Blood Island (1969)
● was a medical doctor by profession but his passion for film arts led him to his prolific
career as an actor and director
● His first job was as a pianist at the Cine Moderno in Quiapo, Manila, where he played
musical scores for silent films. ( The silent movies served as De Leon’s “very good”
training ground because the pictures told the story. )
● During World War II, he was one of many directors who made propaganda films
commissioned by the occupying Japanese forces which led to his arrest for charges of
treason after the war. When evidence of his assistance to Filipino rebels came forth, he
was pardoned and eventually became one of the most successful directors during
Philippine cinema's golden age.

3. LAMBERTO AVELLANA
● Lamberto Vera Avellana
● February 12, 1915 (bontoc philippines) – April 25, 1991
● Notable works:
○ Anak Dalita (1956),
○ Badjao (1957),
○ Kandelerong Pilak (1954),
○ Kundiman ng Lahi (1959),
○ A Portrait of the Artist as Filipino (1965),
○ and international films that had worldwide releases like Sergeant Hassan (1958),
○ Destination: Vietnam (1968),
○ The Evil Within (1970)
● Nicknamed as "The Boy Wonder of Philippine Movies"
● Lamberto Avellana was known to be the first Filipino director to use film cameras to
establish a point-of-view.
● His distinctive achievements started with Anak Dalita, which received Grand Prix at the
Asia-Pacific Film Festival in Hong Kong.
● the Best Director of Asia award in Tokyo for his film Badjao
● Avellana was the first film director in the country to have his film shown at the Cannes
International Film Festival with war romance film Kandelerong Pilak.

4. EDDIE ROMERO
● Also known for his cult horror films in the '60s and was conferred National Artist for Film
in 2003
● July 7, 1924 - May 28, 2013
● Notable works:
○ Ganito Kami Noon... Paano Kayo Ngayon? (1976),
○ Banta ng Kahapon (1977),
○ Aguila (1980),
○ Kamakalawa (1981), and
○ the television series Noli Me Tangere (1992)
● screen name 'Enrique Moreno'
● Romero has received a total of 22 awards; these include five Best Screenplay awards
from the Filipino Academy of Movie Arts & Sciences (FAMAS)
● Eddie Romero started as a screenwriter before becoming one of Philippine film
industry's most influential directors. Ambitious, yet practical, Romero's distinctive style is
cited as simple and minimalist yet carry enormous depth with precise execution.
● His film Ganito Kami Noon…Paano Kayo Ngayon?, set during the turn-of-the-century
revolution against the Spaniards and Americans, follows a naïve peasant through his
leap of faith to become a member of an imagined community—the Philippine nation.
● Aguila situates a family’s story against the backdrop of the country’s history.
Kamakalawa explores the folkloric literature of prehistoric Philippines. Banta ng
Kahapon, his ‘small’ political film, is set against the turmoil of the late 1960s, tracing the
connection of the underworld to the corrupt halls of politics. His 13-part series of Noli Me
Tangere brings the national hero’s polemic novel to a new generation of viewers.

5. MARILOU DIAZ-ABAYA
● The founder and president of the Marilou Diaz-Abaya Film Institute and Arts Centre in
Antipolo and has taught some of the best filmmakers of today's generation.
● March 30, 1955 - October 8, 2012
● Notable works:
○ Brutal (1980),
○ Moral (1982),
○ Karnal (1983),
○ Milagros (1997),
○ Sa Pusod ng Dagat (1998),
○ Jose Rizal (1998),
○ Muro-Ami (1999),
○ Bagong Buwan (2001)
● Multi-awarded film director Marilou Diaz-Abaya is just one of many female directors that
have left an indelible mark in Philippine cinema. She was also the founder and president
of the Marilou Diaz-Abaya Film Institute and Arts Centre in Antipolo and has taught
some of the best filmmakers of today's generation.
● After graduating from the London International Film School in 1978, Diaz-Abaya entered
the film industry as a feminist director. Distinctive of his films are themes of women
empowerment, the marginalised sector, and the oppressive social system of the Marcos
regime. Perhaps her most famous work, after having earned almost all awards from the
Metro Manila Film Festival, was Jose Rizal which was a biographical film of one of the
country's national heroes. It was a testament to her body of work that comprises films
being entertaining yet socially conscious and highly artistic.
● She and Fely Crisostomo are the only women to have won the FAMAS Award for Best
Director.
● She is the most awarded woman director in the history of the Filipino Academy of Movie
Arts and Sciences.