Philippine Normal University's Speech and Theater Arts Guild in Education's twinbill production Aug 4-5, 2011

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Announcement from Philippine Normal University's Speech and Theater Arts Guild in Education

PNU S.T.A.G.E.
presents
a twin bill production

Estrella Alfon's "FOREVER WITCHES"
and
Luis Gatmaitan's "SANDOSENANG SAPATOS"

Directed by Gia Marie Ensima and Guadalupe Bejer.
Aug. 4 and 5, 2011  10 am, 1pm , 4 pm
Philippine Normal University A.V. Theater
P15 for PNUans
P30 for non-PNUans


Forever Witches
“Having what one wants can be so deadly!” exclaims the very impulsive young girl named Marrise when her two equally beautiful spinster aunts Lourdes and Andiya teaches her witchcraft just to make Julius fall in love with her.

Sandosenang Sapatos
Sapatero ang tatay ni Karina at tuwing may okasyon ay ginagawan siya ng tatay ng bagong sapatos. Habang pinagbubuntis ng nanay ni Karina ang bunso nilang si Susie pinangarap ng tatay nila na maging isang balerina siya, ngunit sa kasamaang palad ay pinanganak si Susie ng walang paa. Dahil sa kagustuhan ni Karina na maging masaya ang kanilang pamilya ay siya na lang ang nag-aral ng ballet, ngunit kahit ano gawin niya hindi bagay sa kanya ang pag-ba-ballet.

Contact 0916-228-5558.


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Music Theater Foundation's "Applause, a musical retrospect" Aug 4-5, 2011

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Announcement from Music Theater Foundation of the Philippines

Music Theater Foundation of the Philippines
in cooperation with University of the Philippines College of Music
presents
Applause, a musical retrospect
Excerpts from the lyrics/libretti of Fides Cuyugan-Asensio

August 4 at 3:00 PM and August 5, 2011 at 7:00 PM
Abelardo Hall, University of the Philippines College of Music
University of the Philippines Diliman Campus, Quezon City

Directors: Behn Cervantes, Alex Cortez, Nazer Salcedo, Henry Tejero, Noel Cabazor, Tony Mabesa and Alegria Ferrer.

“Amy” (work in progress);
“Larawan at Kababaihan: Mukha at Maskara” music by Dr. Lucrecia Kasilag;
“Mayo-Bisperas ng Liwanag” (inspired from Mayday Eve of Nick Joaquin) music by Rey Paguio;
“Spoliarium- an opera on the life of Juan Luna” music by Ryan Cayabyab;
“Why Flowers Bloom in May” music by   Dr. Lucrecia Kasilag;
“Song of Joseph - a musical on the life, love and death of St. Joseph” music by Raymond Roldan;
“La Loba Negra” music by Francisco Feliciano

This production is Cuyugan-Asensio's "gesture of thanking the artists, supporters and friends who have been supporting her through the years."
  
Fides Cuyugan Asensio was born on August 1, 1939 in Lucena, Quezon. After graduating from Philippine Women’s University's College of Music and Arts, where she studied with Dean Felicing Tirona, she became the first Filipina to receive a scholarship and to study at the Curtis Institute of Music in Philadelphia. 

In 1954 she married Manuel D. Asensio, Jr. and returned to Manila. She made her professional opera debut as Adele in "Die Fledermaus" at the Far Eastern University Auditorium. Two years later, she sang the role of Sisa in the world premiere of Felipe De Leon's opera "Noli Me Tangere" (which will be restaged by Dulaang UP later this year) with the Manila Symphony Orchestra. From then on, she was recognized as the premier coloratura soprano of the country for three decades.

In 1986, Fides Asensio formed "The Music Theater Foundation of the Philippines," a non-profit organization dedicated to promote, stage, and give scholarships to young classical performers. Two years later, in 1988, she was appointed Chairman of Voice and Music Theater Department at the U.P. College of Music, a position she held until she retired in 1997. She was later given the title of Professor Emeritus by the U.P. Board of Regents. 

"We look forward to your patronage and generosity to make this show possible to enable us to continue our ongoing scholarship program/s to students and scholars in the field of arts, music and music theatre," she says. "Your valued and continuous support has always revitalized the cultural tradition of the Philippine theatre and has promoted the cultural heritage of the Filipino people."

Contact 412-1575, 929-6963, 0919-657-7961, or mtfp_jr@yahoo.com.

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Deadline of voting of PETA's "Create a Shakespeare Icon Contest" July 30, 2011

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Announcement from Philippine Educational Theater Association

Voting for "Hu Art Daw? Create a Rockin' Shakespeare Icon Contest"
will close on July 30, 2011 6:00 P.M.

(Voting is done via clicking "Like")
LIKE YOUR FAVORITE SHAKESPEARE ICON NOW!

http://www.facebook.com/media/set/?set=a.10150254407282088.341463.723562087

The winning artwork will become the official icon of PETA’s Shakespeare Season and shall appear in PETA’s posters,flyers, merchandise and other collaterals.

The winner will be given: Php 5,000 plus (20) complimentary tickets for PETA’s William and Haring Lear as well as complimentary playbills for both productions.


Criteria for Judging
30% Popularity measured via Facebook Likes
30% Creativity
40% Originality & Adherance to PETA’s hip, fun, young and modern theme


Winners will be notified by PETA via phone call and public announcement on PETA’s Facebook Page. Good luck to all!


For its 44th Theater Season, PETA produces modern, educational and entertaining plays and events that reintroduces Shakespeare and his works.

Help us demystify the Bard - make him less fearsome, easier to understand, and lovable for all. Create a modern icon that will capture PETA’s hip, fun, young and modern interpretation of Shakespeare that will appeal to the youth!

Winners will be announced on August 2, 2011
Winners will be notified by PETA via phone call and public announcement on PETA’s Facebook Page.

For details, contact petatheater@gmail.com.

What do you think of this contest? Share your comments.

Sipat Lawin Ensemble's "Haring Tubu-l" re-run July 29-30, 2011

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I wrote about Sipat Lawin Ensemble's "Haring Tubu-l" last year (2010) here.
And now there's going to be a re-run in July 2011.

Announcement from Sipat Lawin Ensemble

Sipat Lawin Ensemble
in cooperation with De La Salle College of St. Benilde's School of Design and Art's
Musuem of Contemporary Art and Design

presents

Haring Tubu-l
July 29 Fri 7pm
July 30 Sat 3pm and 7pm

Musuem of Contemporary Art and Design
De La Salle College of St. Benilde School of Design and Art Building
Pablo Ocampo St. (formerly Vito Cruz St.), Malate, Manila

Featuring: Acey Aguilar, Abner Delina, Sheenly Gener, Adrienne Vergara, Dorothy Marabut-Yrastorza

Direction: JK Anicoche
Music and sound design: Teresa Barrozo
Production design: Leeroy New and Eisa Jocson

Contact 0917-500-8753 or sipatlawin.ensemble@gmail.com

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Ateneo Blue Repertory's "Little Shop of Horrors" POSTPONED to Aug 10-27, 2011

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Announcement from Ateneo Blue Repertory
Ateneo Blue Repertory's "Little Shop of Horrors"
originally slated for a run from Jul 27-Aug 13, 2011
has POSTPONED its run to Aug. 10-27, 2011.

Details about the show here.
Contact 0917-890-8795.


What do you think about this production? Share your comments.

De La Salle College of St. Benilde's "Titus Andronicus" Aug 3-5, 2011

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De La Salle College of St. Benilde's School of Design and Arts'
Production Design and Technical Theater programs
present
William Shakespeare's
TITUS ANDRONICUS

Translated into Tagalog and directed by George de Jesus III
Production design: Production Design graduating class
Lighting design: Technical Theater graduating class

The direction for this production is based on the design thesis of the students. "In effect, I direct it based on how they visualize the play. Instead of the usual way when the director has a vision for a play and then the designers design based on that vision," says de Jesus III.  "For this production, their thesis is about 'decay,' so part of it is the fall of the Roman empire and the look is a decaying civilization."

August 3, 4, 5, 2011
1:00 and 7:00 PM
De La Salle College of St. Benilde School of Design and Arts Theater
5th floor, De La Salle College of St. Benilde School of Design and Arts Building
905 Pablo Ocampo St. (formerly Vito Cruz), Malate, Manila

Cast:
Joel Saracho as Titus Andronicus, a Roman general
Paolo O'Hara as Marcus, brother of Titus

Gwyn Salazar as Saturninus, son of the late emperor of Rome
Mike Estevez as Bassianus, brother of Saturninus, in love with Lavinia

Kalila Aguilos as Tamora, queen of the Goths
Joshua Deocareza as Aaron, lover of Tamora

Titus's children
Mara Marasigan as Lavinia
Christian Parado as Mutius
Rico del Rosario as Martius
GA Fallarme as Quintus
Russel Legaspi as Lucius

Tamora's sons
Dax Alejandro as Alarbus
Gab Santos as Chiron
Paul Jake Paule as Demetrius

Contact 09178387285 / 09155059439 / 09175020531 / 09163256772.

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Contemporary Dance Network Philippines' "Rites" July 23, 2011

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Announcement from Contemporary Dance Network Manila

"RITES"
Contemporary solo/duo works
and "the rites of spring" from the choreography classes
of Myra Beltran, Raul Alcoseba and Denisa Reyes

July 23, 2011 Saturday 8:00 pm
Dance Forum Studio
36-E West Ave., Quezon City
with the support of the National Commission for Culture and the Arts

Contact  373-2947 or 0917-526-9724.

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FREE ADMISSION Artisang Artlets's "Fin" July 20-22, 2011

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Announcement from Artisang Artlets


Artisang Artlets
the official theater guild of
the Faculty of Arts and Letters of the University of Santo Tomas
presents

"FIN"
a trilogy of one-act plays directed by Jem Ferrer

Alberto Florentino's "Palaver"
Inside the Heneral's office, he plans to make love. What he do not know is that his lover is not someone who he thinks she is. Love for pleasure. Pleasure for death. A story of power, governance and death. Will the Heneral step down or will he stay in power till death? An example of a political satire.

Carlo Pacolor Garcia's "Divine"
When you have no lighter to light your cigarette, what would you do? Hoping to light his cigarette, a young man approaches two homosexual strangers. The story unfolds as the two tries to take the young man's money. Will you still choose to light your cigarette even if it'll be your last?

George de Jesus III's "Kung Paano Maghiwalay"
A typical conversation between the old couple Ben and Anita. The flow of the story will change as Ben mentions to Anita that he won't be going home. The story will continue, a glimpse of their past will be revealed. Emotions will burst, questions will be answered.

July 20, 21 and 22, 2011 (10am, 1pm, and 3pm)
Albertus Magnus Auditorium, Education Bldg., University of Santo Tomas
Free admission

Fin is part of AA's Theater Literacy Program.
This show is part of its 31st season (2011-2012).
For details, contact artistangartlets_official@yahoo.com or 0916-385-5073.

What do you think of this production? Share your comments.

Campus-based theater groups unveil 2011-2012 season lineups

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Yay! My article on the 2011-2012 season lineups of Manila's two major campus-based theater groups was used by the Philippine Daily Inquirer for its July 18, 2011 issue.

The article was prepared back in May.  Dulaang UP has since confirmed that it will also stage a children's play "Umaaraw, Umuulan, Kinakasal ang Tikbalang" to be directed by Jose Estrella for the November-December months.

http://groups.yahoo.com/group/iwroteit/message/303
Campus-based theater groups unveil season lineups
By Walter Ang

Manila's two major campus-based theater groups announce their season offerings for the school year 2011-2012.

Both groups will commemorate Philippine national hero José Rizal's sesquicentennial by staging his works and each will stage its own Filipino adaptation of a William Shakespeare play.

Rizalania Dulaang UP, the University of the Philippines' official performing theater arts group, is on its 36th season. From July to August, it will stage "Rizal X," a production that aims to rediscover and reintroduce the relevance of Rizal.

"It will compile different points of view toward Rizal, his works and his life, in a collaboration of text, dance, music, film, visual arts," says director Dexter Santos.

Based on a concept by Santos, this original production will feature the works of different poets, playwrights, choreographers, filmmakers and artists.

"The show will not be written by a single playwright," he says. "Our process may be considered as devised theater. The actors and the artistic and production staff will play a pivotal role in the creation of the show."

In September, Tanghalang Ateneo, one of the longest-running theater groups of Ateneo de Manila University and now on its 33rd season, will stage "Mga Kuwento Ni Rizal Para Sa Bata." The production will be a devised piece conceptualized and directed by Ronan Capinding.

From November to December, DUP will stage "Noli Me Tangere: Isang Opera," to be directed by the group's artistic director, Alexander Cortez. A grand-scale production to be staged at the UP Theater, the opera is composed by National Artist for Music Felipe Padilla de Leon with libretto by National Artist for Visual Arts Guillermo Tolentino.

Indigenized Shakespeare 
In July, TA will stage "Ang Sintang Dalisay ni Julieta at Romeo," an awit (using dodesyllabic or 12-syllable verse) version of Shakespeare's "Romeo and Juliet" (which is written in iambic pentameter, or five pairs of alternating unstressed and stressed syllables per line), written by G.D. Roke to be directed by Ricardo Abad and designed by National Artist for Theater Design Salvador Bernal.

Abad found the text in the Project Gutenberg website, which states it was written in 1901. "Roke is such a mystery," Abad says. "Shakespeare scholar Judy Ick has searched all over the place and hasn't found a trace."

From September to October, DUP will stage the Philippine premiere of William Shakespeare's "Titus Andronicus." Tuxqs Rutaquio will direct using Layeta Bucoy's Tagalog translation. "Tuxqs is a graduate of our theater program and this is the first time he will direct for DUP since he graduated," says Cortez.

Considered Shakespeare's bloodiest and most violent work, this tragedy of ancient Roman general Titus Andronicus and his revenge against Tamora, Queen of the Goths, will be adapted to be "set in the Philippines with the violent Muslim clan wars as backdrop."

Looking forward 
TA ends its season in February 2012, with "Orestaya," a Tagalog adaptation by B.J. Crisostomo of the plays of Aeschylus, Sophocles and Euripides. To be directed in tandem by Abad and Crisostomo, the production will combine related Greek myths of the cursed family of Atreus, locked into constant murders of each other.

ADMU offers a Bachelor of Fine Arts Major in Theater Arts, with concentration in disciplines such as acting, directing or production design. The program has student performances throughout the year. "There are plans to make TA the theater company of the Theater Arts degree program in the same way DUP is the theater company of UP's Theater Arts certificate and degree programs," says Abad. "The construction of a black box theater for the group's use is also underway."

Looking back 
To celebrate the centennial of National Artist for Theater Wilfrido Ma. Guerrero, DUP's season ends February to March next year with his "Forsaken House," a play that deals with a family and its controlling patriarch in post-World War II in Manila.

In 1947, Ma. Guerrero founded the UP Dramatics Club which became the precursor of DUP. The theater where he staged most of his productions, then known as Liberal Arts Lecture Hall, was renamed after him in 1976. DUP uses the Guerrero Theater to this day.

Dulaang UP is under the university's Department of Speech Communication and Theater Arts, which offers certificate and degree programs in Theater Arts. The group also stages its students' thesis productions under its Dulaang Laboratoryo series throughout the year.

Whole shows or rows of seats can be bought at bulk discounts. Sponsorships always welcome. 
For Dulaang UP, call 9818500 loc. 2449, 9261349, 4337840. 
For Tanghalang Ateneo, call 4266001 loc. 5427, 0917-8560787.

Also published online:
http://lifestyle.inquirer.net/5945/campus-based-theater-groups-unveil-season-lineups

What do you think of these lineups? Share your comments.

2011 is the year of the Titus Andronici

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It was because of watching HBO's two-season-only historical series "Rome" that I discovered you could pluralize the names of ancient Roman families. One of the characters said "I am so-and-so of the Julii," referring to her being part of Julius Caesar's family, and I was like "Whaaat?"

So now, with this knowledge, I say to you all that 2011 is the year of the Titus Andronici!

"Titus Andronicus" is considered William Shakespeare's bloodiest and goriest play.  I don't know what's going on with the stars, but as it turns out, audiences in Manila this year will have the chance to watch not one, but two productions of it.

Andronicus 1 and 2
In August, a thesis production will be done by some students from De La Salle-College of St. Benilde's theater programs (production design and technical theater majors).  Because this is the students' thesis, the staging, translated and directed by George De Jesus III, will stem from the student's concept of "decay" rather than having the director set the vision/tone.

From September to October, DUP will stage Layeta Bucoy's Tagalog translation.  Tuxqs Rutaquio will direct  and the duo will adapt the work to be "set in the Philippines with the violent Muslim clan wars as backdrop."

Andronicus 3
A few months ago, I was able to catch a staging of "Degustacion de Titus Andronicus" in a city that was born from a settlement founded by Romans: Barcelona.  It was staged by experimental theater group La Fura dels Baus and I wrote about it here.

Do theater people all think the same way all over the world?
It's kind of funny to have theater groups across the world staging the same material during the same year.  Maybe theater people's brains are on the same frequency and they feel the same urge or motivation to stage the same material at the same time.  

Either that or maybe there are some plays have an inexplicable force and energy that seek their own (re)staging time, (re)surfacing when they want to be (re)staged?

Theater and the production/making of theater is not limited by geography/nation/culture.  For example, for fun, here is a listing of some staging devices used in "Degustacion de Titus Andronicus" that I've already seen done by Philippine theater groups:

(Which is not to say that "we did it first" or "I've seen that before," but more of "theater is theater when ever and where ever!")

- video screens enclosing four sides of the venue
---> done in UP's Department of English and Comparative Literature's "Screen: Macbeth"

- food (and the eating of it) as an element in the staging
---> done in Tangahalang Pilipino's "Yun na nga! (Kung yun na nga)"

- fluids spewing out of the body
---> done in Sipat Lawin Ensemble's "Haring Tubu-l"

- actors on top of moving scaffolding
---> done in Dulaang UP's 2011 restaging of "Orosman at Zafira"

- Tamora, Chiron and Demetrius as the spirits of Revenge, Murder, and Rape, moving their torsos inside black stretchy cloth
---> okay, this last one I've not seen in local productions, but the black stretchy cloth is very Martha Graham (whose works I have also not seen, but I've seen photos of some of her works.)

Andronici in Manila, drama in Barcelona
Filipinos interested in exploring Barcelona's theater scene can take low-cost carrier Air Asia from Diosdado Macapagal Airport in Angeles City, Pampanga to Kuala Lumpur and transfer to their long-haul carrier Air Asia X to Paris' Orly Airport. From there, a flight on Veuling, one of Spain's low-cost carriers, allows one to land in Barcelona in as short as an hour.

The website of the city's tourism office, Barcelona Turisme (www.barcelonaturisme.cat/en), has comprehensive information and many products (maps, guidebooks, tour packages, etc.) for visitors to the coastal city.  Tourist information about Spain can be found at www.spain.info.

What do you think of all these Andronici? Share your comments.

Auditions for DUP's "Titus Andronicus" July 20-21, 2011

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I would like to audition for the role of Alarbus, the son of Tamora, Queen of the Goths, because he dies about ten minutes into the play.  That way, if I get the role, I get to rest backstage for the rest of the play, kekeke!  Unless the director makes me do double duty as taong bayan number 16, kekeke!

Announcement from Dulaang UP


AUDITIONS
on July 20 and 21, 6pm
for 
Dulaang UP's 
Sept-Oct 2011 staging 
of 

William Shakespeare's
TITUS ANDRONICUS
Halaw ni Layeta Bucoy
Direksiyon ni Tuxqs Rutaquio

Prepare a dramatic monologue in Filipino.

Teatro Hermogenes Ylagan, Faculty Center Bldg., University of the Philippines
Diliman, Quezon City

Call 981-8500 local 2449 or 926-1349.

What do you think of this production? Share your comments.

Dulaang UP's "Rizal X" July 20 to Aug 14, 2011

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I wrote a piece on the 2011-2012 season line-up of Tanghalang Ateneo and Dulaang UP but I am unable to reproduce it here for now since it hasn't been published yet. Hopefully the publication I submitted it to will be able to use it next week.

One of the shows that's included in the article opens on July 20, 2011: Dulaang UP's "Rizal X."

Announcement from Dulaang UP


It's not your typical Rizal play. Not Fili. Not Noli. Not Rizal straight out of a textbook.

Dulaang UP's Rizal X is conceptualized, choreographed, and directed by Dexter Santos.

Rizal X promises to surprise even the most avid theatergoer and inspire even the most hardcore Rizal fan. DUP's 36th Theater Season opener is a fitting tribute to our national hero's birth sesquicentennial.

Rizal X aims to re-introduce Rizal to the times we live in through a mélange of mixed media popular to this generation such as video, vignettes, and music, intertwined with the more traditional staples of theater--- songs, dance, monologues, scenes, and poetry to form a production which Santos hopes to be "a total theater experience".

Rizal X aspires to serve as a reminder that Rizal is not a distant memory trapped in the dusty papers of a book or in cold busts and monuments, but a warm and palpable presence that is still and will always be a source of pride and inspiration to each and every Filipino. That what he was able to do for the country in his time, we can also do today. Rizal will never be passé; his life and works is an infinite playlist, the relevance of which transcends time and space.

The cast includes Reb Atadero, Natasha Cabrera, Red Concepcion, Jules dela Paz, Alchris Galura, Bea Garcia, Jean Judith Javier, Yanah Laurel, Maita Ponce, Reuben Uy and the Dulaang UP Ensemble.

Rizal X showcases the creations of Dong Abay, Gerson Abesamis, Manix Abrera, Aiess Alonso, Chips Beltran, Layeta Bucoy, Winter David, Jopy Arnaldo, Malee Matignas, Deo dela Cruz, Al Garcia, JM de Guzman, Vlad Gonzales, Adi Lopez, Joaquin Pedro Valdez, Floy Quintos, and Rene Villanueva.

Head Writers and Dramaturgs: Katte Sabate and Chic San Agustin
Musical Director: Janine Santos
Music and Lyrics: William Elvin Manzano
Musical Arrangement: Happy Days Ahead
Scenic Design: Leeroy New
Costume Design: Mitoy Sta. Ana
Lighting Design: Voltaire De Jesus
Technical Director: Ohm David

RIZAL X runs July 20 to August 14, 2011 at the Wilfrido Ma. Guerrero Theater, 2nd floor Palma Hall, UP Diliman, Quezon City.

Contact 0917-750-0107, 926-1349, 981-8500 loc. 2449 or 433-7840.

What do you think of this production? Share your comments.

Search for dance video archiver(s) 2011

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Announcement from Contemporary Dance Network Philippines

Needing volunteer(s) for video archiving 
for Contemporary Dance Network Phil. (Manila)
by Myra Beltran

Thank you to all who might be interested in this note.

For the past five years, we, as a Choreographers Network, have implemented the Wifi Body Festival at the Cultural Center of the Philippines and have had other projects as well.

In the process, many choreographers have been produced - some of whom are doing wonderful work today.

We are in need of someone who can do video archiving for us 
as this will help our choreographers complete their portfolios.

Dance being an ephemeral art, all we have to offer our choreographers are these videos of their work.

Your volunteer work will be most appreciated in behalf of our choreographers network and the contemporary dance community in general.

Thank you all so much.
Email me at: danceforum.mb@gmail.com
Myra C. Beltran

****
My take on this call for manpower by Contemporary Dance Network Philippines:

If you know of any students taking up library science or arts management (whether undergraduate or masteral) who need a project to work on for their thesis or OJT, maybe you can hook them up with the Contemporary Dance Network Philippines' search for volunteer archivers.

If things work out, then CDNP would get the manpower it needs while the students would get their "pre-requisite in partial fulfillment of" grade thingy that schools usually mandate.

The way I see it, it may actually need a combination of both disciplines.  An arts management student (ideally, I suppose) would plot out the project, its timelines and logistics, along with other administrative functions, while library science student(s) would set the parameters for actual archiving.

And with the speed that technology is evolving, thought has to be put on the different kinds of formats the archiving should encompass/anticipate.  Printed pictures and printed souvenir programmes will fade or could get molds; digital files could get corrupted or accidentally deleted: vessels for digital files such as computer hard drives, CDs, DVDs, floppy disks(!) could be physically damaged or become outdated ... things like that.

What do you think of this?  Share your comments.

Tangahalang Ateneo's "Sintang Dalisay" July 13-30, 2011

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I wrote a piece on the 2011-2012 season line-up of Tanghalang Ateneo and Dulaang UP but I am unable to reproduce it here for now since it hasn't been published yet. Hopefully the publication I submitted it to will be able to use it next week.

One of the shows that's included in the article opens tonight (July 13, 2011): Tanghalang Ateneo's staging of William Shakespeare's "Romeo and Juliet" using a Tagalog translation done in awit format, which uses dodesyllabic or 12-syllable verse. Shakepeare's plays are written in iambic pentameter, or five pairs of alternating unstressed and stressed syllables per line.

Announcement from Tanghalang Ateneo

Tanghalang Ateneo stages "Sintang Dalisay"

Tanghalang Ateneo opens its 33rd Season this July with Sintang Dalisay, a dramatic piece forged from two sources--the awit "Ang Sintang Dalisay ni Julieta at Romeo" written in 1901 by G D. Roke, and Rolando Tinio’s translation of William Shakespeare’s "Romeo and Juliet."

Igal, the traditional dance of the Sama people, will serve as the production’s movement motif, taught to the cast by master teachers from Tabawan, South Ubian, Tawi-Tawi province.

An ensemble of musicians from Kulintangang Ateneo and the University of the Philippines’ Kontemporaryong Gamelan Pilipino (Kontra-GaPi), will accompany the dance and the action of the play.

Adapated synopsis
The adaptation is set in Sampurna, a fictional Muslim community, with the Mustafas and the Kalimuddins as two prominent families mired in an age-old hatred for each other. Caught in this family strife are Rashiddin and Jamila, two lovers, secretly married, who are forced to separate from each other after Rashiddin kills a member of the Kalimuddin clan to avenge the death of his cousin. A demand for justice, Rashiddin’s exile to Dapitan, a clandestine tryst, a missing letter and a plot that goes awry culminate in the death of the lovers and the reconciliation of the two families smothered in grief and regret.

Behind the scenes
Ricardo Abad, who adapted the performance text with Guelan Luarca, directs the production. Matthew Santamaria draws the dance and movement patterns from the lessons imparted by Tabawan experts Calsum Telso, Abdul Said K. Hailaya, Nur Perong, and Dalino Kamamih.

Pedro Abraham Jr. does the music and sound design, Meliton Roxas, Jr. handles lights design, while National Artist Salvador F. Bernal does the honors for production design.

Dates and venue
"Sintang Dalisay" runs
July 13-16, 21-23 and 26-30, 7 p.m.
July 16, 23 and 30 (Saturdays) 2 p.m.
Rizal Mini-Theater, Ateneo de Manila University.

The production is staged in cooperation with the Ateneo Fine Arts Program and the Performing Arts Cluster. A gala show for delegates of the International University Theater Association Conference is scheduled for July 20, 2011.

Contact 0915-112-9301 and 426-6001 loc. 5427.

What do you think about this production? Share your comments.

Eating Spanish Shakespeare

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Yay! My article on a Spanish staging of William Shakespeare's "Titus Andronicus" was used by the Philippine Daily Inquirer for its July 11, 2011 issue.

http://groups.yahoo.com/group/iwroteit/message/302
Eating Spanish Shakespeare
By Walter Ang


The production uses four screens surrounding the venue.
The prospect of watching a play in a foreign language can be daunting. You never know if you’ll be bored to death or be rewarded with an experience that fires up the cells in your brain and nerves in your body.

In Barcelona, we caught a Spanish translation of William Shakespeare’s “Titus Andronicus,” staged by experimental theater group La Fura dels Baus.

Three discoveries convinced us to catch their show: “La Fura dels Baus” means “vermin from the sewers” in Catalan (the dominant language in Barcelona alongside Castilian Spanish); their staging would include a meal being cooked as the play progressed; and excerpts of the production on Youtube (the images in their trailers, exciting as they are, do not do justice to the real thing, as we would soon find out).

“Degustacion de Titus Andronicus” not only fires up the brain cells, it quickens the heart, attacks the nose and tongue, rattles the nerves, and packs a wallop to the guts in a truly multi-sensory production.

Knowing no Spanish, we prepared by reading the synopsis on Wikipedia, though the production has omitted many support characters and has distilled the plotlines-the staging focusing more on execution and its exploration of food/taste/aroma. And even if the only Spanish word we understood that night was “Vamonos,” exclaimed by one character when she urged another to move, English wasn’t needed in the highly physical staging.

Eating
Video projections of smiling babies cross-projected against four white screens enclosing the performance area greets the audience as they file into the theater. No seats; everyone stands for the duration of the show. Meanwhile, the stench of charred meat permeates the space, courtesy of a chef standing on a platform high-above everyone’s heads, deliberately burning pieces of flesh.

If audiences come to the show without knowing that Titus is Shakespeare’s bloodiest, goriest tragedy, the visuals of babies and the smell of burning meat should serve as an ominous clue. The tale of ancient Roman general Titus Andronicus, his capture of Tamora, Queen of the Goths, and their ensuing episodes of revenge against each other is rendered in a wild, grotesque, visceral manner.

Entrance of Titus Andronicus on mobile scaffolding.
The production uses mobile scaffoldings and motor-driven vehicles that traverse the entire space. The smell of gasoline adds yet another olfactory layer, while audience members scramble to get out of the way of all these moving set pieces. A vehicle would have run us over were it not for another audience member who pulled us out of the way.

A hunt in the forest is transmuted into an interactive video game where actors aim at images on the screens. People are hung upside down on cattle hooks for disembowelment, blood streams down their torsos as they writhe, finally falling limp, eyes wide open. Audiences get splattered with bodily fluids.

Sensing
Prior to the show, La Fura artistic director and the show’s director, Pep Gatell briefly spoke to the Inquirer. “Theater works with visuals and sounds. We have done work using smells. And now we wanted to work the sense of taste,” he said. La Fura is known to break the fourth wall in its productions.

Audience members are invited to join the final cannibal banquet.
Effusive and expressive, Gatell said that he spent time plotting what aroma or “flavor” he wanted audiences to encounter for every scene. Food is distributed to the audience throughout the production and some are even invited to partake of the final cannibal banquet.

Contradictions are deliberate, such as cotton-candy being made during the rape and torture of a character, the sweet smell melding with visuals of on-stage blood and dismembered limbs. “The aroma affects your sympathetic nervous system and makes you salivate. But what you see makes your stomach tighten up,” he said. People have fainted at past shows.

Connections
He was amazed to find out that Filipino theater groups still perform zarswelas (“Here in Spain, it is a dying form,” he shook his head longingly.) and was excited to know that our theater groups also translate and adapt Shakespeare. (Dulaang UP will stage a Filipino translation of Titus later this year.)

The enterprise of theater is alike the world over, we both concluded, as Gatell expressed the difficulties of being an independent theater group with no institutional funding and as I shared the similar challenges faced by groups in Manila. “Money is always difficult,” he said.

Asked if his group could possibly tour Manila in the future or collaborate with a Filipino theater group, “If someone would invite us and sponsor us, of course!”

Explore
The theater scene is vibrant in Barcelona. The events-listings magazine Time Out even has a special publication for the theater line-up and tourist kiosks have maps that plot out all the major theaters of the city.

Those interested in experiencing the Spanish performing arts scene should take advantage of the ongoing El Grec Festival de Barcelona, which runs until July 31, 2011. This annual international theater, dance, music and circus festival is now on its 35th year and is named from its main venue: the open-air Greek amphitheater-style Teatre Grec.

It showcases works by Catalan artists and groups as well as international participants. This year, there are several “world classics” that might be a bit more familiar to Filipinos should they want to explore watching these productions in Spanish or Catalan: Todos Eran Mis Hijos (All My Sons), Julieta & Romeo (Romeo and Juliet), Un Tranvia Llamado Deseo (A Streetcar Named Desire), and Esperant Godot (Waiting for Godot).

If the idea of reading up on synopses prior to watching or dealing with a foreign language seems too much work, there are shows in forms where language isn’t necessary: music such as jazz and opera (Magic Flute) and dance, which even includes a bboy showdown.

Filipinos can take low-cost carrier Air Asia from Diosdado Macapagal Airport in Angeles City, Pampanga to Kuala Lumpur and transfer to long-haul carrier Air Asia X to Paris’ Orly Airport. From there, a flight on Veuling, one of Spain’s low-cost carriers, allows one to land in Barcelona in as short as an hour.

The website of the city’s tourism office, Barcelona Turisme (www.barcelonaturisme.cat/en), has comprehensive information and many products (maps, guidebooks, tour packages, etc.) for visitors to the coastal city. After all, there’s lot to do in Barcelona in between watching show: it has shopping, restaurants, sports (football, of course), museums, churches, and beaches.

Information on the Grec Festival of Barcelona can be found at www.grec.bcn.cat/en while tourist information about Spain can be found at www.spain.info.

Also published online:
http://lifestyle.inquirer.net/5301/eating-spanish-shakespeare

What do you think of this production and the festival? Share your comments.

Theaterbatoring GT's Rizal-novels plays 2011

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thoughts on 
GT's rizal-novels plays 2011
by walter ang
july 11, 2011

Cast of Gantimpala Theater's "Kanser" (stage version of "Noli Me Tangere")

For its 2011-2012 season, Gantimpala Theater opens with the "Rizal-novels" plays, namely, "Kanser" (Jomar Fleras' version of "Noli Me Tangere") and "El Filibusterismo" to celebrate the sesquicentennial of Rizal's birth.  This inverts its usual practice of opening its seasons with "Ibong Adarna" and "Florante at Laura."

I think it would be nice if GT could schedule a show or two of its Rizal-novels plays in the evening so that adult audiences (okay, 25 and above) can have a chance to watch:

1. A play version of the Rizal novels.  Even if there will be a slew of Rizal-related productions for the second half of the year, so far I have not heard of any scheduled play versions of Noli and Fili except for the GT productions.  In my previous "Rizal versus Shakespeare" post, so far, there have been announcements of musicals, operas, and devised works but no plays.

2. Without having to sit with hordes of chattering teenage and early-20s students.

Since GT uses a curriculum-based line-up (as the four plays are required reading for each level of high school), its audiences are predominantly student audiences.  GT has been staging the "curriculum plays" for decades to swarms of students.  In fact, one of the very first plays I ever saw (as a high school student) was their staging of Fili at the (then still open) Metropolitan Theater.  In 2008, I finally caught their version of Noli.

There's nothing wrong, of course, with students who cheer along or erupt in choruses of "yiheeeeee" when characters kiss lips-to-lips (I'd rather an audience that reacts than an audience that's snoring), nonetheless, it can't be denied that student audiences can be (though not always) distracting.

If you were required to watch a play or musical when you were still a student (or if you've had to watch a production that had a large student audience), you know what I'm talking about.

We meet again
But beyond the possible noise and distraction that audiences can generate (student or otherwise), an evening show for adults-only would allow GT the opportunity to:

1. Allow its pool of actors to give a performance or two without the harried atmosphere of delivering lines and emotion to a theater full of hyper, restless, noisy students.

2. Expose 25-and-above audiences to the Rizal-novels via the stage.  My assumption is that the last time anyone over 25 would have had exposure to the two novels is the required high school reading (and not even the complete novels, mind you, since most teachers use textbooks that employ shortened versions of each chapter) and possibly a required field trip to watch a production.

There are very limited chances (or none at all) for Filipino adults to revisit the two novels of the country's national hero--I'm sure there are a lot who haven't had the chance at a first visit at all.

The way I understand it, the novels are, arguably, the major contributing factor that elevated him to hero status to begin with.  (The novels inspired a revolution! And this is why they say literature is dangerous ... kekeke.)

The idea here is, I assume also, that the Rizal-novels (as plays, in this case) will "read" differently when seen and analyzed by an adult mind that's free from the constraints of being required to read/watch.  And also, the underlying themes and whatnot should resonate in a different way (if not more strongly).

Money, money, money
But of course, scheduling in extra shows in the evenings and the idea of it being only for adult audiences has cost implications.  Venue rental, equipment rental, salaries for staff, ticket sale recoupment, etc.

It's easier said than done.  Perhaps some independent producers or showbuyers would like to give it a go?  Rally some adults and invite/cajole/encourage them to watch? (Because forcing them to watch will kind of defeat the purpose of allowing them a new way of approaching the Rizal-novels plays.)

Whatever one's thoughts about the novels and/or Rizal, theater can provide an avenue for (re)acquaintance to these two works -- especially if you're not the reading type, kekeke.

Rizal-novels plays? Rizal food as well!
While we're on the subject of enticing people to watch the Rizal-novels plays (adults or otherwise), maybe all the theater groups staging Rizal-related plays this year could serve/sell something that I had the chance of experiencing when I attended a Rizal Day Party* last year: Rizal cupcakes! Kekeke!

(*Rizal Day Party: This is a party conceptualized by a friend of mine.  It's held every Dec.30 to commemorate/celebrate Rizal Day. The first time my friend thought of this, we brought over some of Rizal's books and attempted to do readings of passages.  We ended up eating more than reading, kekeke.  On the third year of this annual party, we had an impromptu excerpt reading from a Rizal-related play, the title of which I forget right now, and we ate Rizal cupcakes, as seen below.)


What do you think of these productions? Share your comments.

Ballet Philippines' "2nd Choreographer's Cup" July 9, 2011

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Announcement from Ballet Philippines

Cultural Center of the Philippines and Ballet Philippines
present
2nd Choreographer's Cup 2011
A competition for choreographers of neo-classical ballet
July 9, 2011 Saturday 6pm
Free admission
Tanghalang Aurelio Tolentino

To reserve tickets, call 551-1003 or 551-0221.

What do you think of this competition? Share your comments.

Dulaang Laksambayanan's "May Pakpak Ang Oras" July 23, 2011

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I theaterbatorated this show a few months ago here.
And now it's going to have a re-run on July 23, 2011.

Announcement from Dulaang Laksambayanan

One-night-only restaging of "May Pakpak Ang Oras At Iba Pang Dula"

"May Pakpak Ang Oras At Iba Pang Dula" is set to come back as part of De La Salle University-Manila Philosophy Department's "Thoughts on taste: Arts and aesthetics festival" with performances for DLSU-Manila students and one show open to the public to be staged in a restaurant. "Wine and dine with us while watching the show!"

"May Pakpak Ang Oras At Iba Pang Dula" is composed of four plays by American playwright David Ives translated into Tagalgo/Taglish: "May Pakpak Ang Oras," "Babel, Babel Paano Ka Ginawa," "Sure Thing," and "Abangan Ang Susunod Na Kabanata."

“What would you do if found out you have just one day to live your entire life?”
“How can you, a mere mortal, reach the almighty God?”
“What would life be like if you could amend even the littlest mistakes you make?”
“How can TV influence us to an extent it robs us our freedom?”

Direction: Joshua Lim So
Associate Direction: Terrie Ann Martinez
Music Design: Mark Anthony Dacela
Production Design: Vaughn Calimag
Lights Design: Roman Cruz

July 23, 2011, Saturday 7:30PM
The Buoy Restaurant, Pablo Ocampo St. (formerly Vito Cruz St.), across the street from Century Park Hotel
Ticket price is set at P250.

*Map of the venue:
http://www.facebook.com/photo.php?fbid=200772079974487&set=a.200772039974491.65477.100001250902202&type=1&theater

Contact 0917-556-2718 or dulaanglaksambayananinc@gmail.com
Facebook: http://www.facebook.com/dulaang.laksambayanan

What do you think of this production? Share your comments.

Of theater actors and catfood -- Part 2

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It took a few days to collect the following info found below and, therefore, this post will be outdated by the time it is uploaded, nonetheless, here goes:

The theater actors and catfood fiasco continued to blaze hours and a day or two after that morning when I first encountered it in Facebook.  Websites like pep.ph and spot.ph covered the goings on and published related articles containing quotes and reactions from various sources.

Here, though, are four statements that I've collected to serve as a concluding second part to my own previous post about the scenario:

Bea Santos, the theater actor who was cast in Rafael "Rafa" Santos' entry "Samarito" to Cinemalaya Film Festival 2011, made a public statement of her own:

http://chasingtoff.tumblr.com/post/7034461242/the-sad-sad-tale-of-rafa-santos

MY OFFICIAL STATEMENT ABOUT SKYFLAKES AND CATFOOD
by Bea Santos

I told myself that I would try to remain as quiet about the Rafa Santos issue as possible, but it seems as though people will always have questions about it, most especially to me because I was in fact the theater actress in his film.

How do I feel? Insulted, disappointed, shocked, appaled, hurt and betrayed. And yes, I did confront Rafa about what he said. And although it would be interesting to share how the conversation went, I choose to hold that private as it was between the two of us.

I think the bigger question for us now is, WHAT ARE WE GOING TO DO ABOUT THIS? Rafa may have joked about how we are treated as actors but I think the reason why the reaction from our sector is huge is because there is truth in it. Sure we are not paid in cat food and we actually eat rice and ulam on set during shoots, but it is a known fact that we do not expect high talent fees and will do things for the love. Now, is that really so bad? What I think we have is passion—passion for the work we do, passion for acting, passion for telling stories. And if we choose to accept jobs that pay low, it is no fault but our own and we should not blame anyone else. I for one have done probono work to help people, or simply because the material is so good that I cannot let the opportunity of being part of it pass. Lines can be drawn. We can always choose the work we do, demand for higher pay, and demand that we be treated just like any other talent, celebrity status or not. After all, we are good at what we do and deserve no less than that.

I think that this is a wake up call. A harsh one, but a call to action nonetheless. Now that we know the perception of people in the industry about theater actors in terms of rates and fees, we can work together in changing this paradigm. All we really need to do is assess our worth and accept no less than what we think we deserve.

This is the last time I will write about this issue. I would personally like to move on from it. While in the future, I may forgive Rafa as a friend, I have made the decision not to work with him anymore. It just makes sense that way.

I wish all of you theater actors, who have been so actively fighting against the catfood and skyflakes issue peace and more success. I admire your passion and this just makes me even more proud to be called a theater actor.

And for the record? No, I was never paid in cat food and we were not fed skyflakes three times a day. Besides, I would never have accepted cat food. I am a dog owner, and I dislike cats. :P


Shortly after, Philippine Educational Theater Association posted this in its official Facebook page:

Philippine Educational Theater Association - 
Official Press Statement, Re: Rafa Santos
by Peta Tapets on Wednesday, June 29, 2011 at 5:34pm

Philippine Educational Theater Association (PETA) along with the entire Philippine theater community is deeply disturbed and offended by the insensitive remarks made by Cinemalaya director Rafael (Rafa) Santos in his recent interview on ABS-CBN News Channel’s (ANC) Cityscape stating:

“Theater actors are better to work with because they don't complain, you can feed them sky flakes three meals a day, and pay them in cat food basically... “

PETA in its 44 years of theater practice has worked with hundreds of artists who have shaped and re-shaped the theater industry. PETA is witness to the professionalism and artistry of theater practitioners despite minimal support and recognizes that they are a major force in contributing in the evolving art and culture tradition in our country, and for this alone – they must be given due respect.

PETA is aware of Santos’ open letter of apology sent today via Cinemalaya’s group email but demands him to have a public apology on television addressed directly to the theater community.

And finally, as we approach our Shakespeare Theater Season, we borrow from the Bard’s wisdom:  “Better a witty fool than a foolish wit.”


Then, the Philippine Theater Actors Guild came out with this statement in its founding president's Facebook page:

TAG Official Statement RE: Rafael Santos
by Kalila Aguilos on Thursday, June 30, 2011 at 2:40pm

We, members of the Philippine Theater Actors Guild (TAG), are outraged.

The insensitive statements of Rafael Santos do not only demean our craft as actors but reinforce the prevalent view with which society, the entertainment industry in particular, regards theater actors and artists—as mere commodities in the realm of television and filmmaking. Rafael Santos has now become the very image of the contempt and ridicule thrown our way as a community.

We have had enough!

As theater actors, we go through intensive training and harness our discipline to hone and continually develop our craft.  It is this same discipline we bring to any project and share willingly in every endeavor we are involved in.

The “cat food and sky flakes” metaphor speaks of the crumbs fed to us, which we have been forced to endure.

We have had enough!

The controversy sparked by his irresponsible remarks, intended as a joke perhaps, but one that failed terribly, is a reflection of an industry that has long lost its soul to commercialism and profit.  The theater artist has become an aliping namamahay -- a slave to a fiefdom ruled by commerce and mediocrity.

We have had enough!  We are now claiming our space.

We demand an apology from Rafael Santos. We demand that this apology be addressed to all theater actors, and be made in the same venue that he has maligned us.

But beyond this controversy, it is imperative to set the direction that TAG envisions for our community: a community of professionals that is respected and acknowledged in the art and entertainment industry.  We are united in our diversity and determined to collectively act and realize our dream – respect for the theater actor.

In the end, we dare claim that a society who respects its artists is a society that keeps its soul.

Philippine Theater Actors Guild, Inc. is an association of professional theater actors in the Philippines organized to represent theater actors in various public and private fora. Its primary goal is to protect and uphold the rights of theater actors in any medium/genre/form existing and about to exist. Its end goal is to be able to bring our concerns to the fore, and in coordination with other artists groups, work towards getting Artist protection written into law.  Kalila Aguilos is Founding President and Jack Yabut is the Chair of the Board of Trustees.


Rafael "Rafa" Santos eventually came out with this:

Letter of Rafa Santos to the Theater Community
To the Artists, Patrons, Advocates and Enthusiasts that form the Theater Community:

My name is rafa santos. I recently made an unfortunate remark about your Community that, to say the very least, I am not proud of. I was trying to be funny, but what I didn't realize at the time is that an artist's passion is not something to be humorous about. The Community collectively expressed its anger at my words and I do not take that against you. Your feelings are warranted, understandable and just.

What I clumsily and ungraciously tried to opine was that Theater actors, in my estimation, represent the pinnacle of the craft. No one else bears the spirit, that intense ardor for authentic emotion and humanity in a character than a thespian trained for and bred on the stage.

Some of the most evocative experiences I've had in the midst of art have been spent staring up at an immortal stage featuring true masters of performance as they serenade captive audiences stage with ruminations on the human condition set to verse. As art begets art, the Theater has breathed inspiration into countless other works of genius across all media, rendering its cultural and creative impact immeasurable especially with regard to Cinema.

Please don't take my calamitous statement as indicative of Cinemalaya or independent Cinema as a whole. If I made it seem like you are fortunate to get work, nothing could be further from the truth. We are blessed to be able to work with you. You are the life in our characters and the weight in our conflicts. It is my sincere hope that the imprudent rambling of a naive pretender doesn't tarnish the enduring relationship between your community and that of Cinemalaya and independent film.

Without reservation, without hubris or pretense, I apologize. I have hurt many of you deeply and that will take a long time to rectify. Some of you may never forgive me. I don't blame you for that. I only pray there is some healing, perhaps even change that can be derived from this. And maybe, God willing, the healing can begin.

sincerely,
rafa santos

*****
Again, not to make light of this obviously sensitive and complicated situation, but having have worked (and sometimes still working) in  theater, advertising and marketing, I've been thinking: my exposure to these three industries/professions are causing my brain cells to percolate and making me wonder out loud that this would actually be a nice opportunity for Skyflakes to come out with a print ad or TVC featuring renowned (or even non-renowned) theater actors.  

The story behind the visuals and copy could be something to the effect of highlighting theater actors' pride in their craft (and, of course, Skyflakes humbly being proud to be part of and in support of such a rigorous, skilled and fun endeavor).

Perhaps visuals could show actors bonding during a break in rehearsals, sharing a laugh or two while munching on Skyflakes. For a bit of drama, scenes in the middle could show an actor being berated by a director (tee hee!) or sweating heavily while rehearsing a complicated dance routine or holding up a tattered script, struggling to memorize lines ... scenes like that.

If anyone from Skyflakes or the ad agencies uses my idea, I will totally sue you, unless you pay me first ... kekeke.  I will consider being paid with Skyflakes, but the quantity has to be commensurate to X amount in Philippine Peso (amount to be discussed) and only if it comes with a contingent amount of foie gras ... well, okay, Reno liver spread will do. But seriously, I'll sue!

What do you think of this situation?  Share your comments.

Kapuso and Kapamilya actors in Gantimpala Theater's "Kanser" July 17-Aug 14, 2011

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Announcement from Gantimpala Theater
Cris Pastor as Maria Clara
Kapuso and Kapamilya actors in Gantimpala Theater's "Kanser"
Jay Gonzaga
as Crisostomo Ibarra
Kapuso (GMA7) actors Jay Gonzaga and Benedict Campos, respectively playing Crisostomo Ibarra and Padre Salvi, will share the stage with Kapamilya (ABS-CBN) Pinoy Dream Academy Season 2 top-six scholar Cris Pastor, who portrays Maria Clara, in Gantimpala Theater's "Kanser" (a stage version of "Noli Me Tangere" written by Jomar Fleras).

"I applaud these showbiz fledglings for their daring and their heart to face the challenges of theater,” says artistic director Tony Espejo.  “We are one with the nation in the celebration of the 150th birth anniversary of Dr. Jose Rizal.  Thus, Gantimpala Theater opens its 34th season with 'Kanser,' the longest running dramatic play based on Rizal’s incendiary novel Noli Me Tangere.”

Gonzaga
For Gonzaga, (currently in the after noon soap "Sinner or Saint") Ibarra is, “A very intelligent man, well-bred, and when he believes in a cause, he puts his heart and soul to it. Doing this iconic role makes me nervous. However, I promise to give it my best and infuse it with certain freshness.”

“Ibarra is somewhat of a Superman and his kryptonite is definitely Maria Clara,” says Jay. “When Ibarra is with his inamorata, Clara becomes the center of his s universe.”

Pastor
Benedict Campos
as Padre Salvi
Pastor describes her character Maria Clara as, “The ideal Filipina. She lives in a time when women face so many restrictions. Despite the fragility she displays, I think she is a woman of strength. ”

“I am so excited because finally I am going to try something that is out of my comfort zone. Maria Clara is the exact opposite of me, so this is a challenge I know I will conquer.”

She states playfully that her Kapuso co-actors are, “Very good! They are very patient and gentlemanly. It helps that they are both good-looking, especially my Ibarras, thus it’s easier to play coy and sweet.”

Campos
Last seen in the top-rating fantasy drama "Grazilda" as Prince Charming, Campos takes pleasure in acting as Padre Salvi because, “I play contravida here.”

“Salvi is deceiving, scheming and will do every thing to harvest the most forbidden of fruits, Maria Clara. He is twisted, lusting for power and the flesh which he desperately hides under his cloak.”

Cast
Other cast members are Jojo Riguerra (Crisostomo Ibarra, alternate), Dax Alejandro (Elias), Mayen Estañero (Sisa), Manolet Concepcion (Padre Damaso), Dante Balaois (Filosofo Tacio), Ed Murillo and Joey David (alternately portraying Capitan Tiago), Joey de Guzman (Mang-aawit), Mosang and Wenah Nagales (Doña Victorina), Niesty Lopera (Don Tiburcio), Meldea Flor Formacil (Doña Consolacion), Vangie Inocencio (Tiya Isabel), John Zyke Santos (Basilio), Dainyle Jeremel Orara (Crispin), Abel Napuran (Teniente Guevarra) and Troy de Guzman (Alferez).

The Kanser artistic team includes Adriana Agcaoili (Director), Jheyar Caguimbal (Associate Director), Benjie Cayetano (Lights Designer), and Norman Penaflorida (Sets Designer).

Performances are slated on
July 17, (7pm), Concert at the Park, Open Air Auditorium, Luneta, Manila;
July 22, 23 and 24, August 5, 6 and 7, (10am/2pm), AFP Theater, Quezon City;
August 12, 13 and 14,(11am/2pm) Cinema 3, SM Southmall, Las Piñas City.

Gantimpala Theater’s Kanser is supported by the National Parks Development Committee (NPDC) and Ever Bilena Cosmetics.

Contact 899-5911 or 899-5745.
Visit www.gantimpalatheater.multiply.com or www.facebook.com/gantimpala

What do you think of this production? Share your comments.

Ateneo Blue Repertory's "Little Shop of Horrors" Jul 27-Aug 13, 2011

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Announcement from Ateneo Blue Repertory

Ateneo Blue Repertory presents its 20th Season premiere: Little Shop of Horrors.

In the old days it was all about selling your soul to the devil for fame and fortune. But ever heard of selling it to an evil, man-eating Venus Flytrap from outer space?  Even the honest-to-goodness nice guys aren't immune to this kind of temptation, and Seymour Krelborn is one of them. He is the protagonist of "Little Shop of Horrors," a black comedy musical satirizing old-school sci-fi movies.

With book and lyrics by Howard Ashman and music by Alan Menken (the duo behind Disney's "Little Mermaid"), one of the longest running Off-Broadway shows of all time, "Little Shop of Horrors" is the story of a miserable shopkeeper's yearning for a better life and a chance at love, all encouraged by a devious plant who manipulates him into quenching its thirst for blood and world domination in exchange for his heart's desires. Thus, he must choose between right and wrong, all for the sake of a bit of glory.

Directed by Toff de Venecia (director of Blue Rep's "All Shook Up" and "Freakshow") with musical direction by Blue Rep's Artistic Director Ejay Yatco (musical director of Blue Rep's "Edges").

20th season

"For our 20th season, our theme is man's inner struggle, and the clash between the beasts within us and our humanity," says Ejay Yatco, Blue Rep's Artistic Director. "Seymour, the lead character of the play, faces this struggle when he is offered everything he ever wanted but at a great cost. Little Shop of Horrors is the first of three plays this year that will move our audiences to ask the question 'Who is the man? Who is the Beast?'"

Since its beginnings in 1991, Blue Rep has delighted local audiences with shows that celebrate the artistry of the Filipino performer. Blue Rep has a diverse range of shows under its belt having staged musicals like Pippin, The 25th Annual Putnam County Spelling Bee, Stages of Love, Bare: A Pop Opera, and Hair.

Blue Rep's "Little Shop of Horrors" runs July 27-August 13, 2011 at Fine Arts Theater, Ateneo de Manila University, Quezon City. Tickets at P199. Contact 0917-890-8795.

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Tanghalang SLU's "Ang Kagila-gilalas na Buhay ni Lam-Ang" July 5-9, 2011

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Announcement from Tanghalang SLU

Tanghalang SLU,
the resident theater company of Saint Louis University, Baguio City
presents
for its 13th Theater Season

"ANG KAGILA-GILALAS NA BUHAY NI LAM-ANG"

Written by J. Dennis Teodosio
Directed by Dan Rommel Riopay

July 5-9, 2011
at the SLU Center for Culture and the Arts Theater

Show starts at 6:15PM.
Tickets are available at the CCA Office.
Contact +74-442-2793 loc. 307
Visit tanghalangslu.multiply.com/

Bonus! Here is their trailer:

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Philippine Ballet Theatre 2011-2012 season line-up

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Announcement from Philippine Ballet Theatre

Philippine Ballet Theater will open its 2011-2012 season with the Shakespeare classic "Romeo and Juliet" from July 7 to 10. This will be staged and directed by the world-acclaimed prima ballerina and an original member of PBT, Maniya Barredo. This was the signature work made for her when she was the principal dancer of Atlanta Ballet Company by Tom Pazik who is one of the leading choreographers of the American Ballet Theatre.

Next is the classic "Cinderella" from Sept. 15 to 18.

Ending the season is the perfect pre-Christmas entertainment "The Nutcracker Suite" from Nov. 17 to 20.

Philippine Ballet Theatre will have its regular season performances at the Main Theater of the CCP.

For details, contact philippineballettheatre@yahoo.com or 632-8848.

The company
Founded in 1987, PBT is the country’s premier classical ballet company. It was formed out of an alliance of the leading dance groups in the eighties but instantly won recognition as a resident ballet company of the Cultural Center of the Philippines.

PBT’s neo-classical works have been led by some of the country’s best choreographers who top-billed PBT’s productions like Julie Borromeo, Felicitas Radaic, Inday Gaston Mañosa, Eddie Elejar, Ron Jaynario and Gener Caringal. The company also have some of the well-known leading prima ballerinas like Lisa Macuja-Elizalde and Maniya Barredo perform in their shows. They have performed numerous outstanding classical ballets such as Swan Lake, Giselle, Nutcracker and Raymonda.

PBT has also staged original ballet presentations like Filipino epic Darangen ni Bantugen by Gener Caringal, which is included in the “43 Masterpieces of Oral and Intangible Heritages of Humanity of UNESCO” and Julie Borromeo’s Mir-i-nisa, a tale of a Muslim Princess ready for betrothal according to Muslim custom, which is the only classical ballet presentation featured in the inaugural festival of CCP in 1969.

Outreach
PBT president Chacha Camacho and chairman Chingbee Kalaw, along with the board of trustees are committed to making ballet available to everyone through various outreach programs, educational tours and scholarships called CORE (Cultural Out-Reach in Education). CORE started with performances in Metro Manila at the Araneta Coliseum filling the 25,000-seat capacity with public school children.

One of the programs of CORE is called Community Development through the Arts (CDTA), which aims to provide physical education teachers of public schools with quality Arts Programming and Professional Development Training in Dance.

PBT wants to enhance the teaching skills and techniques of the PE teachers so they may in turn pass these on to their students. The PE teachers will be provided with 16 sessions of professional development training in the areas of choreography, classical ballet, modern jazz, interpretative dance, and street dancing, music appreciation in relation to dance. PBT will also provide the stage for these home grown talents to showcase their learned skills and capabilities with a public performance at the CCP Little Theater or Meralco Theater.    

Not only will PBT bring ballet performances of classical productions as well as original Filipino choreographies to the countryside but they will also be able to contribute to community development and nation building by improving the education of the Filipino youth.

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