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• Pre-colonial TimeDuring the pre-historic times, theater in the Philippines was in the form of indigenous rituals, verbal jousts or games, or songs and dances to praise gods. According to early chronicles, pre-historic dramas consisted of three elements – myth, mimesis, and spectacle.
• Pre-colonial Time

  These mimetic performances mostly dramatized primitive rituals and epic poetry about deities and mythical legends, where the spirit of the deities would seemingly possess a catalonan (priest) or babaylan (priestess).
• Pre-colonial Time

  During this entranced state, the priest or priestess would consume the sacrificial offering, which could be in the form of a pig, chicken, rice, wine, or nuts."…seemed to shoot flames from her eyes; her hair stood on end, a fearful sight to those beholding, and she uttered words of arrogance and superiority." – Juan de Plasencia, 1590
• Spanish Regime. When the Spaniards reached our shores, they used dramas such as zarzuelas as a pedagogical tool to influence the pagan tribes and teach them about Christianity and religion.
• Spanish Regime

  Another important form of theater popularized during the Spanish colonization is the comedia, also known as moro-moro, linambay, or arakyo. It’s a play in verse that portrays the lives, loves, and wars of moors and Christians.Moro-Moro is a secular comedy that dramatizes the war between Christians and Muslims through the forbidden love between the prince and the princess. The comedy is resolved with the non-Christian being converted to Christianity, or through his or her death, immediately followed by his or her resurrection.
• Spanish Regime

  Comedias were normally performed in the pueblos or village centers to attract more people to the foundation of its regime. The comedia can last anywhere from 3 to 15 hours through a series of performances. The first Filipino comedia was performed in Latin and Spanish by Fr. Vicente Puche in Cebu in 1598.
• Spanish Regime

  On the other hand, a zarzuela is a form of musical theater that combines spoken word and song that celebrates various Catholic liturgical feasts. Jugar Con Fuego by Francisco Asenjo Barbieri was the first zarzuela introduced in the country in late 1878 or early 1879. By August 17, 1893, Teatro Zorilla, the home of zarzuela, was inaugurated.
• Throughout the 333 years of the Spanish regime, the Philippines was widely influenced by their culture, tradition, and religion. Today, zarzuelas and comedias are still being performed, albeit with other cultural influences and contemporary touches.
• American Colonization When American colonial rule was established, the United States introduced the American way of life through education, media, and language.
• American Colonialization

  In 1898, the first bodabil was produced by the Manila Dramatic Guild for the sole purpose of entertaining American soldiers and other Americans residing in Manila. It was also the first theatrical performance since the revolution.
• American Colonialization

  The bodabil is not a straight-up play. The theatrical performance, in fact, a mix of songs, dances, comedy skits, and even magical performances. Local audiences bought-in and productions soon found themselves becoming entertainment spectacles that can be transported from one town to the next.
• American Colonialization

  Not long after, the bodabil was interjected into comedias and zarzuelas, as intermission numbers known as jamborees.
• American Colonialization

  In the 1930s, the country was introduced to Broadway theatre or stage plays through the westernized education that was provided in most private schools for privileged children. Shakespearean tragedies and comedies, as well as western classics, were performed in the original English or English adaptation.
• The Japanese OccupationBy the 1940s, when the Japanese took over the Philippines from the Americans, movie actors and actresses could no longer appear in films, as the Japanese confiscated all film equipment.
• The Japanese Occupation

  However, the comedia, zarzuela, and bodabil remained in the country as forms of entertainment and expression.Eventually, the bodabil evolved to become stage shows or variety shows with a short melodrama at the end to accommodate the actors and actresses who moved their craft to bodabil and theatre.
• The Japanese Occupation

  Venues such as the Manila Grand Opera House and the Savoy Theatre became homes of bodabil.After the war, movies returned to popularity, and the bodabil era slowly lost its luster. Stage shows became small, cheap performances held in open-air stages in the provinces.
• The Japanese Occupation

  Sadly, the bodabil deteriorated decades later to become burlesque and strip shows held in cheap theatres around American military bases.
• After the Japanese occupation, the Philippine theatre has evolved to become an amalgamation of the various influences such that of the zarzuela, comedia, bodabil, and western classics.
• Theatre was largely performed in English during the time, as it became a large part of classroom education. Meanwhile, zarzuelas such as “Ang Kiri,” “Dalagang Bukid,” and “Paglipis ng Dilim” became well-known beyond their regions
• By the 1950s, theatre had moved out of classrooms and the concept of paying for a ticket to see a theatrical performance emerged. This “legitimate” theatre was held in closed theaters –these became events in themselves, not just mere parts of a celebration or religious ritual.
• During this time, playwrights such as Severino Montano, Wilfrido Ma. Guerrero, and Alberto S. Florentino honed their crafts and contributed to the development of performing arts in the Philippines.Through the years, Philippine theatre groups have staged numerous plays in both English and Filipino, be it written by a Western or local playwright. Spanish culture and traditions largely influence performing arts in the Philippines, but the contemporary style is borrowed from the Americans.
• A Look Back at Philippine Theater in 2015

  Manila, Philippines--In a time when the Philippines is proving its economic and cultural prowess on the global stage, theater seems to be a good medium to mirror not only the varied tastes of its society but also to develop the level of maturity of art appreciation among its people.
• A Look Back at Philippine Theater in 2015

  Theater is not a new thing in the Philippines; in fact, it has been part of its great "cultural menu" that nourished the nation and carved her becoming. It is, therefore, a part of every Filipino's life every once in a while.
• A Look Back at Philippine Theater in 2015

  With the growing awareness of theater in the country, brought about by the successes of Filipino thespians here and abroad, the nation is clamoring for more and more productions, where theater companies exhibit their homegrown talents and creative minds. When it comes to producing theater, Filipinos do not favor quantity over quality; that's why some shows only play for a week or a weekend.
• A Look Back at Philippine Theater in 2015

  The Philippines, especially Manila, is not considered Asia's theater capital yet, but we can easily say that we're gearing towards that global recognition. 2015 was a great year because theatrical productions were brought closer to a lot more people--the antithesis that theater only caters to a niche audience.
• A Look Back at Philippine Theater in 2015

  The productions in the past year reached varied audiences withthemes that touched various sensitive topics and controversies; these productions proved to be not only a form of entertainment but also a receptacle of personal reflections for some audiences saw things in a way that the others did not.
• A Look Back at Philippine Theater in 2015

  "Abundance" best describes the theater scene in 2015, in which varied selections of productions have been presented and even restaged because of popular demand. Below are a just a handful of previous productions that proved the point that theater in the Philippines now caters to all generations, varied sectors of the society and interests.
• A Look Back at Philippine Theater in 2015

  Third Person Collective's "Peratedes," a stage adaption of Federico Lorca's "La Casa de Bernarda Alba," directed by Harry David, was a reflection of a Filipino family with all its secrets, sensitivities, and sacrednesses. This production did not come short and even went further in exposing the good and the bad in a Filipino household. In fact, it didn't end there: it provided a solution that was left for the audiences to fathom.
• A Look Back at Philippine Theater in 2015

  Egg Theater Company's "Maniacal," a stage adaptation of Moliere's "Les Femmes Savantes," directed by George de Jesus, was a satire of the theater industry in Manila. It was a fascinating material that explored the industry through relatable references and powerful dialogues.
• A Look Back at Philippine Theater in 2015

  The Necessary Theater by Actor's Actors Inc.'s "The Normal Heart," directed by Bart Guingona, tackled a sensitive topic with the guidance of a great and pulsating script, which literally informed the audiences of an ongoing war against HIV and AIDS epidemic.
• A Look Back at Philippine Theater in 2015

  Red Turnip Theater's small but sleek production of "This is Our Youth," directed by Topper Fabregas, was a fitting tribute to a decade of social uneasiness and confusion. The lines in the play were all powerful but not vulgar.
• A Look Back at Philippine Theater in 2015

  The international touring production of "Singin' in The Rain," inspired by the 1952 movie that starred Gene Kelly, was a hit not only among older audiences but also the millennials. The production brought back the most unforgettable songs from the movie, which were likewise nostalgic and praiseworthy.
• A Look Back at Philippine Theater in 2015

  Atlantis Theatrical Entertainment Group's (ATEG) "The Bridges of Madison County," directed by Bobby Garcia, was the first international production of the Tony Award-winning musical. Though not considered a classic yet, the songs and its immortal story cemented rave reviews for the production. The direction and stage design were subtle, yet effective.
• A Look Back at Philippine Theater in 2015

  Triumphant People's Evangelistic Society's (Trumpets) "A Horse and His Boy," a stage adaptation of the well-loved C.S. Lewis classic, brought back the audiences to the world of Narnia with all its mysteries and splendors. The children in the audience surely loved the show; the adults in the audience, on the other hand, appreciated every single line in its script and its hauntingly beautiful musical score.
• A Look Back at Philippine Theater in 2015

  The international touring production of "Cookin' Nanta," a Korean non-verbal musical, was a treat to the audiences. The upbeat and funny antics of the actors onstage drummed up their way through as one of the most entertaining productions in 2015.Repertory Philippines' "The Secret Garden" brought to life a classic story of friendship and family, which taught invaluable life lessons still applicable in the present day.
• A Look Back at Philippine Theater in 2015

  The international touring production of "La Soiree," a cabaret-variety show, also had its share of amusing the audiences and making others burst into laughter. It was a show that ensured that no one in the theatre would be left unsatisfied.
• A Look Back at Philippine Theater in 2015

  2015 was a kind year to everyone involved in the Philippine theater scene--both its practitioners and the audiences. It was a year full of entertainment that made theatergoers realize that this industry has no signs of slowing down in the years to come
• Theatre in the 21st century

  
  

  CEBU, Philippines — Once, in a keynote speech addressed to the Association of Theatre in Higher Education, in 1992, performance studies scholar Richard Schechner (in)famously declared: “Theatre as we have known and practiced it – the staging of written dramas – will be the string quartet of the 21st century.”
• Theatre in the 21st century

  We are now almost three decades removed from this provocation. What, if anything, has changed about the state of theatre in the 21st century? Is theatre dead, as Schechner predicted, or is it still very much alive and breathing? In the spirit of retired “Late Show” host David Letterman’s famous “Top Ten” lists, here 10 reasons why theatre is still important today:
• Theatre in the 21st century

  #10 Human BeingsThe performance of theatre is a universal cultural phenomenon that exists in every society around the world. Human beings are the only animal species that creates theatre. Understanding theatre helps us understand what it means to be human.