3 Stars and a Sun runs from February 4 to March 26, Tuesday to Friday, 8 p.m., and Saturday to Sunday, 3 p.m. and 8 p.m. at the PETA Theater Center, 5 Eymard Drive, New Manila, Quezon City (725-6244).For more information, visit PETA’s website.. Rebel. Theater in the Philippines is as varied as the cultural traditions and the historical. 21 Cfr. Foreign performers, including instrumental virtuosi, as well as opera singers and Spanish zarzuela performers came to the country to perform for enthusiastic audiences. 22The Catholic ritual of pabasa is the chanting/reading of life, passion, death and resurrection of Christ, which take place during the Holy Week.12 Most of the time it is organised by local religious organizations, performed either by two chanters or two groups of chanters. Spain introduced theatre forms like i.a. Even if we would like to point out particular actors or directors, PETA’s activity will be always seen as the group cooperation. The role of the family, as well as any other kind of community, is visible both in everyday life and in any sort of extraordinary celebration. Moreover, we should not forget that this country – according to Sir Anril Pineda Tiatco in Situating Philippine Theatricality in Asia – «is not only an amalgamation of pre-colonial, colonial, and post-colonial cultures». In the 1960s and 70s opera became a very expensive art form to put on, and "difficult" new opera, which inevitably attracted smaller audiences, was more expensive still. To rise up a question, if something is “authentic” or “polluted”, is supposed to mean, that someone is able to set up the intransgressible features of a particular culture. 2. This drama became for the local community a foundation for a performance, in which one can participate also today. p. 142. b. the Philippines and Iraq belongs to the same aesthetic system. Born to Chinese immigrants, Ang Kiukok is the pioneer of Philippine modern figurative expressionism. They argue that it is the most popular of these media, television and the cinema, which have been most dominated by western produced programs and films and by locally produced imitations of these. The postcoloniality might preconceive that particular tradition is a kind of amalgamation, where original roots have been changed and influenced under hundred years of foreign colonial rules. Rewarded as the country’s National Artist in 2001, he was one of the most successful commercial figures on the local art scene from the 1960s until his death from cancer in 2005. As language appears to be political, “Theatres in Asia” I guess is more apt in the nature of this discourse or the “theatres in the Philippines” in the case of the Philippines.7. A Critique on the Asian-ness/Philippine-ness of Philippine Theatre(s), sheds new light on the issue of Filipino postcolonial identity. 32The 1960s – or especially the “Theater of Social Concern” (1965-1968) according to Del Rosario Castrillo18 – became a crucial moment for those theatre practitioners who questioned themselves about their own goal in the fight for real social and political change: Counter cultural dependence, theater content, style and purpose changed. 8In the postcolonial reality it is impossible to distinct the “original tradition” from the one “influenced” by foreign cultures. According to Tiatco: the theoretical discourse must not be based on a construction of a Philippine theatre identity or the reconstruction of a Philippine theatre identity but on the affirmation of Philippine theatre identities. the fall of Marcos government. In 2005 PETA has moved into its new building, PETA Theater Center, located in Quezon City, Metro Manila. by Jerzy Grotowski. The opera is an art and music form in which singers and The Filipino contemporary culture (in this case also theatre) can be seen as a great example for anyone who would like to speak about the postcolonial identity of the nation. English. of Brecht (Philippine Educational Theater Association’s translations of The Good Woman of Setzuan, The Caucasian Chalk Circle, The Life of Galileo), but rather as the effect of a long-time process of adaptation, reinterpretation and application of foreign theatre concepts in the field of a local theatre. International productions like The Lion King and Mamma Mia came to our shores, bringing plenty of jaw-dropping spectacle. How did western operas influence philippine theater? ), Brecht in Asia and Africa, University of Hong Kong, Hong Kong 1989, pp. 11 In this context the term “performer” or “doer” should be understood in the meaning proposed e.g. The themes for these works were mostly influenced by the Spanish colonial rule as well as the American colonization.. Philippine theater is composed of pre-colonial performance traditions as well as colonial influences from Spain and the USA. 9 Barangay is a district or a village, the smallest administrative division. First performed at the famed Teatro Zorilla on August 2, 1902, the opera was staged by the renowned Molina-Benito Company. The company has lived by this principle as it continues to evolve with the changes that have occurred within and around it. 19 Pamela Del Rosario Castrillo, Philippine Political Theater… cit., p. 530. OPERA. For all of those artists, who worked together in those hundreds of performances, the common aim was to achieve social and/or political changes. Sir Anril Pineda Tiatco, Situating Philippine Theatricality in Asia. Nevertheless, for anyone who would like to discuss the issue of the Filipino contemporary theatre, the difficult and very complicated postcolonial history of the country appears as one of the main challenges. Asian theater Vs. Western theater History of Asain theatre started off as rituals lots of old written plays Theater started off as hunting dances imitating animals Acrobats, clowns and dwarfs are often in the plays Lots of dance moves come from martial arts moves (kung-fu) Asian Log in. This way, they become aware of the manifestations of an unjust social order and are able to articulate a longing for justice and faith in change. That means, what is more important in the political theatre, the individual or the group identity? 1 It is very popular to write about “Spanish tradition” vs. “American influence”. There is no point in calling for the “authenticity” or the “pureness” of the postcolonial theatre forms (and postcolonial sacral performances), or in the accusation of being “polluted” by foreign influence, as long as the major aim for the Filipino theatre makers is to redefine their own artistic identity. The history of Philippine theatre PHILIPPINE THEATER Theater in the Philippines is as varied as the cultural traditions and the historical influences that shaped it through the centuries. In 1967 this young Filipino woman, who studied in the USA, came back to her country and created one of the most significant Filipino theatre group ever. 25The decision to deepen the religious vow may be considered as the transgression of the tradition. in Europe, even if Europeans behave in a quite opposite way, most of the people try to be as much suntanned as possible. Portrayals of the Filipino Self focuses on the issue of Filipino identity in the context of the cinema. 1The culture of the Philippines, an island country in the South-East Asia, represents a huge range of very outstanding and fascinating traditions. Demonstrates understanding of characteristic features of 20th and 21st century opera, musical play, ballet, and other multimedia forms. 1. sarsuela, the USA actors’ style mostly shaped in Hollywood), but first of all: the language and the educational system. Considering the fact that the Philippine nation still needs to deal with its postcolonial identity, terms, such as “theatre” or “actor”, based on the Western cultural tradition, cannot be easily taken for granted. 2 James K. Fenny, Tagalog Movies and Identity. Theater then serves as a creative platform of social issues and a harbinger of hope.15. 27Among many other scholars, Pamela Del Rosario Castrillo points out that the second half of 20th century for the Filipino culture was the time of being strongly inspired by the theatre tradition of Bertold Brecht (and his concept of Lehrstücke) and Augusto Boal (Theatre of the Oppressed). In some places some measures implemented liqour bana. Nevertheless, one should be aware, that the Philippines cannot be considered only as a Catholic country. 18 The term was used by Pamela Del Rosario Castrillo to describe the Filipino theatre movement and the plays staged in 1965-1968. 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