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    Jerome Salay
    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.

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    14 Contemporary

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    Jerome Salay
    92 views43 pages
    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.

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    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.

    Copyright:

    © All Rights Reserved
    92 views43 pages

    14 Contemporary

    Uploaded by

    Jerome Salay
    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.

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    © All Rights Reserved
    of 43

    History of Philippine theater

    Philippine theater began just like


    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

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