#exgo rev

[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]

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]

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

[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]

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]

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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