The document provides an overview of drama and its history and elements. It discusses how drama originated in ancient Greece as a way to honor Dionysus and evolved from dithyrambs performed by choruses. It describes the key elements of drama including plot, characters, setting, dialogue, conflict and how plays are typically structured in 3 or 5 acts. The document also provides a brief history of early Philippine drama forms like duplo and karagatan during the Spanish era and some of the popular plays that emerged then like Cenakulo.

1. Drama

2. -As You Like It, Act II, Scene VII
Phil.Lit.Class Presentation

5. Introduction
LITT 504 – STUDIES IN PHILIPPINE LITERATURE IN ENGLISH
BATANGAS STATE UNIVERSITY
GRADUATE SCHOOL
DRAMA : A Report by
Christine Joanne L. Desacado
Dr. Amada Banaag
LITT504 Professor

6. I.Intro to Drama
Warmer : Poetry to Drama : The Seven Ages of
Man (Dialogue of Jacques from “As You Like
It” from William Shakespeare
II. Brief History of Drama
III. Elements of Drama
IV. Philippine Drama & Dramatists
V. Excerpt of a One-Act Play : Wanted: A
Chaperon By : Wilfrido Ma. Guerrero
VI. Why Teach Drama
VII. 25 landmark plays of Philippine theater

7. Shakes-fear to Shakes-peer:
Theater in Manila
What Is Drama?
It is a literary
composition
involving conflict,
action,
atmosphere,
designed to be
acted by players
on a stage before
an audience.
(Boas & Smith)

8. Playwright or Dramatist
– a person who
writes plays.(means
worker or builder)

9. History
of Drama

10. • Origins of Drama
–The word drama comes
from the Greek verb
dran, which means “to
do.”
– The earliest known plays . .
were written around the
fifth century B.C.
– produced for festivals to
honor Dionysus, the god of
wine and fertility

11. The god of the grape
harvest, winemaking and wine,
of ritual madness, fertility
Every year a festival known
as The Dionysia was held in
honor of the God
Here was Dithyramb
becoming part of the festival
Dionysus

13. A hymn to the
god of
Dionysus
composed by
the musician
Arion
Dithyramb

14. In Athens, dithyramb were
sung by a Chorus of up to
fifty men or boys dancing in
circular formation.

15. a usually short
poem in an
inspired wild
irregular strain
(tension)
Dithyramb

16. a statement or writing in an
exalted or enthusiastic vein
(mood/manner)
Dithyramb

17. dith·y·ram·bic formation

18. The Father Of Tragedy
According to Aristotle’s
Poetics, the first person ever
to appear on stage as an
actor playing a character in
a play (instead of speaking
as him or herself) is
Thespis.
He invented Hypokrites,
and named performance as
Tragedy.

20. The Actors

21. 1.TRAGEDY2.COMEDY
FORMS OF DRAMA

22. The Tragedy

23. The Tragedy
tragos = "he-goat"
aeidein = "to sing"
Trygodia:
trygos (grape
harvest)
ode (song)
Tragedy is an imitation of an action that is admirable, complete
(composed of an introduction, a middle part and an ending), and
possesses magnitude; in language made pleasurable, each of its
species separated in different parts; performed by actors, not
through narration; effecting through pity and fear (the
purification) of such emotions.
— Poetics,

24. The Tragedy
Tragedy: is a play that ends
unhappily.
Greeks : The heroes were noteworthy
for their achievements, but they were
mortals and suffered death.
ABOUT: right-wrong
justice-injustice
life-death

25. The Tragedy
Aristotle’s
PoeticTragedy is characterized by seriousness and involves
a hero who experiences a reversal of
fortune (peripeteia). caused by the tragic
hero's hamartia. "Tragedy results in a catharsis
for the audience in response to the suffering of the
characters in the drama.
"the structure of the best tragedy should not
be simple but complex and one that
represents incidents arousing fear and pity—
for that is peculiar to this form of art.“

26. The Comedy

27. The adjective "comic"
related to the sense of
"laughter-provoking“

28. •Developed by ancient
Athens
•A comedy is a play
that ends happily. The
plot usually centers on a
romantic conflict.
Comedy

29. As You Like It, Act II, Scene VII

30. Analyzing Drama
The Elements

31. DRAMA
Live! Literature

33. Basic Elements
PPlotlot
CCharacterharacter
SSettingetting
TThought /Themehought /Theme
LLanguageanguage
SSpectaclepectacle

34. Three Types of Drama Elements
I.Literary
Plot, Characters, Thought/Theme
II.Technical
(Lights, Sounds, Setting/Scenery,
Costume,Makeup,Props (hand /mechanical props)
Multi media-Technology)
III.Performance
Voice, Blocking, Audience, Memorization,
Language , Facial Expression, Overall Stage Impact

36. •The script is
the starting
point of the
theatrical
performance.
The Seed of Drama

37. I. Literary Elements
Script
•A script is the written
words and directions of a
play.

38. Stage directions

40. • DIALOG - the conversation among characters
In their dialog, characters may state how they feel
about others. But they usually reveal their own
personalities indirectly.
• STAGE DIRECTION - these are notes to help the
readers or cast of characters picture the action.
Stage directions are usually printed in italics inside
parentheses.
• ACTS and SCENES
An act is a unit of action in a play. It may include
several scenes.
A scene is a unit of action that takes place in a
single time and place.
Characteristics of Drama

41. Literary Elements
•Plot
•The plot is the storyline or
arrangement of action.

42. Structures of a Play
Plays first originated in ancient Greece. Aristotle
was one of the first to write about drama and
describe its three segments: beginning, middle,
and end. Over time, dramas evolved, the Roman
poet, Horace advocated for five acts, and many
centuries later, a German playwright, Gustav
Freytag, developed the five-act structure
commonly used today to analyze classical and
Shakespearean dramas. The pattern of this five-
act structure can be seen in the familiar ‘Plot
Diagram’:

45. The Three-Act Structure
Aristotle believed that every piece of
poetry or drama must have a
beginning, middle and end. These
divisions were developed by the
Roman, Aelius Donatus, and called
Protasis, Epitasis, and Catastrophe.
The three-act structure has seen a
revival in recent years, as cinema
blockbusters and hit TV shows have
adopted it.

46. Like the plot of a story, the plot of a play involves
characters who face a problem or conflict.
Climax
point of highest tension;
action determines how the conflict
will be resolved
Resolution
conflict is resolved;
play ends
Plot:
Sequence of events that
develop the drama
Exposition
characters and conflict are
introduced
Dramatic Structure

47. The Five-Act Structure
The Five-act structure expands the classical
divisions and can be overlaid on a
traditional plot diagram, as it follows the
same five parts. Shakespearean plays
especially are known for following this
structure.
In the illustration above, the narrative arc of
the Plot Diagram is between the Five-Act
Structure (top) and Aristotle’s divisions
(bottom).

48. Format of a Five Act Structure
Act 1: The Exposition Here, the audience learns the setting (Time/Place),
characters are developed, and a conflict is introduced.
Act 2: Rising Action The action of this act leads the audience to the
climax. It is common for complications to arise, or for the protagonist to
encounter obstacles.
Act 3: The Climax This is the turning point of the play. The climax is
characterized by the highest amount of suspense.
Act 4: Falling Action The opposite of Rising Action, in the Falling Action
the story is coming to an end, and any unknown details or plot twists are
revealed and wrapped up.
Act 5: Denouement or Resolution This is the final outcome of the drama.
Here the authors tone about his or her subject matter is revealed, and
sometimes a moral or lesson is learned.

49. Literary Elements
Character
•A character is a person
portrayed in a drama.

50. CHARACTER: The agents of the plot
• Characters provide theCharacters provide the
motivations (reasons) for themotivations (reasons) for the
events of the plot.events of the plot.
Characters in a play can be…
• protagonistprotagonist:: the main character;the main character;
sometimes called the herosometimes called the hero
• antagonistantagonist: sometimes called the: sometimes called the
villainvillain

52. Literary Elements
Dialogue
A dialogue is a spoken
conversation between characters.
Wanted : A Chaperon
ROBERTING. I have so many expenses, Father.
FRANCISCO. How much have you got saved up in the bank?
ROBERTING. How can I save anything?
FRANCISCO. So you have nothing in the bank! What kind of gifts do you give your girl-friend?
ROBERTING (Embarrassed). I-I-
FRANCISCO. Flowers? (ROBERTING nods.) Twenty-or thirty-peso flowers? (ROBERTING nods again.) Que hombre
este! When I was courting your mother I used to give her only mani or balut.
(DONA PETRA, about fifty-five,. enters and catches his last words.)
PETRA. Yes, I remember quite well, If you only knew what my mother used to say after you used to give me mani or
balut. "Ka kuriput naman!“ she'd say.

53. Literary Elements
Monologue
•A monologue is a long speech made by
one person.
•Soliloquy? A character alone on stage
reveals private thoughts.
•Aside? A character briefly expresses
private thoughts to the audience that
other characters on stage cannot hear.

54. Literary Elements
Conflict
•The internal (man vs.self) or
external struggle between
opposing forces, ideas, or interests
that create dramatic tension. (end of
part 1)

55. II. Technical Elements

56. Literary Elements
Setting
•The setting is where the
action takes place.

57. Technical Elements
Scenery
•The scenery is theatrical
equipment such as
curtains, backdrops, and
platforms to communicate
the environment. An
example might be trees to
show a forest
environment.

58. Technical Elements
• Props
• Props are any article
other than costumes or
scenery used as part of
a dramatic production.
An example might be a
table on the stage.

60. Technical Elements
• Sound and Music
• Sound is the effect an
audience hears during a
show, like the sound of rain.
• Music - vocal or instrumental
sounds (or both) combined in
such a way as to produce
beauty of form, harmony,
and expression of emotion.

61. Technical Elements
• Make-up
• Make-up is the use
of costumes, wigs
and body paint to
transform an actor
into a character.

62. Performance

63. Performance Elements
•Acting
Acting is how speaking
and moving help to
create characters.

64. Performance Elements
•Non-verbal Expression
Non-expression includes
gestures, facial expressions,
and movement.

65. Performance Elements
•Speaking
Speaking is vocal
expression, projection,
speaking style and diction.

67. Drama
Development/
Play Production

68. How should the team work?
Artistic Team
-Director – oversees the production, rehearses actors, plans actors’
movements
-Assistant Director- assists the Director
-Dramaturge - literary adviser in theater: a member of the staff of a
theater with mainly literary responsibilities, e.g. choosing the plays for
performance, editing and adapting texts, and writing program notes
-Stage Manager - somebody who manages backstage: an
assistant of the director of a play who supervises backstage activities
-Lights Designer – takes care of the light structure and design
-Sounds Designer/Music – carefully plan on what music or sound
effects to include
-Set and Props - decides how the stage will look like, gathers props
-Costume and Make-up - gathers appropriate costumes, decides on
each actors’ make up

69. How should the team work?
Production Team
-Production Manager - supervision of recording or filming: the
organization and supervision of the making of a movie,
broadcast, or recording, or the staging of a play
-Deputy PM(second in command)
-Marketing - responsible of selling the show
-Publicity and Playbill - poster advertising play: a poster
advertising a play or other theatrical performance (dated)
-House Manager with ushers- manages the house / auditorium
-Video/Documentation

70. COMPANY CALL
• Everyone in the production must
come (usually onstage during
play dates) for final instructions,
encouragement, and prayer.
• Before open house.
• Listen well.

71. HOUSE MANAGING
 Open house around 30-45 minutes before
show time (confirm with SM first).
Absolutely no outsiders before open house.
 House managers must be presentable,
dressed distinctly and friendly.
 The lobby must be clean and a simple exhibit
may be shown. Playbills may be given/sold.

72. HOUSE MANAGING
 There must be appropriate house
music.
 Sponsors/Donors should be named
during the open house period while the
audience waits for the show to start.
 House rules must be enumerated
several times before the show starts.

73. HOUSE MANAGING
• RESERVED seats sign must be taped
to seats for special guests (parents,
deans, teachers, etc.)
• House managers should kindly
request audience members to
refrain from using their CPs during
the show.

74. Sample Voice Over (V.O.)
 Welcome to the BSU GS LITT504 class production
of Wanted: A Chaperon by Wilfrido Ma
Guerrero. The show will start in 15 minutes.
 Here are the house rules:
 Please turn your mobile phones off or in silent
mode. Please refrain from using them once the
show starts.
 Pictures may be taken with prior permission
from the production manager. However, flash
photography is strictly prohibited.
 Eating and drinking is not allowed in the
auditorium.

75. Sample V.O.
• LITT504 would like to thank the following
for their support:
• BSU Community
• Dr. Amada Banaag
• Parents, Friends and Guests
• Gov. Vilma Santos-Recto
• Jollibee
• Sophie

76. Stage managing
• Stage manager must ensure that
no one is onstage during open
house before the show starts.
• Stage manager and production
manager must agree on the show
start time to be announced in the
house.

77. Stage managing
•All production staff
members must be in black
for set/scene changes.
•They must be invisible
workers.

78. CURTAIN CALL
Finale – Introduce Artistic and
Production Team to the audience
• Upbeat music
• Fast entrance and bows
• Happy actors
• Happy prod and artistic staff

80. Stage Plays
My Phil Lit Classes Produced

81. Malayan Colleges Laguna
Stage Plays
My Phil Lit Classes Produced

82. Stage Plays
My Phil Lit Classes Produced

83. Stage Plays
My Phil Lit Classes Produced

84. Theater Class Production
My COM124 Classes

85. Theater Class Production
My COM124 Classes

86. History of Philippine Drama

87. Early forms of the
Philippine Drama:
 Duplo
 It was a poetical debate held by trained men
and women in the ninth night, the last night of
the mourning period for the dead.
 The male participants, bellacos , are the
heads of the game.

89. Early forms of the
Philippine Drama:
 Karagatan
 It was also a poetical debate like duplo, but its
participants were amateurs.
 The theme was all about a ring that fell into
the sea.

91. Early forms of the
Philippine Drama:
 1598- The first recorded drama was
staged in Cebu. It was a Comedia written
by Vicente Puche and was performed in
honor of Msgr. Pedro de Agurto, Cebu’s
first bishop.

93. Early forms of the
Philippine Drama:
 1609- Eleven year after,
another stage play portraying
The Life of Santa Barbara was
staged in Bicol.

94. Three Plays And
Two Street
Dramas That
Became Popular
During Spanish
Era:

95. 1. Cenakulo
 It is a very heavy drama shown in
relation to the life sacrifices and death f
Jesus Christ.
 It is like a passion play presented and
celebrated during the month of March or
April, depending upon the exact date of the
Holy Week.

96. 1. Cenakulo
 Two kinds of presenting
Cenakulo
a. Ablada – oral
b.Kantada – song

97. Cenakulo

99. 2. Moro-Moro
 It is a cloak-and-dagger play depicting the
wars between the Christians and the Muslims,
with the Christians always on the winning side.
 The first Moro-Moro was written by Fr.
Jeronimo Perez and was staged in manila in 1637,
to commemorate Governor General Consueras’
victory over the Muslims of Mindanao.

100. 2. Moro-Moro
Consueras’ victory over the Muslims of Mindanao.
 Since then, it has become the favorite play of
the people, especially during the town festivals.

101. Moro-Moro

102. 3. Zarzuela
 It is a melodrama with songs and dances that
have a three-in-one-act play.
 It is intended to make the mass feeling
towards love, fear, grief, sorrow or any
emotional reactions sublime. It sometimes shows
the political and social conditions of our country.

103. 3. Zarzuela
 Jose Rizal wrote a zarzuela entitled
Junto Al Pasig (Beside the Pasig). It was
staged at the Ateneo de Manila on
December 8, 1880 on the occasion of the
celebration of the Feast Day of the
Immaculate Conception, patron saint of the
college.

104. Zarzuela
Walang Sugat

105. 4. Moriones
 Morion festivals are a Lenten
ritual that is as colorful as it is
unique. It is celebrated every Holy Week in
Marinduque, an island at the southern
end of Luzon, particularly in the towns
of Boac, Gasan, and Mogpog.

106. 4. Moriones
 Morion means mask or visor which is the top
part of the medieval Roman armor covering the
face. It is this mask carved from dapdap wood
that is the focal point of the Moriones
celebration.
 The climax of the festival is the pugutan
ceremony held at noon of Easter Sunday.

107. Moriones

109. 5. Dinagyang /Ati-atihan
 It is a pagan ritual which has become an
annual affair that the natives look forward to
with great expectation.
 It is the most extravagant fiesta in the
Philippines celebrated in Iloilo City and Kalibo,
Aklan, and every third Sunday of January in
honor of the Infant Jesus.

110. Ati-Atihan

111. PHILIPPINE
CONTEMPORAR
Y DRAMA
PHILIPPINE
CONTEMPORAR
Y DRAMA

112. Philippine Drama in English
• Philippine writing in English has perhaps made
its slowest progress in the drama.
• Until about the last decade, the names
prominent in this field can be counted briefly

113. Reasons for the Slow Progress
of Philippine Drama
1.has to be seen and heard
2. production demands the
competence and integrity of a
host of people other than the
playwright himself.
3.problem of attracting audience

114. Prominent Names in Philippine
Contemporary Drama
• Wilfrido Ma. Guerrero
• Severino Montano
• Alberto S. Florentino
• Wilfrido D. Nolledo
• Nick Joaquin

115. Organizations that contributed to the
development of Philippine drama:
1. Philippine Educational Theatre Association
(PETA)
2. Repertory Philippines
3. UP Repertory of Behn Cervantes
4. Teatro Filipino by Rolando Tinio

116. Filipino Plays and Playwrights

117. Nick Joaquin
• was a Filipino writer,
historian and
journalist.
• author of “A Portrait
of the Artist as
Filipino” which is
considered as the
most important
Filipino play in
English.
May 4, 1917 – April 29, 2004

118. A Portrait of the Artist as Filipino
• Set in the Filipino world of pre-World
War II Intramuros of Old Manila in
October 1941, the play explores the
many aspects of Philippine high
society by telling the story of the
Marasigan sisters, Candida and Paula,
and their father, the painter Don
Lorenzo Marasigan.
• The theme focuses on family conflict
and the amalgamation of old Filipino
identity and cultural character with
the arrival of contemporary
and Western ideals.
By Nick Joaquin

119. A Portrait of the Artist as Filipino
• It is about a great but impoverished
painter slowly dying along with the
Old Manila.
• It is about his daughters Candida
and Paula, two women in whom
youth and dreams have died but not
dignity and gentility, trying to
survive the ravages of poverty in an
old paternal home which their
brother and sister, Manolo and
Pepang want to sell.
By Nick Joaquin

120. A Portrait of the Artist as Filipino
• It is about the young go-getter of a jazz
pianist Tony Javier, wanting to make an
extra buck out of this situation of desperate
poverty getting caught in his own trap.
• It is about Don Perico, the Senator who
stopped writing poetry so he could earn a
living for his family.
• It is about Bitoy, the young journalist,
trying to interpret for himself and for us,
the paradoxes of his times and who takes
upon himself the poet’s mandate “to
remember and to sing.” It is about all of
them, their choices showing us as that “Life
is not as simple as it is in art.”
By Nick Joaquin

121. Wilfrido Ma. Guerrero
• He was a Filipino
playwright,
director, teacher
and theater artist.
He has written
over a hundred
plays, 41 of which
have been
published.
January 22, 1911 - April 28, 1995

122. Wilfrido Ma. Guerrero
• Several of his
plays have been
translated into
and produced in
Chinese, Italian,
Spanish, Tagalog,
Visayan, Ilocano
and Waray.
January 22, 1911 - April 28, 1995

123. Wilfrido Ma. Guerrero
• Six of his plays have
been produced
abroad:
– "Half an Hour in a
Convent"
– "Three Rats
– "Condemned"
– "One, Two, Three“
– "Wanted: A Chaperon"
January 22, 1911 - April 28, 1995

124. Wanted: A Chaperon
• The plot of the play centers
around a family of many
generations, and the difficulties
that arise from so many different
age groups living within one
household. In the story, a well
off couple have continuing
battles with their children
centering around family roles,
and the children's behavior. The
parents believe that the children
should have a chaperone.
By Wilfrido Ma. Guerrero

125. Wanted: A Chaperon
• The children disagree heartily,
believing that such a custom is
outdated, and that the parents are
being too strict, and perhaps a little
bourgeois to even suggest such a
thing. The conflicts also include the
children constantly asking their father
for money, even though they have
their own jobs. The father believes
that the children are irresponsible
with their finances, and believe that
they need to learn discipline.
By Wilfrido Ma. Guerrero

126. Wanted: A Chaperon
• The comedic style of the
performance and the
lessons within the story that
pertain to both teenagers
and their parents make it an
ideal teenage play.
• It is funny enough to be
enjoyed by everyone, yet
serious enough to actually
teach something to both
students, and the parents.
By Wilfrido Ma. Guerrero

127. Wanted: A Chaperon
By : Wilfrido Ma. Guerrero
An Excerpt
Class Activity :
A.Viewing Activity – Video Clip of the Play 32:17
A Production of my class in Philippine
Literature in English, HUM014-A73, Malayan
Colleges Laguna
B. LITT504 Class Role Play

128. WHY TEACH DRAMA?

129. Dramatic Arts education is an important
means of stimulating CREATIVITY IN
PROBLEM SOLVING. It can CHALLENGE
STUDENTS' PERCEPTIONS about their
world and about themselves.

130. Dramatic exploration can provide students with an outlet
for emotions, thoughts, and dreams that they might not
otherwise have means to express. A student can, if only
for a few moments, BECOME ANOTHER, explore a new
role, try out and experiment with various personal
choices and solutions to very real problems-problems
from their own life, or problems faced by characters in
literature or historical figures.

131. This can happen in a SAFE ATMOSPHERE,
where actions and consequences can be
examined, discussed, and in a very real sense
EXPERIENCED without the dangers and pitfalls
that such experimentation would obviously lead
to in the "real" world. This is perhaps the most
important reason for Dramatic Arts in schools.

132. Still, there is far more that Drama can do. At
the center of all Drama is
COMMUNICATIONCOMMUNICATION. Like all the arts, Drama
allows students to communicate with and
understand others in new ways. Perhaps
more than any other art form.

133. Drama also provides training in the very PRACTICAL
aspects of communication so necessary in today's
increasingly information-centered world. Students who
have participated in Dramatic activities are less likely to
have difficulty SPEAKING IN PUBLIC, will be more
PERSUASIVE in their communications, both written and
oral, will be better able to put themselves into others'
shoes and relate to them, and will have a more
POSITIVE, CONFIDENT SELF IMAGE.

134. Participation in Dramatic activity requires
SELF CONTROL and DISCIPLINE that will
serve the student well in all aspects of life.
Students in Drama will learn to WORK
TOGETHER, to cooperate, to find the best
way for each member of a group to
contribute, and to listen to and accept the
viewpoints and contributions of others.

135. NO ART FORM IS MORE TRULY
COLLABORATIVE. Drama is an
important tool for preparing
students to live and work in a world
that is increasingly TEAM-
ORIENTED rather than hierarchical.

136. Drama also helps students
develop TOLERANCE and
EMPATHY. In order to play a
role competently, an actor must
be able to fully inhabit another's
soul.

137. An actor must be able to really understand how
the world looks through another person's eyes.
This does not mean he must agree with every
character. An actor can play Hitler without
becoming a Nazi. But he cannot play Hitler
without understanding his point of view, without
empathy. In today's increasingly polarized and
intolerant culture, the ability to understand others'
motives and choices is critical.

138. Drama can help build
responsible global citizens.

139. In addition to its intrinsic educational value,
Drama can REINFORCE the rest of the school
curriculum. Since communication and empathy
are central to Drama, a student who has explored
like in the Drama classroom will be better able to
UNDERSTAND IDEAS in History and Current
Events.

140. He will be able to put himself into the
shoes of figures in history and
literature, to UNDERSTAND THE WAY
HUMAN BEINGS INTERACT. The link
between Dramatic Arts and subjects
such as English, History, Social
Studies, and related areas is obvious.

141. The study of literature would be impossible
without Drama. There are important periods of
our collective literary history in which virtually all
of the surviving literature is dramatic. More
importantly, Drama can be used to promote
ACTIVE LEARNING in any subject-to give
students a KINESTHETIC and EMPATHETIC
understanding as well as an intellectual
understanding of a topic.

142. Studies have
shown again and
again that this
approach yields
greater DEPTH OF
UNDERSTANDING
and a marked
improvement in
retention.

143. Drama accomplishes several goals at once-
ENRICHING students' school experience through
Art as well as REINFORCING traditional
academics.*

144. 25 landmark plays of Philippine theater
1. ‘Orosman at Zafira’ (ca. 1857), Francisco Baltazar
2. ‘Tanikalang Guinto’ (1902), Juan Abad
3. ‘Walang Sugat’ (1902), Severino
Reyes, music by Fulgencio
Tolentino
4. ‘Bagong Cristo’ (1907), Aurelio Tolentino
By: Dennis N. Marasigan
@inquirerdotnet
Philippine Daily Inquirer
10:15 AM August 23rd, 2014

145. 5.‘Dalagang Bukid’ (1919), Hermogenes Ilagan,
music by Leon Ignacio
6. ‘Half an Hour in a Convent’ (1934),
Wilfrido Ma. Guerrero
7. ‘The Love of Leonor Rivera’ (1953),
Severino Montano
8. ‘The World is an Apple’ (1955), Alberto
Florentino

146. 9. ‘A Portrait of the Artist as Filipino’ (1955), Nick
Joaquin
10. ‘Ang Paglilitis ni Mang Serapio’ (1969),
Paul Dumol
11. ‘Hanggang Dito na Lamang at Maraming Salamat’
(1974), Orlando Nadres
12. ‘Mga Kuwentong Maranao’ (1974),
Sining Kambayoka Ensemble

147. 13. ‘Bayan-Bayanan’ (1975), Bienvenido Noriega Jr.
14. ‘Pagsambang Bayan’ (1977), Bonifacio Ilagan
15. ‘Ang Paglalakbay ni Sisa: Isang Noh sa Laguna’
(1977), Amelia Lapeña Bonifacio
16. ‘Mayo A-Beinte Uno at Iba pang Kabanata’ (1978), Al Santos
17. ‘Juan Tamban’ (1979), Malou Leviste Jacob
18. ‘May-i, May-i’ (1979), Eman Lacaba, Al Santos, Malou
Leviste Jacob

148. 19. ‘May Katwiran ang Katwiran’ (1981), Rolando Tinio
19. ‘May Katwiran ang Katwiran’ (1981), Rolando Tinio
21. ‘Pilipinas Circa 1907’ (1982), Nicanor G. Tiongson
22. ‘Buwan at Baril sa Eb Major’ (1985), Chris Millado
23. ‘St. Louis Loves Dem Filipinos’ (1994), Floy Quintos
24. ‘Kalantiaw’ (1994), Rene O. Villanueva
25. ‘Insiang’ (2003), Mario O’Hara

149. And seven more plays, which could easily replace
any one already in this list:
1. “Panahon ni Cristy” (1978), Edgardo Maranan
2. “In Dis Korner” (1978), Reuel Aguila
3. “Canuplin: Isang Improbisasyon sa Buhay at
mga Palabas ng Isang Komedyanteng Pilipino”
(1980), Manuel Pambid
4. “In My Father’s House” (1989), Elsa Martinez
Coscolluela
5. “DH” (1992), Ricardo Lee
6. “Radiya Mangandiri” (1993), Rody Vera
7. “Noli Me Tangere” (1995), Bienvenido Lumbera

150. Thank you for your attention.

151. Discussant : Christine Joanne Librero-Desacado
Malayan Colleges Laguna
email : cjldesacad@mcl.edu.ph