Expressed Good Reviews for Theater

EXGO REV is a place for theater artists as well as students authors can share their true opinions about plays, to react to them and to review with them. All in good spirit.

[exgorevfortheater]

UP Dulaang Lab’s “@nlex” Paves the Road for New Ways of Storytelling

The new production "@nlex", an adaptation of Tony Perez's Sa North Diversion Road under UP Dulaang Labratoryo that dropped this August 27, 2021 breaks new ground for the genre of virtual-performance. The pandemic is just around the corner of its second year anniversary and the genres it had created for our survival has shifted, slowly gone back to normal or in the case of Philippine Virtual Performances, evolved.

     The production team and creators behind "@nlex" definitely show this. Directed by Fitz Bitaña alongside Serena M for the Theatre 198 Special Project class of 8 UP Diliman theatre students, they show bravery and teamwork in the building of a production that, once again, has redefined the meaning of a Virtual Performance.

Their adaptation of Sa North Diversion Road by Tony Perez surprised the audience with its beautiful visuals, brilliant direction, contemporary storytelling and performances led by the incredible Sabrina Basilio, Gino Ramirez and Markel Gamboa. EXGO REV also gives praise to the video editors and visual effects artists for having stitched together the scenes beautifully and in-line with the story.

"@nlex" is a story about a couple and the many stages there are in a relationship. The pair embody different couples and separate relationship status asking questions of trust and loyalty as well as begging the audience to unscramble and undo their thoughts for them by way of watching the play again and again. But using NLEX as an analogy perhaps we need not to be unscattered as cars on a highway/freeway. As through out the entire drive we're all ultimately going the same direction. Maybe at different paces but on the same road.

      The play requires multiple watches for audiences to fully understand the deep and personal text of Tony Perez.

Though even so with how confusing or scrambled the story can be, Fitz Bitaña and Serena M's direction and choice of visuals paint us a picture of what the story is really trying to say and what they themselves want to say with it. From visual transitions that show the timelapse of vegetables deteriorating to the beautiful closing shot of a very long drive as one character bids their goodbye to the other. We cannot give enough justice to how beautiful the play looks so instead we encourage everyone to see it in UP Dulaang Laboratoryo's Facebook page while it is available.

      "@nlex" has paved the road for what we should expect from Virtual Performances from now on.

More on Tony Perez:

    Tony Perez is a playwright, artist and writer most commonly recognized for his collection of stories in his book "Cubao Pagkagat ng Dilim: Mga Kuwentong Kababalaghan". It is hard to come by a Tony Perez play these days so it's especially thrilling to see one even in a virtual setting. EXGO REV would even be so bold to claim, this adaptation gives justice to the original script of the playwright.

That is to note, there are many more different interpretations of the story, especially in Tony Perez's original script.

      Malugod na pagbati sa mga creators, teams at theatre makers ng produksyon. Mahusay! Pagpugay!

Watch their play on UP Dulaang laboratoryo’s Facebook page: https://fb.watch/7Hii3XTHY7/

“@nlex” Direction by Fitz Bitaña and Serena M under UP Dulaang Laboratoryo

An adaptation of Tony Perez’s Sa North Diversion Road

Blog by EXGO REV (Edits were added due to some previous misinformed details.)

Please Like and Share! 

[exgorevfortheater]

Apat na Outstanding Plays sa “DILAAB” Theatre Festival ng UP Dulaang Laboratoryo at Bakit Kailangan Niyo Panoorin ang Buong Festival

Ang UP Dulaang Laboratoryo ay nagbukas ng isa na namang matagumpay na virtual theatre festival na may pamagat na "DILAAB".

   Ngayong Hulyo isang koleksyon ng mga dula ang hinanda ng mga student-directors sa patnubay ni Prop. Dexter Santos sa kanyang Directing class. Hindi matigil ang excitement ng theatre-goers sa kung anumang handa ng mga bagong direktor ngayong buwan sa patuloy na pagbago at pag-unlad ng online stagings.

   Sixteen na bagong dula ang kanilang handa para sa "DILAAB" theatre festival, hindi pa kasali ang mga Directing finals na piniling hindi ipalabas sa publiko sa halip ay sa private showing na lang.

Hindi na namin patatagalin pa, kami sa EXGO REV ay napanood ang buong festival at mayroon kaming apat na dulang pinili, hand-picked na katangi-tanging mga kwento na gusto naming ipamahagi sa inyo, at na tumutulong sa pag-define ng online stagings ngayong 2021.

Pababa ang bilang namin from favorite to most favorite.

   Ang mga dulang napili sa listahang ito ay hindi batay sa dami ng views ng palabas o kung gaano kasikat ang orihinal na pagsulat. Ito ay batay sa cleverness pati creativity ng storytelling pagdating sa direksyon. Hindi ibig-sabihin na hindi maganda ang marami pang palabas sa festival, ito lamang ang paborito namin.

4. "Cancerous Kang Carrot Ka!" Sa direksyon ni Karla Alagbate

Magsisimula tayo sa ‘purest form’ ng paglikha ng isang online play. Sa dulang sulat ni Dr. Joem Antonio gamit na gamit ang style ng side-by-side Zoom staging, ngunit sa atake ng direktor para bang ginawang parte na rin sa cast of characters ang konsepto ng paggamit ng split-screen. Nakakapanibago ito sa manonood.

    Mahusay din ang performances ng mga aktor at talagang natutulungan nila ang script at konsepto. Hindi namin iso-spoil ang dula pero nai-embrace talaga nila ang absurdity sa kwento. Pagpugay sa kung gaano kaplanado itong dula mula rehearsals hanggang post-production, kitang-kita ang husay sa final product. Mas magiging memorable itong pyesa sa isip ng manonood dahil sa staging na ito.

3. "Sa Lilim" Sa direksyon ni CJ Correa

Kapag ang ‘purest form’ ng virtual play ay ang paggamit ng Zoom frames, ang susunod na dula naman ito’y gumagamit ng greenscreen, animations, actors on-set atsaka isang malaking team para mabuo ang produksyon.

   "Sa Lilim" ni Reya May Laplana ay isa sa mga dulang paulit-ulit nang ginagawa sa Directing classes at Directing Finals sa maraming kolehiyo, at kung kami'y magiging pranka ay hindi mataas ang expectation namin dito bago pumasok. Pero doon kami nagkakamali dahil napakahusay ng ginawa ng buong team para sa produksyon. Nabigyang-buhay nila ang orihinal na script sa kanilang bersyon!

   Sa tingin namin ay sa halo ng pagiging virtual ng mga tanghalan ngayon pati limitasyon ng pagkita ng mga tao sa gitna ng pandemya ay naging kahanga-hanga na tagumpay ang ginawa ng team sa pagbuo ng dula. Dito mo mararamdamang hindi nabawi ang salitang ‘full production play’ sa online theatre. Pagpugay.

2. "What Walter Wants?" Sa direksyon ni BJ Jose

Sa natitirang dalawang dula dito sa listahan, umabot na tayo sa mga pyesang mahusay pagdating sa konsepto. Ang “What Walter Wants?” sulat ni Dean Jantzen L. Chua ay isa na namang pyesa na matalino ang paggamit ng split screens at Zoom frames para magkwento, sa paraan ng pagiging security-camera view ng bawat camera at pagiiba-iba ng anggulo. Isa itong tamang halimbawa ng paggamit ng konsepto para mabigyang-diin ang kwento ng isang dula at bukod pa doon ang kahulugan ng kwento. Kagaya ng mga karakter sa dula relevant din ang kwento in parallel sa pagiging chaotic ng mundo at mga tao ngayon. Gaya din sa dula nakatutok tayo sa maraming screens kagaya ng paggamit nila ng TV monitors sa konsepto, atsaka agawan tayo ng boses sa microphone kagaya ng bawat status update natin sa social media sites.

 Madami pang easter-eggs ang mahahanap niyo sa dula at iniimbita namin kayong panoorin ito dahil nakakatuwa rin siya at nakakagaang ng loob po.

     Dalang-dala ang play ng energy ng actors, kasama na ang napakagandang set design at video editing saka direksyon. Ramdam na ramdam mo ang koneksyon ng mga aktor sa isa't-isa, na para talaga silang nasa iisang kwarto…PO.

1. “Si Nelson, Si Nanay at ang Pancit Canton” sa direksyon ni Bea Abelinde

Mahirap isalin ang pyesang ito sa entablado lalo na kapag hindi mo hustong maintindihan ang malalalim na salita ni Prop. Vlad Gonzales sa script. Kaya katuwatuwa na tagumpay si Mx. Abelinde sa direksyon niya sa adaptasyon ng dula.

    Magbubukas ang play na parang regular na online play lang, mayroong mag-ina sa isang kwarto na nagku-kwentuhan. Pero habang lumalalim ang mga salita ni Vlad Gonzales sa sulat lumalalim din ang direksyon at mga ibig-sabihin ng mga eksenang likha ni Mx. Abelinde. Mga estudyanteng nakabasa na ng orihinal na script nito ay tiyak na magugulat at mamamangha sa mapapanood nila dahil ang layo subali't ang lapit din ng adaptasyong ginawa ng direktor sa orihinal na pyesa.

    Sa bersyon ni Bea Abelinde mas lalong lalawak pa ang kaalaman ng mambabasa tungkol sa kwento kumpara sa una nilang basa. Kakaiba rin talaga ang nilikha ng manunulat. Pagpugay!

"Si Nelson, Si Nanay at ang Pancit Canton" ay kwento tungkol sa alaala, mga multo, at pagsisisi...at least dito sa bersyon ni Mx. Bea Abelinde.

Ano ang representasyon niyo sa dula? At kung hindi niyo pa napapanood, imbitado kayong panoorin pa ang dula sa Facebook page ng UP Dulaang Laboratoryo.

    Panoorin natin at suportahan ang lahat ng dula sa theatre festival na "DILAAB"!

 Honorable mentions/Recommendations:

“Ang Huling Lektyur ni Misis Reyes” sa direksyon ni Jaime Monserrat

“Kinaumagahan” sa direksyon ni Emerald Dar Juan

“Ang Mga Bisita ni Jean” sa direksyon ni Maria Pauline Vengano

 Mayron ba kayong napanood na "DILAAB" play na hindi namin nasali sa listahan? Kwento niyo saamin sa comments section!

I-Like ang UP Dulaang Laboratoryo page pati ang EXGO REV!

https://www.facebook.com/updulaanglab

#virtualplay #stagedplay #oneactplay #filipinoplay #exgorev #quaranteatro #dilaab #updulaanglaboratoryo #theatrefestival #festival #theater

[exgorevfortheater]

An Interview with Apat na Kaluluwa’s Playwright, Bea Abelinde

Bea Abelinde is a playwright, actress and theatre artist currently on her second year of theatre arts in UP Diliman under the Associate in Arts (Theatre) program. In March of 2021 Entablado UPD decided to stage her full-length play entitled, "Apat na Kaluluwa" as part of their ENTABLADO-3 festival which was the third installment to their “ENTABLADO” series.

With an astounding six directors for the virtual staged-play, it was a pleasure to have Miss Abelinde on a virtual interview to talk more about her script and how it was adapted onto stage. Or in this case, onto screen.

We opened with the question that’s on everyone’s mind: Ano yung “Apat na Kaluluwa”? To which Miss Abelinde responds, “Ayan 'lagi nilang tinatanong saakin. Ang naging proseso ko noong sinusulat ko siya, bale individually ko siyang iniisip. Sobrang fascinated kasi ako sa idea ng possibilites,” she explains as the play tells the story of four individuals living different lives but happen to all be interconnected by a prologue scene that keeps changing each time that it repeats itself.

               Miss Bea Abelinde explains further that in the original draft there was more to the story than what was showcased in the ENTABLADO-3 adaptation. The aforementioned prologue scene of the story was much more laid out and clear, more than what was shown in the final version of the virtual-play. “Sa draft ko kasi na naisulat para mapagtagpi-tagpi siya,” Abelinde explains, “may isang situation na paulit-ulit na nangyayari: May isang phonecall para sa lalaki na karakter. May tatawag sa kanya pero paiba-iba yung taong tumatawag. At dahil din sa detalye na iyon naiiba yung takbo ng pag-uusap nila ng babaeng karakter.”

               It turns out that in the original draft, in between each of the four stories (or apat na kaluluwa) the same phone call in the prologue repeats with a different person on the other line each time, subtly changing the sequence of events for that entire scene which will eventually lead up to the next story where both it and the prologue are hinted to be connected.

“So hindi na namin yon napakita kasi hindi siya naging effective na paulit-ulit yung nangyayari. Mahirap kasi siyang ipagtagpi-tagpi lalo na yung proseso na alam ng mga tao is pang-theatre. Pero ako, yun yung favorite draft na sinulat ko,” Miss Abelinde tells us.

 Next we ask the playwright what her inspiration was in writing “Apat na Kaluluwa” to which she replied, “Natutuwa ako kapag tinatanong ako ng mga ganito e, pero dati kasi sinasama talaga siya sa mga festival namin noong senior highschool ako. Ang original set-up nitong play ay site-specific kasi yung porma ng school namin dati, isang building lang siya pero maraming room so parang 'Pupunta ka dito para mapanood mo yung first scene tapos lilipat ka sa iba para mapanood yung susunod na eksena.’ On-going siya. Sabi din kasi ng A.D. (artistic director) ko 'Sulat ka ng para sa isang site-specific na idea.' So naisip ko, 'Ano ba'ng maganda na site-specific?' At doon ko naisip yung mga Possibilities nga, doon ko pinasok.”

               Abelinde clarifies that she still wants to stage the play in live theatre after mentioning how the script had gone through many cancellations in staging, and even on the ENTABLADO-3 run they had gone through some trouble that may have potentially cancelled the production once more.

 Speaking of the ENTABLADO UPD run, next we ask: How were the directors in the process of the production? Reminding how there are six directors for this full-length play, all are current students of Theatre Arts in UP Diliman. Miss Abelinde then expresses that during that process, a lot from the original draft of the script had to be change for its adaptation to the online platform. Another challenge was that each of the directors had a different approach and attack on their assigned story in the script. “Iba-iba sila ng atake, mayroong pinagsama yung characters in the same space, tapos mayroong parang Zoom-type lang, mayron din yung paiba-iba yung angle.”

               Though it was difficult, one of the lessons Abelinde learned as a playwright was to know when to give in to what the production wants and not only what she wants. As it is also a collaboration and in the end the changes in the script would be for the benefit of telling her story better for the platform. She mentions that she had also been the one to choose the directors for the play, so there was definitely a learning curve of giving and receiving trust. In return the show had proven to be one of the most successful and outstanding plays in this year’s ENTABLADO festival and possibly the entire ENTABLADO theatre anthology!

 As we reach the end of the interview we get to one of the difficult questions: As the playwright, when did you think the adaptation of your play worked and did not work?

               "Nagwork siya na individually sila nagsa-stand, yung apat na kaluluwa,” Abelinde answers, “Pero para saakin mayron pang igaganda yung pagkatagpi-tagpi sa kanila. Bukod din doon, isa pa ay sa hiwa-hiwalay na visions ng directors. Pero palagi kong kino-consider na unang beses pa lang naman itong pinalabas kaya hindi na saakin naging importante yon, ang mahalaga ay na-gets ng mga tao yung gustong sabihin at objectives ng apat na kaluluwa. At kahit papaano, kahit na kaluluwa sila nabuhay pa rin sila sa imagination ng mga tao. Nagkaroon sila ng boses, naging tunay silang mga tao.”

               She tells us that she also had a conversation about this with her college batchmates which were the same people building the ENTABLADO-3 festival, about how they should create something for stage before they graduate from being Associate in Arts (Theater) or A.A.T. students and jump into B.A. (Bachelor of the Arts).

 Finally we could not resist asking Miss Abelinde for her fans, what music or song does she listen to, to get in the drive of writing and creating? “‘Lover, Please Stay’ by Nothing but Thieves,” she answers.

               If you have not yet seen the full-length play, “Apat na Kaluluwa” written by Bea Abelinde go check it out on https://fb.watch/59-zWtrxWz/ First shown on March 28, 2021 under ENTABLADO UPD’s “ENTABLADO-3” festival. We would like to thank Miss Bea Abelinde again for sitting down with EXGO REV for an online interview, and we would also like to congratulate everyone who worked on the production. From the actors, creative team and backstage team. Outstanding performance!

“Apat na Kaluluwa” was written by Bea Abelinde

Directed by Allelie Anne Bobis, Ravelyn Dar Juan, Chloe Reyes, AJ Benoza, Danica Lane Augustin and Quinea Babas.

Under ENTABLADO UPD’s “ENTABLADO-3” Festival

[exgorevfortheater]

I Streamed "password: 03d1pu5_r3x" by Tanghalang Ateneo Here's my Experience

Through my years of learning theater, watching and educating myself in performance, playwrighting and backstage i have seen and explored many, many renditions of Oedipus Rex by Sophocles. I've seen the gender-roles swapped, one where they actually suspend a character in the air to perform a hanging and of course the original story.    And then, before the year 2020 ended Tanghalang Ateneo announced that they were going to do a virtual-staging of the same story but now titled: "password: 03d1pu5_r3x" which was very intriguing. The idea as well, that they were going to try a virtual-staging of it was curious.    Seeing the final version of it now (Streaming March 8-21, 2021) i was excited to see what Tanghalang Ateneo had done, and they did it! The performances were incredible, the ensemble was powerful and had really helped the performances of the leads. And oh, the leads, they were perfect for their roles. Yan Yuzon as "Edipo" continues to give me goosebumps just thinking about it. Alongside are Katski Flores and Miren Alvarez-Fabregas bilang "Tiresias" at "Unang Ginang Yokasta", Marlon Rivera and Gabe Mercado bilang "Egeo" at "Lysanias" and of course Marian Rivera-Dantes as "Pangulong Kreon" which was an inspired casting choice.    An honorable mention to the director and translator, Ron Capinding for making a cameo in the role of "Tagapagsalita ng Pangulo" i give my congratulations. What a show.

Virtual staged-plays is a very odd sub-genre that we have created for theatre. This evidently began as a passion-project idea for everybody doing theatre when the pandemic lockdowns first began. It's fascinating to see how fast we grow and quickly make it our livelihood now that we recognize that live-theatre isn't going to be back in business soon.     Students are taking online classes for it, doing their Directing finals in social media platforms, making full-blown productions where you sell tickets and even souvenirs.

At one point i found it underwhelming to have watched such a great play like Oedipus Rex by Sophocles in this online platform. Mayroong kulang. For instance, what i love in theatre is that even when the dialogue gets deep and hard to keep up with you still manage to understand the story by how the actors move and portray their roles. In theatre, actions usually speak louder than words so no matter how much i can't follow lines by Shakespeare or Sophocles i still manage to understand it in their body language. That works for me.     But virtual theatre completely takes that away. In "password: 03d1pu5_r3x" it was honestly underwhelming to see only the faces of the actors while any body language was completely absent. I felt disconnected, and that i could easily close my eyes and just hear the performance as a podcast.      What we seem to forget is that virtual-theatre is also a sub-genre of film and i think that's what was missing in "password: 03d1pu5_r3x" for me. It has potential to be so much more yet it got stuck in the concept of having a Zoom Session-like performance. I believe the best scene in terms of visuals was the final shot of the play where "Edipo" starts wandering blindly into a flowing river in the outside world. That was such a beautifully-done scene and also very nostalgic as i think every rendition of Oedipus Rex has done this. I believe they could utilize making more scenes like that in the future, to appeal to more audiences. Just an opinion.

I still appreciate what the play does and its take on Oedipus Rex's story, so many people on stage and backstage worked hard on this and i want to give them a big hand and congratulate everyone who worked on and supported this production.    Oedipus Rex isn't a stereotype story with a stereotype plot. The script is so old it started those stereotypes. Stream "password: 03d1pu5_r3x" by Ron Capinding under Tanghalang Ateneo.

Go to Tanghalang Ateneo's page for instructions on how to get a ticket: https://www.facebook.com/tanghalangateneo/

Direction and translation by Ronan Capinding Blog by Buch Dacanay

[exgorevfortheater]

An Interview With Janina Mendoza on the Production "Isang Gabi, Noong 1979"

In the days nearing the premiere of Quaranteatro’s new production, “Isang Gabi, Noong 1979” directed by Buch Dacanay, we got the chance to interview the play’s lead actress, Janina Mendoza, a sophomore of B.A. Theater Arts in UP Diliman.

           We ask her questions about the production and what it’s like to be a theater student this time of quarantine, especially since the year is almost over.

 QUESTION: What were your expectations coming into this production? And has it exceed?

JANINA: Everyone is new to this online platform, and as a theatre student who has to experience and be involved in as many productions as possible even (or maybe especially) in the midst of a pandemic, I did not know what to feel. It is my first time working with Buch and I haven’t met him yet so I did not know what to expect. All I knew at that time was that this is going to be a super challenging production given the limitations. And yes, I am surprised and happy to see how the rehearsals and workshops led to the final version of this project.

QUESTION: Kamusta ang rehearsal-process at progreso mo bilang theater artists? Lalo na't jinu-juggle ngayon ang online classes.

JANINA: Sobrang hirap magbalance ngayon dahil sanay ako na noong face-to-face pa lahat, na kapag may prod akong sinasalihan, may clear division talaga ang acads, prods, at pahinga. Because of the pandemic, halo-halo na. Hindi mo na alam kung kelan ang pahinga, kelan ka magpeprepare for the prod, and kelan ang pag-aaral. Kung ano na lang ang kaya ng oras ko, ‘yun ang ibibigay ko. Of course, acads muna talaga inuuna ko lalo na at andami kong units ngayon hahaha kaso etong prods kasi na mga sinasalihan ko, considered na acads na rin for me kasi theatre naman ang course ko and I’ll need them for my portfolio, new learnings, and new experiences.

QUESTION: What is a good or fun memory from the production “1979”?

JANINA: I really love the mini workshops and warm up exercises! I miss doing them with co-actors where you’re all in the same room. I miss hardcore workshops. Iba pa rin syempre ang face-to-face kasi mas naeestablish ang lahat doon, kaya the mini workshops and exercises na ipinagawa ni Buch sa amin... hayyy, parang sobrang nostalgic lang [laughs].

QUESTION: Looking back at your young self na nagt-teatro simula age (x) ano'ng masasabi mo sa progreso mo ngayon? May mga natutunan ka ba looking back at your past theater-self, mga revelations?

JANINA: I was 12 when I had my first actual play pero patigil-tigil ako right after that. There was a time na 2 years akong nagpahinga sa theatre. Walang workshop na sinasalihan or even mini prods. Walang kahit ano. Tapos right after magpahinga, deretso ako sa Theatre Arts ng UP. Sobrang risky move niya dahil para akong lalaban sa big tournament na sobrang tagal na walang training hahaha but since hindi ko naman binitawan yung love ko for the art, hindi naman nawala ‘yung skills ko. It took me months bago makabalik ulit sa dati, and now na sunod-sunod at minsan sabay-sabay pa ang prods na nasasalihan ko, nalagpasan ko pa ‘yung goal ko. Of course, I still have so many things to learn but I can say that I’ve grown a lot. A few nights ago, I watched clips of my very first play back in February 2013. The fact that I cringed the whole time made me realize na, “okay, sobrang laki na nga ng ipinagbago ng acting ko and my techniques.” Pati yung pagtingin ko sa craft, sobrang laki rin ng pinagkaiba kasi I used to look at theatre acting as mere performing after memorizing the script. That was the 12 year old me [laughs].

 QUESTION: Ano ilu-look forward namin sa dulang "1979"?

JANINA: You’ll have a glimpse of how it was for families back then. What did safety mean during that time? Or was there even safety? You’ll realize how difficult it was for little kids to process the events that were happening around them. You’ll see how Martial Law had stolen the innocence and childhood of so many children.

 QUESTION: HULI, mayron ka bang gustong ipromote na susunod niyong proyekto kung saan makikita ka namin ulit?

JANINA: On going ang “Segunda, Sa Bisperas ng Kalayaan” sa official Facebook page Lipa Actors Company. Mapapanood ninyo ako doon na gumanap bilang Donya Trining. Hinati-hati ang original play, kaya paisa-isang episodes ang mapapanood. You can still watch all episodes na natapos na ma-livestream! Nandun lang sya sa Facebook page.

Excited ako sa mas marami pang projects next year! I’m really hoping na hindi na sobrang tagal bago tayo makabalik sa actual stage. But for now, let us support the online productions na talagang pinaghihirapan at lubos na pinagpaplanuhan ng mga taga-teatro. Hindi mamamatay ang sining!

 Lipa Actors Company:

https://www.facebook.com/LipaActorsCompany

 Special thanks to Janina Mendoza for the interview!

Catch her in “Isang Gabi, Noong 1979” showing this December 18, 2020

Person in photo: Janina Mendoza

Blog by Carmel Ilustrisimo

[exgorevfortheater]

An Interview with E-NTABLADO About Their Transition into ENTABLADO UPD

As pandemic surprisingly existed in the Philippines, art students did not allow this to hinder their skills and capabilities in the field of theatre. They used all the available resources to continue share their crafts and talents to the world. One of the best student story tellers in the country is E-ntablado. E-ntablado was a student-led theatrical production that has a purpose to keep the spirit of theatre alive, even during the pandemic. It is an organization that aims to provide supplementary theatre education and theatre experience via student-led theatre productions for student practitioners. E-ntablado 1 was a series of online script readings read and performed by the students at College of Arts and Letters in UP Diliman. This idea was brought into life during the early months of the pandemic as an initiative to continue practicing theatre in an online setting. E-ntablado 2, however aimed to be more collaborative than the previous installment. Different students from various schools across the country were given the opportunity to send their scripts, act, and utilize the online platform to amplify their advocacies.

Theatre shifted its medium to online to be able to continue its storytelling that can be accessed anywhere in the world. With online performances and masterclasses throughout the lockdown, Open House was able to raise 1.3 million from donations and were able to extend cash assistance to 650 displaced workers. There are other theatre companies and student organizations that have decided to hold theatre performances online. These are KALikha, Alay Sining, Quaranteatro, VLF, Relive Your Passion PH, and Lipa Actors Company.

Being in a pandemic and organizing a theatre presentation are difficult tasks at first but with dedication and passion, people behind this organization made online theatre possible. Pia Ysobel Cruz and Camilo De Guzman, both artistic directors of UP E-ntablado expressed their thoughts and learnings from this new theatre setup. “We realized that our goals for ENTABLADO were not limited to a certain project, but to a long-term initiative. Providing an opportunity for students to learn about theatre as well as partake in productions that were not limited even to just KALikha where the projects were held, rather had to become open to all, which is why ENTABLADO UPD came to be,” stated by Camilo wherein he stressed that E-ntablado shapes individuals to become more passionate doing theatre productions even amidst the crisis we are all facing. It is an opportunity for all to become the better version of themselves even if the setup has been shifted to online. Pia shared that “With these in mind, we recognized that what the UP-theatre community lacked was a theatre organization that was purely student based. While we do have theatre organizations in UP, we do not have one that offers opportunities to the students to stage plays outside the academics of the BATA and AAT program. This led to us creating ENTABLADO UPD. Aside from staging productions, ENTABLADO UPD also features an educational wing where we invite guest speakers for workshops and talks. It gives a good balance of not only studying theatre, but also experiencing it.” E-ntablado really allows everyone, no matter what their school, gender, or beliefs are in showcasing their talents in theatre. This gives everybody the chance to learn more and be more passionate in cultivating the arts here in the country.

Pia also gave advice to aspiring theater artists who are trying to learn theatre even in the pandemic which will ignite the flame of many artists. “Honestly, just keep creating and learning! Many, if not all artists are in a very emotionally stripping season right now, and I have seen many beautiful works being produced because of it. Online theatre is something that is yet to be explored, and the only way to move forward with it is if we continue to create works and experiment with what is given to us. That being said, I do not want to claim E-ntablado as a blueprint for an online production, as I think that it has only scratched the surface of what online theatre can be. So just keep creating and taking all the opportunities,” Pia said. She emphasized that when it comes to learning, one must not be afraid to take risks and continue making their crafts because even in the pandemic, their skills and talents will be showcased. “Just try it. Do not be afraid to make mistakes. Theatre is going through a whole revolution as to what theatre is and could be. Just try to create something, try to act, perform, manage, produce, whatever. The definition of theatre is up to you to create,” stated by Camilo. He said that in theatre, one is limitless, he/she can explore and make new things that will leave the audience astounded.

“As more and more people ask us when the next festival would be, that’s when it hit me: theatre will ALWAYS reshape itself in order to appease the needs of the people. If you take a look at the Filipino theatre in a historical context, there has always been a play or a drama that addressed a certain need of that society at the time,” Pia stated as well. E-ntablado allows certain issues to be addressed wherein most Filipino people are unaware of. In that case, many problems will be given solution with the use of theatre to inform its audience. As per Camilo, he said that “I do not think it was inevitable for E-NTABLADO to become an organization, but I do believe it was inevitable for a student theatre organization focused on education and production making to be created. So, it was necessary now more than ever that we gave theatre students a place to learn on their own through talks and student-led productions.” E-ntablado was made to allow students to be more knowledgeable and aware in different theatrical aspects as well as the issues the society is current facing. This allows everyone to open their eyes on the reality while gaining knowledge as well.

They both said that something interesting is coming in the next E-ntablado event. Everything the mind can imagine might be a reality. Both of them realized something from having online theatre during the pandemic. Pia said that “Honestly, it is still changing me. Things that I thought I knew about theatre have been broken down and built-up time and time again, and as much as I hate the change, it’s something that I need. Theatre is not just a performance, or a rehearsed piece, to be presented to an audience, because there is so much more to it. A lot of the plays we produced had something to say. They spoke for people whose voices are drowned out. They pull back the secret wounds of the ugly things in this world, so that we may have a good look at them. And yes, it is painful, but it also heals us. And isn’t healing the one thing we all need?” It is really an eye opener to Pia, she realized that online theater is not just having recognition from people but exposing the truth that surely will set everyone free from lies the society told us. For Camilo, he said that “I think it made me realize how beautiful theatre truly is and it has made me have a deeper understanding for theatre. I realized that I would not want to trade the tiredness and stress of live productions for anything. Sorry to say this, but live theatre is still a different experience and what we do online will obviously never be the same. However, that does not mean we give up on creating theatre in every medium possible. It’s a new theatre experience, it is new, it is never going to be the same, but obviously just as valid,” wherein he gave emphasis that online theatre is a new thing, but it is still as important as the live theater. All the people behind it are still as dedicated and as passionate even the pandemic. All their sacrifices, and tiredness from this production are all worth it because they have fulfilled their purpose.

Online theater is a new way of showcasing students’ talents, skills, and capabilities. No matter how difficult the arts on the online setup, these people pour their hearts out just to convey the message they wanted everyone to know. After all, the pandemic will never be a hindrance to theater production. Students will never stop telling stories.

 If you would like to donate to the Typhoon Ulysses Hotline Volunteers, please do so here:

 BDO: 000160790859

RYAN VINCENT ANCAJAS

 BPI: 8219 1471 48

ANDREA JOY B. BERNABE

 GCASH: 09213210874

RYAN VINCENT ANCAJAS

 PAYPAL: paypal.me/gailprs

GAIL ANNE ULRICE PARAS

Blog by Nicole Bernadette Ante

Special thanks to Camilo De Guzman and Pia Ysobel Cruz for the interview!

Persons in the photo: Camilo De Guzman, Pia Ysobel Cruz

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An Interview With CJ Correa for the Next Quaranteatro Production

Red-tagging is a buzzword nowadays for all the wrong reasons. And one of the reasons involves mothers. A case that stands out (again, for all the wrong reasons) is political activist’s Reina Mae Casino’s case. She was arrested on false charges and her daughter River died on the 9th of October 2020 of pneumonia, an all-too-preventable death had Reina been released from prison and given the chance to raise her barely three-month-old baby. Now, similar cases of redtagging involving mothers, babies, children, and families are coming to surface because of this tragic and infuriating incident.

The timing for the virtual staging of “Isang Gabi, Noong 1979” couldn’t be even more perfect. When I interviewed actor CJ Correa, he made a gripping synopsis without spoiling anything: “tungkol [ang dula] sa isang mag-ina kung saan aktibista yung nanay. Medyo kailangan maging maingat silang dalawa dahil sa bawat paglabas nila ng bahay hindi nila alam kung anong mangyayari sa kanila.” CJ Correa plays Arnel, the young son of Janina Mendoza’s character, an activist in the Martial Law era.

Coming into the production, CJ Correa had a lot of positive expectations. “Na magiging magandang produksyon ito, at marami akong matututunan.” He was also excited about working with director Buch Dacanay. “Naging fan ako niya noong VLF,” he said. “Alam kong lalawak yung kaalaman ko sa teatro sa ilalim ng direksyon niya.”

However, the virtual rehearsals proved to be challenging and even exhausting at times. “Hindi biro sa lahat yung pandemiya,” he mentioned insightfully. He talked about how he had to juggle school and work. “Gusto ko makapagtapos ngunit napapagod ako. Pero pag humihiga ako, na-guiguilty ako. Kaya nagsusulat na lang ako ng paper sa cellphone tapos kinokopya sa desktop para ma-format yung paper.”

Despite this, he holds on strongly to his faith in himself and his God. His advice to aspiring theatre artists in this pandemic:

“Trust yourself. Trust the process. Trust the plan of God.

Walang ibang magtitiwala/maniniwala sa iyo. Kung kaya mo ito, gawin mo, as long as wala kang inaapakan.

Hindi madali ang proseso. Trust everyone around you and their advice, saka titimbang kung anong sinasabi sa iyo.

Si God lang ang nakakaalam ng plano niya sa ‘yo. Si Lord pa rin ang gumagawa ng buhay niyo.”

When I asked him what he would say to those who are interested in watching this incredibly relevant virtual play, he replied, “Abangan niyo kung paano kami nina Janina Mendoza, kung paano kami naging sina Arnel at Marta, sa direksyon ni Buch Dacanay. Madami kayong matututunan, hindi lang aral, kundi kung paano mamuhay ang isang pamilyang iniipit ng mapanghusgang lipunan.”

CJ Correa is also part of the current StarHunt campaign of TVDG. Vote for him here: https://www.ktx.ph/events/26982/bida-star-ng-pasko-the-votes?fbclid=IwAR2r2g667bGE1FgqOc8n8XviFK9HLNHRuJziS7SvSZ4NcJYo6av6ES_6QKI

Blog by Carmel Ilustrisimo

Special thanks to CJ Correa for the interview!

Photo by CJ Correa

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Patuloy na Nagbabago ang Virtual Theater

Ang lumikha ng isang dulang birtwal ay hindi kasing dali ng kung isipin ng ibang tao. Maraming factors na kailangan mong isaalang-alang, lalo na sa panahon ng bagyo at peligro. Mga tanong na: Kung magre-rehearse ba o hinde, kung mayroong internet connection ba o wala.

Nakakaubos din ng pasensya ang mga taong walang konsiderasyon sa buhay-estyudante. Para bang nakalimutan nila na hindi pa tapos ang pandemya ng COVID.

Ang lumikha sa birtwal ay hindi mismong Madali sa dahilan na wala pang nakakagawa nito kaya wala pang patakaran, mahirap ito dahil kailangang patuloy siyang nage-evolve. Na ang mismong genre ng virtual theater ay nagpo-progreso. At kung gumagawa ka ng virtual theater play parte ka sa pagtalakay pa nito sa pagiging mas malaking bagay--sa pagiging mas mahalagang bagay.

Kaya sa darating na dulang handog ng Quaranteatro, ang bagong direktor na si Buch Dacanay ay susubukang gumamit ng bagong mga elementong pang-storytelling. Bale hindi na lang nag-iisang teatro ang uri at isasalpak sa screens ng ating selpon, gaya noong nagsisimula pa lang ang lockdown at online plays. Pero syempre hindi iyon kasalanan dahil nagsisimula pa lang.

Pero adapting is also evolving, habang tumatagal, ang virtual theater ay nagiging sarili na niyang genre.

Kung tuusin pareho lang ito sa pag-adapt ng teatro into Street Theater noong panahon ng Martial Law. Noong panahong yon pinagbawalan ang mga school organizations at kahit anong organization sa takot na paraan ito ng mga tao para magplano na pabagsakin ang mga Marcos. Kasama rin dito ang mga teatro, pero pinagbigyan ang mga komunidad nito dahil...anong masama ang magagawa ng mga estyudante ng teatro?

Doon sila nagkamali kasi dahil dito, ang mga orgs gaya ng UP Repertory ay isa sa mga unang nag-adapt sa pagtatanghal ng mga dula sa kalsada. At anong mga kwento nitong mga dula? Tungkol sa aktibismo at kawalan ng katarungan. Nag-teatro sila sa mga kalsada para  madali itong mapanood ng lahat ng tao, at para rin makakalat sila ng mabilis kung sakaling sila’y mahuli.

Bago at ibang uri ng birtwal na dula ang ipapakita sa darating na produksyon ng Quaranteatro. Sa direksyon ni Buch Dacanay at sulat muli ni Mikaela Regis (na nakatrabaho na nila sa isang nakaraang Quaranteatro project) kumuha sila ng bagong mga aktor na sina Janina Mendoza, isang Second Year B.A. student sa Theater Arts, UP Diliman at si CJ Correa, isa namang Second Year A.A.T. student ng Theater Arts sa UP Diliman.

Katabi ng direktor na sina Nina Montemayor bilang Director of Photography at ilang mga tao na taga-Quaranteatro at sa labas, binubuo nila ang isa na namang dula tungkol sa panahon ng Martial Law.

Subaybayan ang Quaranteatro sa darating nilang produksyon bago matapos ang taong 2020.

Mga salita ni Buch Dacanay

I-Like ang Facebook page ng Quaranteatro para maging updated. https://www.facebook.com/quaranteatro

Sa ritrato: (Clockwise) Janina Mendoza, Buch Dacanay, Johnny Maglinao, CJ Correa.

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[exgorevfortheater]

Tungkol sa PAGMULAT, Isang Onlayn na Theater Festival

Hindi talaga naging hadlang ang pandemya upang ang mga mag-aaral at ibang mga indibidwal upang ipahayag ang kanilang saloobin at mga hinaing patungkol sa iba't ibang isyu ng bayan kaya't naitatag ang Pagmulat. Ang Pagmulat ay isang theater festival na binubuo ng mga mag-aaral ng UP Diliman at iba pang mga indibidwal na mayroong pagmamahal sa sining at sa bansa natin. Kanilang tema ay umiikot sa mga kwento ng mga Pilipino sa panahon ng pandemya sa pamumuno ni Pangulong Rodrigo Duterte. Hindi lamang ito pagpapakita ng mga talento at angking galing kundi ito rin ay nagsilbing donation drive na tinatawag na Kusinang Diliman by Tulong Kabataan-UPD na naging tulay upang matulungan ang maraming mga tao sa kanilang mga pangangailangan sa araw-araw.

Karamihan sa bumubuo ng produksyon ay bago sa kanilang mga tungkulin at responsibilidad kaya nahirapan ang bawat isa sa pagtapos ng mga gawain ngunit dahil sa pagtutulungan ay natapos at natupad ang lahat ng kanilang tungkulin. Isa ring problema ang makabagong setup kung saan ang lahat ng rehearsals, meetings, at mga presentasyon ay onlayn lamang. Maraming suliranin sa teknolohiya ngunit nagawan ito ng paraan at maganda ang naging mga resulta sa kabila ng lahat ng mga ito.

Naging hamon din sa mga production heads ang pagkonsidera sa bawat isa sapagkat ang pinakamahalaga pa rin ay ang kalusugan ng lahat kaya't inayos nilang mabuti ang schedules at mga prayoridad upang maging matagumpay ang produksyon. Kanila ring binigyang pansin ang mabubuting mga bagay sa produksyon imbes na sa mga pagkukulang at pagsubok na kanilang pinagdaanan. Dahil dito nabuo ang tiwala at pagtutulungan ng bawat isa.

Bagamat wala pang kasiguraduhan kung mauulit muli ang theater festival, hindi naman nila inaalis ang posibilidad na ito ay maulit muli sapagkat ito rin ay magandang plataporma sa mga bago sa mundo ng teatro at sa mga taong ninanais pagyabungin pa ang kanilang mga talento. Pansamantala munang ititigil ito upang magbigay pokus sa kanilang pag-aaral sapagkat nagsimula na ang kanilang mga klase. Parehas pa rin naman ang objective, mission, at vision nito sa uulitin at ito rin ay magiging daan muli sa mga taong nangangailangan.

Pahayag ni Krista Bulaong, ang artistic director ng produksyon, "The best thing I learned from everyone who was part of Pagmulat is that no matter where we come from, the circumstances we have now and the tasks we have, it is really our act of giving great value to the work that makes us shine as artists." Iyon ang pinakamahalaga nyang natutuhan sa produksyon kung saan binigyang diin nya na kahit ano pa man ang nakaraan, kasalukuyan, at ang hinaharap ng mga bumubuo ng produksyon, ang totoong mahalaga ay ang pagbibigay importansya nila sa sining at ang pagbibigay ng kanilang puso sa kanilang mga gawa. Ito talaga ang nagbibigay ningning at gantimpala sa mga tao sa mundo ng teatro.

Patunay lamang sa produksyon na ito na walang makapipigil sa pagbibigay ng impormasyon, pagpapahayag ng saloobin, pagtutuwid sa baluktot, at pagpapahiwatig sa realidad ang mga indibidwal na tunay na nagmamahal sa bansa. Anomang oras, may pandemya man o wala, patuloy na gagamitin ang sining upang maitama ang mga mali at maipakita sa lahat na maraming mga isyu ang nangangailangan ng aksyon at maraming mga tao ang nanghihingi ng saklolo. Ang kailangan lamang ng lahat ay imulat ang mga mata at hayaang makinig ang mga tainga, sa ganitong pagkakataon, ang bansa ay maisasalba.

 MORE INFORMATION SA COMMENTS SECTION TUNGKOL SA DONATION DRIVE.

Ang Pagmulat ay isang online theater festival sa Alay Sining Facebook page (2020). https://www.facebook.com/AlaySining

Special thanks to Krista Bulaong for the short interview.

Blog by Nicole Bernadette Ante

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The Road to “Payag”

“Payag” was released online around 8:00 PM on the 21st of September. It was the anniversary of the declaration of Martial Law and the timing couldn’t have been better. The video was uploaded on Quaranteatro’s Facebook page after a series of display photo blasts and other announcements. It was a free virtual theatre production. The performance itself, which lasted eight minutes and thirteen seconds, was an artistic success, as cohesive and powerful and resonant as we hoped it would be.

“Payag” was directed by Lia de Jesus and features performances by Dulaang UP students, Marjeorie Peleño (a Performance Major), Fred Layno (who played ensemble in Nana Rosa's 2020 run), and Janna Cortes (understudy for the role "Dalang Rosa'' in the same production).  The music was directed by Mijon Tangye. The singers included Mariella Laurel, Christian Correa, Catherine Demonteverde, Den Fajardo, Jericco Lopez, Lynette Manay, and Rozen Tabaodaja. With Johnny Maglinao rapping and Moses Cauilan providing the eerie dictator-like voiceovers for the production.

It was not a breezy process. According to director Lia de Jesus, “[Things] actually didn't go as planned. It was another version of my vision. But in a good way.” She added that internet connection problems interfered with rehearsals and that they had to devise a new system of recording. Janna Cortes adds that she had to learn the choreo by herself so that during rehearsal time, she would only have to polish her performance and receive notes. Cortes says that space was also an issue because they had to make do with the small areas they could move around. And then there was the fact that most performers and production members were students, which made time management a challenge.

Directing the sound was also a challenge. This production, after all, was a reimagined version of Gloc 9’s “Payag,” made to suit the current political climate. It took Mijon Tangye, the music director, a lot of hard work and patience listening to get the sound right. She would listen to the original song twenty times a day. That was how she realized that the laid-back nature of the song, though beautiful, wouldn’t fit the overall theme of the performance.

“I wanted it [the song] to feel urgent,” says Tangye. “I wanted people to think about what it is we are allowing ourselves to happen. ‘BAKIT PUMAPAYAG TAYO?’ Especially in the climax, with all the ad-libbing and echoing of ‘Bakit pumapayag ako,’ and how it is being reiterated so many times, I wanted people to act upon this question.”

In the end, everything was worth it. There were over a thousand views and the feedback was overwhelmingly positive. “It really warms my heart because all the hard work we put in is received in a good light,” says de Jesus. Tangye is also thankful for the audience reaction to the hard work of everyone in the team.  “I can't wait to make more projects to further educate and inspire other aspiring enthusiasts within the realm of arts!” she says.

 WATCH “PAYAG” a rendition of Gloc-9’s original by Quaranteatro, here: https://www.facebook.com/watch/?v=3234237066690232&extid=IkRwnbFDfq1u2Edc

Directed by Lia de Jesus

Music Direction by Mijon Tangye

Video Editing by Nina Montemayor

 Person in photo: Mijon Tangye

Blog by Carmel Ilustrisimo

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Interview With an Up and Coming Virtual Stage Director

Quaranteatro has been passionate ever since the pandemic. They never allowed the virus to trample their talents and skills onstage and offstage but rather they took the challenge in a whole new level by making use of what is available during this quarantine period. They made use of technology, internet connection, and different gadgets to still produce and create crafts even when it is difficult and tiresome in the first place. They never bothered to stop but they opt to continue even with a blurry vision and an uncertain future.

                To start off the organization, the people who are in position called for volunteers who are willingly available and use their talents and skills to complete an online theater project. After choosing the volunteers, they assigned them to the different teams, got to know each other and had a few meetings in order to organize stuff and schedules for submissions about certain tasks. It was challenging but they knew that after all of these, it will be worth it.

                The organization chose Ms. Lia de Jesus to direct the project for they know that she is capable and knowledgeable about theater. She took it and grabbed the chance to enhance her skills and lead the project in her own hands. She stated that, “The moment that I listened to the song, I had a story in my head right away. Something I wanted to share.” She clearly states that the song opt to be used in the project sparks an idea in her mind that may inspire and give awareness to the audience. She figured out the story that is worth telling.

                For its rehearsals, it was a new setting wherein they are able to communicate and perform virtually. It is challenging but it enables them to collaborate well and attain their goals. She also added that, “The process of our rehearsals was honestly experimental. Having rehearsals through a video call is very hard. You do not get the same energy because you are not exactly rehearsing in one room together. So, it was interesting and challenging, tweaking the usual rehearsal process. Also, we had to improvise for the recording, because internet is unstable, we had to change direction on how we were supposed to record. So, the process is experimental to everyone but fun.” She honestly said that having online rehearsals are difficult because many encounter different problems such as poor internet connection, lack of tools, and gadgets to pull off the tasks but due to everyone’s persistence, discipline, and willingness to share their talents and skills, they are able to pull it off.

                She also emphasized this in order for this project to be in completion, “We make sure everything is clear, mostly to the performers. And truthfully, I sometimes take other people’s opinions or suggestions but of course I make sure it is in line with the vision. Theater is collaborative after all.” She stated that communication plays a major role on all the people behind the project for it gives clarity and avoids misunderstanding and confusion. She is also versatile and allowed herself to be open to new ideas that may lead to improvement and betterment of the project.

                In the end, she realized that “There are things that would not go our way and that is okay, as long as you adapt right away and as long as you admit your fault and find ways to fix it. You cannot wait for someone to fix it for you.” Simply saying that change is inevitable, all we have to do is cope with it and adapt to these changes. It is also not a weakness to admit one’s faults or mistakes rather it is a strength that leads to growth and self-improvement. We cannot always depend on other people to save us that is why we have ourselves.

                In a nutshell, we cannot wait for what is in store for us. Quaranteatro is cooking up something behind the curtains and we cannot wait to show you what the surprise is! So, for now, let us keep safe, relax, and look forward to the greatly prepared and mostly awaited Quaranteatro project. People from different walks of life exerted major efforts and pour their hearts out just to make this a successful one. They are hoping that you will get something out of it, gain inspiration, and realize the untold truth.

Lia de Jesus is an AB Theater Arts Major 

Person in photo: Lia de Jesus

Blog by Nicole Bernadette Ante

[exgorevfortheater]

TUNGKOL SA "SILANG WALANG TAHANAN"

Ito ang mga panahong talaga namang sinusubok ang ating pagkatao. Maraming mga kumportableng naninirahan sa kanilang mga tahanan ang nagulantang sa mga kaganapan. Tumagal na sa kalahating taon ang lockdown at ang mga tao ay walang kapahingahan, galit, at sobra sobra na ang pagkadismaya. Nananatili sa kanilang mga tahanan ang mga masswerteng tao, nanunuod nang may pagpupuyos at impit na galit sa mga kapulisang karumal-dumal ang mga gawain. Nararapat dumepende ang mga frontliners sa pondo ng gobyerno at mga pribadong donasyon at ang mga kapulisan naman ay may ekstrang pondo rin at karagdagang kapangyarihan. Pinakanaghihirap sa lahat ay ang walang kapangyarihan.

"Silang Walang Tahanan" ay kwento nila Jun Reyes at ang batang babaeng kanyang inampon na si Nana. Sila ay walang tirahan, tinratong parang isang dumi ng lipunan, at ang kanilang pagmamahal ang proteksyon nila sa isa't isa.  Si Jun ay dumanas ng matinding kahirapan at mga kabigatan.  Sa likod nya ay gupit-gupit na mga papel, scraps, magasin, dyaryo, at basura. Patunay na nakatira sya sa kahirapan. Nabibilang siya sa mga marginalized sectors, mga taong hindi nabigyan ng mukha at pangalan, mga taong hindi binibigyang pansin ng lipunan. Sumasaya lamang ang usapan kapag napagusapan si Nana.

Ngunit biglang nagbago ang lahat sa trahedyang kanilang sinapit sa dulo. Kakaibang mga tunog ang iyong maririnig, nakabubulag na ilaw ang iyong masisilayan, nakabibinging katahimikan, at kadiliman ang masasaksihan sa pagitan ng nagaalab na emosyon at kakilakilabot na pagsasalaysay. Imposibleng hindi masaktan ang mga manunuod sapagkat iyo ring mapagtatanto ang pagkibit balikat ng gobyerno noong una pa lang. Kasalukuyang nagdurusa ang mga mahihirap, bata man o matanda, tila ba hindi dinig ang kanilang mga iyak at saklolo.

Ang dulang ito ay paghingi ng tulong. Mananatili ang dulang ito sa ating mga puso at usapan, pinapaalala sa atin ang sangkatauhan at ang mga naaapi.

PWEDE PANG MAPANOOD ANG:"Silang Walang Tahanan" ng PAGMULAT sa https://www.facebook.com/AlaySining/

Direksyon ni Kiko De Paz

Panulat ni Sher-Anne Rediang

Aktor sa ritrato: Robert Joshua San Luis

Blog by Carmel Ilustrisimo and Nicole Bernadette Ante #EXGOREV #Quaranteatro #SilangWalangTahanan2020

[exgorevfortheater]

Tungkol sa Virtual Theatre Ngayong 2020

Ano ang “Virtual Theatre?”

Ang Virtual Theatre or Digital Theatre ay isang uri ng produksiyong panteatriko kung saan ginagamit ang internet at iba pang angkop na teknolohiya. Lokasyon ang pinakamalaking pagkakaiba nito sa tradisyonal na teatro, kung saan karaniwang isinasagawa ang produksyon sa entablado. Sa virtual theatre, maaring sa sa loob ng isang silid nakikipagsalimuha ang mga aktor. Maari ding iba’t ibang espasyo ang sinasakop ng mga nasa produksyon ngunit isang screen lang sila nakikita.

       2.

Paano ito nagsimula?

Nagsimula ang virtual theater nang dumating ang di inaasahang pandemya sa bansang Pilipinas kung saan ipinagbabawal muna ang pagkakaroon ng malakihang pagtitipon at mga programa upang di makakuha ng nakamamatay na virus. Gumagamit ng ibat ibang gadgets upang makapagtipon-tipon onlayn ang mga bumubuo sa teatro. Bagamat nakakapanibago ang mga platapormang ginamit, hindi pa rin mawawala ang nagaapoy na kagustuhan ng mga taong nakapaloob dito na ipahayag ang kanilang saloobin at ipakita ang kanilang angking mga talento. May pandemya man o wala, walang makapipigil sa pagusbong pa ng sining sa larangan ng teatro.

      3.

Ano ang pinagkaiba nito sa tradisyunal na produksyon?

            Malaki talaga ang pinagkaiba nito sa tradisyonal na produksyon sapagkat ang pagpapalabas ng mga plays ay onlayn na lamang. Maraming mga platapormang maaaring gamitin at maiaaccess lamang ito sa pagkakaroong ng internet. Dito, mas maraming manunuod ang maaaring makapanuod at matunghayan ang iba't ibang arte mula sa mahuhusay na mga taong binubuo nito. Hindi man entablado ang ginagamit nito, ang onlayn world naman ang makikinabang dito. Nakapapanibago man sa una, ngunit ang ganda at mga aral mula rito ay patuloy na naipakikita.

      4.

Para saan ang Virtual Theatre?

Lalo na sa panahon ngayon, kailangan sumang-ayon ang teatro sa mga pangangailangan ng karamihan. Kahit ano pa man gawin natin, hindi na tayo maaring bumalik sa uri ng buhay na alam natin bago nagkaroon ng pandemiya. Hindi lamang nakakatulong ang Virtual Theatre sa mga theatre practicioners (mga aktor, set designer, mananahi, manunulat, at iba pa), ipinapakita rin nila sa pamamagitan ng teknolohiya na nagkakaisa sila sa buong mundo sa pagharap sa suliranin ng kasalukuyan. Nakakatulong ang Virtual Theatre sa pag-iwas ng pagkalat ng virus, at nagbibigay rin ito ng impormasyon, diskurso, at kaligayahan sa mga manonood.

(Ang imahe ay galing sa dulang "MULTIVERSE" ni Julienne Mendoza, sa direksyon ni FItz Bitaña na ipinalabas nang virtual sa Virgin Labfest 2020: KAPIT)

[exgorevfortheater]

Ano ang Halayhay?

Sa gitna ng pandemya, walang katiyakan ang katapusan. Sa gitna ng mga problema na tila wala nang kakayahang solusyonan. Ngunit sa gitna ng kaguluhan, mayroong magbibigay linaw. Dugtong dugtong ang henerasyon sa bansang Pilipinas, mula noon, kasalukuyan, at sa darating na kinabukasan, at masasasaksihan pa rin ang pagkakatugma at hindi pagkakatugma ng mga bagay; makikita pa rin ang mga pangyayaring tila ba paulit-ulit na lamang ngunit hindi nabibigyan ng pansin at solusyon. 

Halayhay (Cebuano) – “aligning”, synonym: “parallel”

verb

: Upang isang-ayon o itugma ang isang bagay sa iba pa.

adjective

: Magkatulad at madalas na nangyayari nang sabay.

Ang Halayhay ang kumakatawan sa kauna-unahang theatre season ng Quaranteatro, isang organisasyon na nabuo sa ilalim ng quarantine na dulot ng kasalukuyang pandemya. Itinayo ang organisasyon na ito kasama ang pakay na magbigay ng ibang daan upang mapagpatuloy ang sining (lalo na ang performing arts) kahit sa virtual world. Bukod dito, isa sa mga misyon nila ay makapagbigay ng oportunidad sa bawat Pilipino na matuto tungkol sa teatro sa konteksto ng panteatrong Pilipino, at magamit ang performing arts upang magbigay liwanag tungkol sa mga adbokasiya at mga mensaheng makabuluhan sa lipunan ngayon. 

Ang salitang Halayhay ang nagrereprenta sa mga “parallelism” o pagkakahanay ng mga pangyayari sa mga Pilipino at sa kanilang bansa, sa konteksto ng kasaysayan, kultura, o kahit sa pangaraw-araw na buhay. Ang ideya para dito ay nanggaling mula sa nakikitang mga sitwasyon sa kasalukuyan na tila nauulit  lamang mula sa nakalipas na nakaraan. 

Halayhay, ang magbibigay linaw at magbibigay tugma sa kaguluhang matagal ng tinitiis ng lipunan. Walang pagkukumparang magaganap sapagkat bibigyang diin natin ang mga kaganapan sa kasalukuyan, ang mabuti at masama, ang maganda at kasuklam-suklam, ang katotohanan at kasinungalingan. Bibigyang buhay ng teatro gamit ang makabagong teknolohiya ang mga bagay na ito upang mamulat ang mga matang nagbubulag-bulagan, buksan ang mga taingang nagbibingi-bingihan, at buhayin ang kaluluwang unti-unting nawawalan na ng laban. Sa pamamagitan ng daan na mayroon tayo ngayon, ang sining ang maglalakas ng boses sa mga taong kinuhanan ng paraan upang maiparating ang kanilang mga mensahe. 

Inihahandog ng Quaranteatro ang mga produksyong hindi lamang magbibigay boses sa mga karanasan ng iba't ibang sektor ng lipunan kundi susuriin din ang mga sistemang nagpapairal nito. Hindi lamang diskurso ang hinahangad namin, ngunit isang malalim na pagsusuri at pagkakakilala sa lahat ng mga tao at bagay na kasapi sa paghahanap ng hustisya at kaunlaran mula sa nakaraan, kasalukuyan, at kung maaari, ang kinabukasan. Sa mga susunod na linggo ay darating ang kaabang-abang na unang proyekto sa ilalim ng Halayhay. Halina't sumabay sa pagtuklas ng panibagong pananaw sa nakaraan sa pamamagitan ng teatro.

[exgorevfortheater]

Tungkol sa “Happy Days” ng Dulaang Laboratoryo

Praise for UP Dulaang Laboratoryo's Happy Days by Samuel Beckett, with Kathleen Mack, Gabo Tolentino, Jen Darlene Torres, and Moira Chesca Ostrea!!

Mabuhay! Sa pagtapos ng Pirik Theater Festival (2019). Binuhay nila ang isang napaka-absurd na play ni Samuel Beckett na ang "Happy Days." Hatid sa inyo ng direktor na nagsagawa din ng isa pang Samuel Beckett play noong 2016 na itinanghal sa Dulaang Lab, ang “End Game.”

To have this play as an ending for a festival is absurd, funny, and greatly saddening. The great methapor of nearing the end of life, having lesser and lesser things to reach and do, while your friends and loved ones are dying and going away, until one day lalamunin na din tayong lahat ng lupa....

By Act 2 I was depressed, terrified, and I understood the boredom of Wendy that is their representation of a life and nearing its finish...and then we see the people we love again. Huhu. Ang sad. Pero ang beautiful. Haayyyyyyyyy(x1000)

I don't think maraming nakapag-review nitong dulang ito so ibubuhos ko na lahat ng pagmamahal. :)

Congratulations sa cast and artistic team of Happy Days! It must be thrilling to give life to the famous Winnie with her umbrella. Kathleen Mack's (thesis) performance as the lead-woman-half-buried-into-the-earth is ecstatic and brilliant! Sobrang bilib ako sa pagdala niya sa play without getting the audience bored. As well as Moira Chesca Ostrea's beautiful set design (thesis) of yummy cotton candy-like earth and Van Gogh-like mural painting on the walls! Nakakaaliw tignan. Congrats!

Syempre wala din ang ladies na nagsagawa ng dulang ito kung wala ang direktor nilang si Gabo Tolentino! Na isang Samuel Beckett enthusiast din according sa kanilang program Hahaha. They’re lucky to have gotten him as the director. Isang dream ang magtanghal ng dula ni Samuel Beckett, at yon ay masasabi kong kinaiinggitan ng madami! At sinubang hindi?

Kaya hindi ko maiiwanang hindi mapuri ang napakahusay na direksyon at pagtanghal ng Happy Days (2019), nina Gabo Tolentino at lahat ng nagte-thesis at tumulong. :)

How absurd.

Gising na! Gising! #HappyDaysSamuelBeckett #HappyDays #UPDulaangLaboratoryo #Pirik

[exgorevfortheater]

Tungkol sa “Makinal”

Dulaang Laboratoryo's "Makinal".

I can't ever imagine myself working for corporate at a desk i don't like, with office mates i don't like, and i job that i only do to serve as breadwinner for my family. Sophie Treadwell pictured the insanity of it and created a classic that showed the dehumanization of people living in a city of corporate leaders.

Sobrang ang sarap sa kalooban panoorin ang "Makinal" ng Dulaang Laboratoryo 2019. Well done!! Masarap siya panoorin in a way na hindi siya nakakaligaya or heartfelt siya, kundi sampal siya sa mukha ng realidad. Oo.

Sobrang mangha ko talaga nang pagdating sa dulo ng dula, na nanood ako ulit. At ulit. At ulit. At ulit, hanggang napanood ko ang "Makinal" nang apat na beses, (Pakiramdam ko ay ako na din ay naging machine hehe.) at manghang-mangha ako every time.

‌Gusto ko lang pasalamatan at i-acknowledge ang mga nagbuo ng produksyong ito ngayong taon, na sina Nour Hooshmand (Sa Direksyon) Eljay Castro Deldoc (Sa Filipino Translation) at marami-rami pa, dahil alam na alam ko na pinaaandar itong dula ng buong cast, Artistic Team, at Staff na trinabaho ito. :)) Salamat talaga sa magandang pagtatanghal!

Sa apat na beses kong pinanood ang dula ay naririnig ko na (in a sense,) yung paggalaw at tunog ng mga gears. At ramdam na ramdam ko yung passion ng cast, at brilliance ng direksyon. Napakahusay talaga, na gusto ko maintindihan niyo kung bakit ko siya pinanood ng apat na beses. :)))

I didn't really know what to expect as this was a thesis production by theater students. I regret to say i didn't know what they were capable of, and have underestimated them... But at the same time i am happy to say that, because–EXACTLY, i didn't know what they were capable of! Grabe ang werpa nila! Ang amazing, and nobody ever deserves to be underestimated.

Sabi na sabi ko talaga, sana ay i-rerun nila ulit ito, at kahit ako'y magwalis lang ng stage o mag-usher lang man ng mga manonood, i would be very glad, just to be part of a production like this. :)))

WALASTIK ISPRIKITIK!!

Based on Sophie Treadwell's "Machinal": "Makinal" Sa direksyon ni Nour Hooshmand Salin sa Filipino ni Eljay Castro Deldoc Congrats everyone! Great show! #Makinal #DulaangLaboratoryo #DulaangLabPirik #Pirik

[exgorevfortheater]

Tungkol sa “Desaparesidos” 2018

Mahusay para saakin ang pag stage ni Guelan Luarca sa Desaparesidos, dahil nanibago ako sa way na pagtanghal niya sa istorya. Yung lapit namin sa mga aktor, yung pagiba-iba ng anyo nila, ay nakakapanibago saakin na hindi ko maiwasang pumalak-pak. At hindi ko mabe-blame yung audience para pumalakpak ng end of Act 1, kahit technically End of Act 1 lang yon. Kasi magugulat ka talaga (at ako, maninibago) sa mga makikita mong paraan na pagtanghal ni Guelan sa Desa.

Masasabi ko palaging hindi ako fair kasi this sort of story is unheard of (*nag-work ako for Dekada '70) pero i only feel jealous and "missing out" of the new audience, as Desa. captures the essence realism of the Martial Law years entirely in one 2-act play!

I especially enjoyed Act 2 even though the first time i thought about it, na-weird ako. Pero na-realize ko yung fascination of it. How the story goes even beyond the Martial Law years. Telling the story about how it affects the next generation of kids, and the sufferings that still occur with the occuring generation.

Meron pa nga kong masilip sa audience na sa sobrang hanga niya ay nakadrop na lang yung jaw niya with eyes wide open, sa entirety of the play, up until the Malaya end scene where i can only guess she gasped.

Sobrang maninibago ka kapag dati ka nang theater enthusiast at mapanood mo ang ginawa ni Guelan Luarca para sa Desaparesidos. Gusto kong gantimpalahan lahat ng nagtanghal doon. At sobrang pasasalamat for giving it an opportunity to be staged again for younger audiences to experience.

We will never forget.