Category Archive for: kultura

kultura

brecht notwithstanding

The risk any theater adaptation takes is the fact of intertextuality. One person will enter the theater with no knowledge whatsoever of the theatrical context(s) of the play she is about to see. That person may be seated next to a theater scholar, adept in drama theories and well read on dramatic texts. At the back row are audience members who are just there for the ride, with no real interest in theater, but are there because one of the lead actors is good looking – or they’re related to him.

Unlike the spectatorship of cinema, where formulas become the standard of enjoyment or non-enjoyment, in theater many other things inform appreciation. There is the drama as written text, the text as executed onstage, and every other process that exists in between: the actors’ performances, the sounds of the stage, production design, extraneous elements of (in)formality and propriety, the communal audience experience, audience expectation.

Here lies the success and the failure of any theater adaptation such as Tanghalang Pilipino’s Madonna Brava ng Mindanao. Based on German playwright Bertolt Brecht’s Mother Courage and her children (written 1939, staged 1941), Don Pagusara’s adaptation had way too much going against it: Brecht’s original defined the epic drama, spanning at it does 12 years, and using as it does a 30-year war as context.  (more…)

kultura

kawayan de guia: no compromises

a version of this was published in the Philippine Daily Inquirer, October 26 2009.

Kawayan de Guia is clear about his art. It’s his way of talking to the world, engaging it in dialogue, transcending its limits. It’s his upbringing, his lifeblood, his provincial context that is Baguio. It’s his grounding in history, his way of telling stories, his political stance.

Speaking this concretely and categorically about his art, Kawayan just might be the more uncompromising of our contemporary young artists. To explain one’s art may after all be seen as violent to one’s works, if not the end to one’s career: isn’t the appeal of art precisely its lack of clear reason?

But Kawayan tells it otherwise. The human condition is central to his work, cutting across the tragic and comic towards the boastful, highlighting the notions of progress and development as falsities, bringing to the fore the need to see a bigger picture. To Kawayan, the structures that abound in our world are but perspectives that need to be broken down into pieces, if only to take discussions to another place, that’s anywhere but here. (more…)

kultura

the young and the giddy

a version of this was published in the Philippine Daily Inquirer’s Arts and Books section, October 26 2009.

She was obviously overwhelmed silly by the fact that she was chosen as one of ten most exciting young artists. Which is no surprise really. Dina Gadia is the youngest of the group at 23, and just might have more going for her other than her age: she has a clear sense of what it is that interests her, where her art must lie, and what it is she can do without – or must necessarily rebel against. (more…)

kultura

the artist as activist

a version of this was published in the Philippine Daily Inquirer‘s Arts and Books section, October 26 2009.

Kiri Dalena looks at me and acknowledges familiarity – here was no high and mighty, isolated and removed artist. After establishing the lines that bound us, she jokingly whispers a rhetorical question, “I am not young or exciting … why am I here?”

There is nothing here in fact but self-deprecation, and a whole lot of humility. Kiri talks about her art, diverse as it is, as if it is all a matter of life and death. No, not in the romantic sense of dying for an art project, or having a life unworthy of being lived without art. There is no romantic notions of being artist here, no I’m-an-artist-hear-me-roar bravado. Instead, Kiri speaks in a hushed voice that belies a very clear sense of perspective. Maybe even a stark notion of her function as artist. (more…)

kultura

N.O.A.H. survives the flood

a version of this was published in the Philippine Daily Inquirer, in the Arts and Books Section, September 21 2009.

There is nothing like a Christian musical for kids that can get any adult-with-a-heart clapping with glee and stomping her foot to the beat. Trumpets’ N.O.A.H., No Ordinary Aquatic Habitat surprisingly did just this. I had braced myself for a born-again musical, i.e., one with a lot of preaching and conventional praise songs. Yet, despite some of these, Trumpets still managed to surprise me, what with its wit and humor, and even more so with some political consciousness – in a Christian musical? God forbid!

In N.O.A.H., while God might have been everywhere and anywhere, speaking to Noah from the heavens, he was also quite political. Case in point: when the flood finally cleans up the world, the narrator (Sam Concepcion) doesn’t just talk about the literal trash and decadence that was washed away, he also mentions corruption and politicking. Add to this the fact that one of the antagonists who first appears onstage looks like GMA, complete with the hairdo and the mole, as well as a placard that screams “Vote Me!” and you’ve got a whole lotta politics going on here. (more…)