kultura

The Fluid re-write

It seems the only way to start this review is to acknowledge – and praise – the Technical Theater Program Batch 111 students of Benilde for having dared and successfully staged and produced 2014’s Fluid. Were the technical aspects of the production the only point, then this was quite a successful theatrical debut for this batch of students.

It would also, for the most part, be a successful re-write for contemporary times, something that playwright Floy Quintos talks about in his notes for the production. One is reminded by this re-write that many things about art making and production in this country continue to be true 10 years hence. Many things might need re-writing, but the system itself just evolves into viciousness, or devolves into the superficiality that capital demands.  (more…)

kultura

Kleptomaniacs*

I tend to imagine that these times of political and socio-economic crises demand of creative work an amount of relevance, where it is easy to pinpoint films and TV shows and writing that tends towards escapism, refusing to speak of issues that are urgent and important.

But escapism is also exactly what we need in times like these, when only the wealthy minority can live oblivious to the rising cost of basic goods and the utter lack of public services, when only the rich might navigate nation and not see the majority who are living below the poverty line. It makes sense to the rest of us who live each day struggling to make ends meet to want to escape by watching Transformers, or uh, Sarah and Coco in Maybe This Time (walang basagan ng trip). (more…)

komentaryo

Downward spiral*

On doctor-ordered isolation (nothing infectious, just radioactive, long story) and totally missed the June 12 rallies. I would’ve gone as an individual, probably brought along my parents, reminiscent of how we had gone to too many-an-anti-Erap- and anti-GMA-rally in the last decade or so.

But maybe it was good to have been kept away this time around, to have watched it happening without knowing exactly what went into the planning and organizing. It allows for a sense, too, of how limited and limitless the efforts, how diverse and different the groups are, and how it all looks and sounds from the outside.

And how those slogans and soundbites work vis a vis this government’s that has –admit it or not – turned more and more defensive at every turn. (more…)

komentaryo

Freedom*

One rarely thinks about one’s freedoms until one feels it is being impinged upon, where one is being told of the price you pay for insisting on your right to free speech and independent thought.

In the course of this government’s reign in Malacañang, and despite its grand proclamations about how this is a democracy – for look at how they let critics critique and rallies happen! – I have thought more and more about the mortality of the freedoms we hold dear.

I realize that sometimes we so believe that oppression and repression can only wear the same clothes, invoke the same proclamations, that we fail to see how our freedoms are sacrificed as a matter of course, every day, in the more insidious ways that we do not talk about, sometimes, can’t even imagine. (more…)

kultura

notes on Gawad Buhay, democratization, and the anxiety of smallness

this year was the first time i even cared enough to go to Gawad Buhay, and that is really because of a good three things: my love for Tuxqs Rutaquio, my love of Layeta Bucoy, and my new-found discovery of and respect for the kind of hard work that Tanghalang Pilipino’s Actors Company stands for.

which is of course to wear my heart on my sleeve (obvious ba), and really to point at some of my good ol’ biases, the kind that i’ve always had and have never denied having. anyone who was reading my theater reviews from the beginning (i.e., 2009) would know that i had much respect for the work of Rutaquio and Bucoy (as director-playwright tandem), long before i came to know them as people (which was mostly this year). i had also done reviews of the work of AC’s Tadioan long before he even became the monolith of an actor that he has become.

i’d like to think these biases do not diminish my own thoughts about Gawad Buhay’s limitations, which i feel should / can be fixed at this point — democratization is the word i like to use — as a matter of actually and truly being about all of the theater community, and not just the few who are willing to become part of Philstage. yes, Gawad Buhay is not / cannot be a measure of the year that was in Philippine theater. because it is not looking at all of Philippine theater.  (more…)