The document summarizes the history of Philippine theater and profiles some of the country's national artists who have contributed to its development. Philippine theater began with indigenous pre-colonial drama consisting of rituals, songs, dances and verbal jousts, but these were later replaced by komedya and zarzuela forms introduced by the Spanish. Several national artists are then highlighted for their significant contributions, including Salvador Bernal's innovative set designs, Lamberto Avellana's pioneering film techniques, and Wilfrido Guerrero's plays that reflected Filipino culture and behaviors.
The document summarizes the history of Philippine theater and profiles some of the country's national artists who have contributed to its development. Philippine theater began with indigenous pre-colonial drama consisting of rituals, songs, dances and verbal jousts, but these were later replaced by komedya and zarzuela forms introduced by the Spanish. Several national artists are then highlighted for their significant contributions, including Salvador Bernal's innovative set designs, Lamberto Avellana's pioneering film techniques, and Wilfrido Guerrero's plays that reflected Filipino culture and behaviors.
The document summarizes the history of Philippine theater and profiles some of the country's national artists who have contributed to its development. Philippine theater began with indigenous pre-colonial drama consisting of rituals, songs, dances and verbal jousts, but these were later replaced by komedya and zarzuela forms introduced by the Spanish. Several national artists are then highlighted for their significant contributions, including Salvador Bernal's innovative set designs, Lamberto Avellana's pioneering film techniques, and Wilfrido Guerrero's plays that reflected Filipino culture and behaviors.
The document summarizes the history of Philippine theater and profiles some of the country's national artists who have contributed to its development. Philippine theater began with indigenous pre-colonial drama consisting of rituals, songs, dances and verbal jousts, but these were later replaced by komedya and zarzuela forms introduced by the Spanish. Several national artists are then highlighted for their significant contributions, including Salvador Bernal's innovative set designs, Lamberto Avellana's pioneering film techniques, and Wilfrido Guerrero's plays that reflected Filipino culture and behaviors.
any other genre of literature with Pre-colonial indigenous drama. These constitute rituals, verbal jousts or games, and songs and dances praising their respective gods. Eventually, when the Spaniards came, these indigenous drams were discarded and were change into mainly categories: komedya and zarzuela. The National Artist The National Artist • Salvador F. Bernal (1969) • Lamberto V. Avellana (1976) • Honorata “Atang” De lerama(1979) • Rolando S. Tinio (1997) • Wilfrido Ma. Guerrero (1997) • Daisy H. Avellana(1999) • Severino Montano(2001) Salvador F. Bernal Salvador F. Bernal (January 7, 1945-October 26,2011)
Salvador F. Bernal designed more
than 300 productions distinguished for their originality since 1969. Sensitive to the budget limitations of local productions, he harnessed the design potential of inexpensive local materials, pioneering or maximizing the use of bamboo, raw abaca, and abaca fiber, hemp twine, rattan chain links and gauze cacha. As the acknowledged guru of contemporary Filipino theater design, Bernal shared his skills with younger designers through his classes at the University of the Philippines and the Ateneo de Manila University, and through the programs he created for the CCP Production Design Center which he himself conceptualized and organized. Lamberto V. Avellana Lamberto V. Avellana (February 12, 1915-April 25,1991)
Lamberto V. Avellana, director for theater
and film, has the distinction of being called “The Boy Wonder of Philippine Movies” as early as 1939. He was the first to use the motion picture camera to establish a point- of-view, a move that revolutionized the techniques of film narration. Avellana, who at 20 portrayed Joan of Arc in time for Ateneo’s diamond jubilee, initially set out to establish a Filipino theater. Together with Daisy Hontiveros, star of many UP plays and his future wife, he formed the Barangay Theater Guild which had, among others, Leon Ma .Guerrero and Raul Manglapus as members. Rolando S. Tinio Rolando S. Tinio (March 5,1937 – July 7, 1997)
Rolando S. Tinio, playwright,
thespian, poet, teacher, critic, and translator marked his career with prolific artistic productions. Tinio’s chief distinction is as a stage director whose original insights into the scripts he handled brought forth productions notable for their visual impact and intellectual cogency. Subsequently, after staging productions for the Ateneo Experimental Theater (its organizer and administrator as well), he took on Teatro Pilipino. It was to Teatro Pilipino which he left a considerable amount of work reviving traditional Filipino drama by re-staging old theater forms like the sarswela and opening a treasure-house of contemporary Western drama. Wilfrido Ma. Guerrero Wilfrido Ma. Guerrero (January 22,1910-April 28,1995)
Wilfrido Ma. Guerrero is a teacher
and theater artist whose 35 years of devoted professorship has produced the most sterling luminaries in Philippine performing arts today: Behn Cervantes, Celia Diaz-Laurel, Joy Virata, Joonee Gamboa, etc. In 1947, he was appointed as UP Dramatic Club director and served for 16 years. Wilfrido Ma. Guerrero is a teacher and theater artist whose 35 years of devoted professorship has produced the most sterling luminaries in Philippine performing arts today: By bringing theatre to the countryside, Guerrero made it possible for students and audiences, in general, to experience the basic grammar of staging and acting in familiar and friendly ways through his plays that humorously reflect the behavior of the Filipino. His plays include Half an Hour in a Convent, Wanted: A Chaperon, Forever, Condemned, Perhaps, In Unity, Deep in My Heart, Three Rats, Our Strange Ways, The Forsaken House, Frustrations. Daisy H. Avellana Daisy H. Avellana (January 26,1917 – May 12, 2013)
Daisy H. Avellana, is an actor,
director and writer. Born in Roxas City, Capiz on January 26, 1917, she elevated legitimate theater and dramatic arts to a new level of excellence by staging and performing in breakthrough productions of classic Filipino and foreign plays and by encouraging the establishment of performing groups and the professionalization of Filipino theater. Together with her husband, National Artist Lamberto Avellana and other artists, she co-founded the Barangay Theatre Guild in 1939 which paved the way for the popularization of theatre and dramatic arts in the country, utilizing radio and television. Severino mantano Severino Montano (January 3 1915, - December 12, 1980)
Playwright, director, actor, and
theater organizer Severino Montano is the forerunner in institutionalizing “legitimate theater” in the Philippines. Taking up courses and graduate degrees abroad, he honed and shared his expertise with his countrymates. As Dean of Instruction of the Philippine Normal College, Montano organized the Arena Theater tobring drama to the masses. He trained and directed the new generations of dramatists including Rolando S. Tinio, Emmanuel Borlaza, Joonee Gamboa, and Behn Cervantes. Among his awards and recognitions are the Patnubay ng Kalinangan Award from the City of Manila (1968), Presidential Award for Merit in Drama and Theater (1961), and the Rockefeller Foundation Grant to travel to 98 cities abroad (1950, 1952, 1962, and1963). Honorata “Atang” Dela Rama Honorata “Atang” Dela Rama (January 11, 1902-July 11,1991 Honorata “Atang” Dela Rama was formally honored as the Queen of Kundiman in 1979, then already 74 years old singing the same song (“Nabasag na Banga”) that she sang as a 15-year old girl in the sarsuela Dalagang Bukid. Atang became the very first actress in the very first locally produced Filipino film when she essayed the same role in the sarsuela’s film version. As early as age seven, Atang was already being cast in Spanish zarzuelas such as Mascota, Sueño de un Vals, and Marina. She counts the role though of an orphan in Pangarap ni Rosa as her most with realism, the stage sparkling with silver coins tossed by a teary- eyed audience. rewarding and satisfying role that she played. Group 3 Dalrymple digno Ma. Luisa rebadajo Marinella repolido Mary rose caday John Christian linga