A truly national theater festival at hand

As the fourth National Theater Festival (NTF) opened — now ongoing at the CCP until Nov. 18 — there was obvious optimism in the air, as well as hope that finally cooperation and maturity would rule the event.

The first National Theater Festival started in 1992, resumed in 1996 with the theme of Revolution and Theater celebrating the Centennial of the Philippine Revolution, then rested again until 2004. After eight years of apparent squabbling amongst themselves, the practitioners decided to bury the hatchet, and put up PhilStage to include all artists in theater, music and dance.

The fourth NTF Ika-Apat na Tagpo, ang Bagong Yugto: The New Act, organized by the CCP and the National Commission for Culture and the Arts (NCCA) focuses on the role of theater, music and dance in national development. With discussions, analyses and strategies towards the next five years, performances will follow, as well as screenings of films based on plays and vice versa.

Participants in shows at Tanghalang Huseng Batute are Barasoain Kalinangan Foundation, Bohol Antequera and Maribojoc Collectives, Teatro Bolanon, Carlos Celdran, Dulaang UP, MSU-Iligan Institute of Technology’s Integrated Performing Arts Guild, MSU Kabpapagariya Ensemble, PETA, Tanghalang Ateneo, Tanghalang Pilipino, The Xavier University Stage, Trumpets, Kanlaon Theater Guild, Sipat Lawin Ensemble, Silly People’s Improv Theater, ventriloquists Ony Carcamo and Wanlu, and Gantimpala Theater Foundation.

It is an emotional homecoming particularly for Gantimpala whose birthing was at Batute, and now will show Sayaw ng mga SENIORita on Nov. 16, at 3 and 8 p.m. as written by Joey Reyes and directed by Jun Pablo, as a tribute to the late Tony Espejo who headed the company for many years.

Ricardo Abad of Tanghalang Ateneo, one of the festival heads, looks for more cooperation, improvement in the craft, synergy and influence of styles to make Philippine theater more progressive. Trumpets founder Audie Gemora hopes for the day ticket prices will be equal to that of a movie. The advantage of theater, he said, is that it is live and nothing can beat that.

Tanghalang Pilipino artistic director Nanding Josef relates how the NTF started from the need of the CCP’s Dramatic Arts Division to touch base with different theater groups all over the country. That first fest back in 1992 was graced by Nora Aunor with rituals on air, wind and water, and chants after which Ate Guy sang Pagibig sa Tinubuang Lupa.

A conference of theater scholars and academicians will feature presentation of papers on relevant contemporary issues related to Philippine theater. Play to film to stage screenings include Lino Brocka’s Insiang (written by Mario O’Hara for film and stage) and Bona (adapted by Layeta Bucoy for stage); Lamberto Avellana’s film version of Nick Joaquin’s Portrait of the Artist as Filipino; Gerry de Leon’s film of Rizal’s Noli Me Tangere; and Joel Lamangan’s ZsaZsa Zaturnnah Ze Moveeh (a Chris Martinez/Vincent de Jesus musical theater adaptation of the graphic novel by Carlo Vergara).

Another first is the inclusion of ventriloquists, in the show Bata Batute, featuring puppets as aid of educators to better communicate with children. Schedule of show is Nov. 17, 3 p.m. and 7 p.m. Wanlu will be performing with his puppets led by Enchong Go.

It is obvious that the links of theater, film, dance, music and that of komiks, the graphic and plastic arts are intertwined, especially in this age of advanced technology. It is further hoped that this year’s revitalized efforts will not suffer from Pinoy ningas kugon and that we shall soon be on our way towards the creation of a truly National Theater. We salute our friends at Dulaang UP, Tanghalang Pilipino, Gantimpala and PETA for their dedication to the cause. We are grateful to such dedicated theater-lovers such as Jude Bautista for his photos and his write-up from which we have freely borrowed.

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