This paper was presented at the Nation and Culture Conference commemorating the 150th anniversary of Jose Rizal last September 2011. Now published as "Nation and Culture: The Proceedings" edited by Thelma Arambulo.
Wednesday, April 25, 2012
Theater in a "Damaged Culture"
This paper was presented at the Nation and Culture Conference commemorating the 150th anniversary of Jose Rizal last September 2011. Now published as "Nation and Culture: The Proceedings" edited by Thelma Arambulo.
Monday, June 20, 2011
Plus 2 more posters form the Virgin Labfest 7
VALLEY MISSION CARE by Russel Legaspi, directed by Missy Maramara
Featuring: Siegfried Sepulveda, Mayen Estanero, Richard Cunanan
STREETLIGHT MANIFESTO by Mixcaela Villalon, directed by Ed Lacson
Featuring: Paolo O’Hara, Adrienne Vergara, Bong Cabrera, Ness Roque
Every night, a streetlight is the lone witness to the meetings between two hired killers responsible for the string of murders in a particular area in Manila— and every day, dead bodies are left underneath it for a police detective to find, and a young journalist to investigate and report. Streetlight Manifesto tackles the subjective nature of truth and justice, and frames the discussion on dignity of work amist the backdrop of Manila’s business casual culture of violence. But for every day the investigation remains unresolved, the body count continues to rise.
The Virgin Labfest Posters 1
ISANG GABI BAGO MAGBUKAS ANG “A PORTRAIT OF THE ARTIST AS FILIPINO” NI NICK JOAQUIN by Carlo Pacolor Garcia, directed by Paul Santiago
Featuring: Angelina Kanapi, Che Ramos, Christian Bautista, Roeder Camañag, Lao rodriguez, Olive Nieto, Chromewell Cosio, Kathlyn Castillo, Acey Aguilar, Yong Tapang, Roli Inocencio, Skyzx Labastilla, Russel Legaspi, Irene Delarmente, Joel Saracho
ONDOY by Remi Velasco , directed by Ed Lacson
Featuring: Cai Cortez, Jelson Bay
Featuring: Mary Jane Alejo, Katte Sabata, Chic San Agustin
A mother, wife and daughter remain in the realm of resistance to seek justice. Each has lost a loved one from the tragic sinking of MV Princess of the Stars where 773 people died. One of the worst maritime disasters in recent years, the vessel sank because of the shipping line’s insistence to sail amidst a looming typhoon.
Three years since the sinking, the women persist. However, they slowly forget. Time consumes them, great powers offer bribes, the cost of the struggle becomes insurmountable. Most of all, the memory of pain stabs each time it is remembered. Some succumb to the solace of oblivion, leaving the seemingly endless battle while some remain amidst certain pain and uncertain answers.
KAFATIRAN by Ricardo Novenario, directed by JK Anicoche
Featuring: Acey Aguilar, Abner Delina, Ian Lomongo, Marco Viana
Kafatiran is a story of love and freedom. At the dawn of the Philippine revolution, another revolution is brewing. Deep within the ranks of the Katipunan is a special faction composed of young men who are smart, art-loving, and sometimes a bit too mild-mannered. Young Antonino Corpus wants to join this special faction and goes through some tests to know if he does belong into this group. Unfortunately, the night of Antonino’s recruitment is also the night that sparks the Philippine revolution and the recruitment house was surrounded by several guardia civil. Should they leave the place where they are free to be themselves so that they can attain true freedom? Should they finally come out?
BAWAL TUMAWID, NAKAMAMATAY written and directed by Joey Paras
Featuring: Leo Rialp, Kiki Baento, Mark Jones Simbit, Vera Capirak, Bham Sumooc, Eva Madera, Giovanni Cadag, Floid Zulueta, Biboy Ramirez
It is February 14, Valentine`s Day. Eva is trapped in a bus stop along EDSA. Desperately trying to get a cab to make it to her father`s burial in La Loma, she asks passersby how she could make it to her destination. She sees an easy access to make it to the other lane ---an opening in the middle of the highway that bears this sign: BAWAL TUMAWID, NAKAMAMATAY. In the meantime, Eva meets a stranger, an old carpenter named Mang Caloy. The old man gives her options on how to make it to La Loma but she remains indecisive.
Wednesday, September 22, 2010
Farewell, Gen-san!
Kiyokazu Yamamoto, one of the founding members of Black Tent Theater, Japan, dear dear friend, passed away last week, succumbing to lung cancer. Three days ago, PETA gave him a small tribute. This is my short contribution. I had a difficult time reading it to the small audience since I couldn’t fight back my tears. I’m still grieving. The sadness comes in small waves. Gen-san will be missed terribly.
When I first met Gen-san in 1981, I never thought it would turn into a friendship that would last for 30 years. I remember many things about him. I was 21 years old then and he was the jolly, funny, middle-aged, sweet-toothed Papa Gen as we called him then.
I got to know him better later in 1996 when he decided to come over to Manila, one day. He surprised us. He suddenly appeared at the PETA house (then in Lantana, Cubao). He said he was on vacation. The other members of Black Tent Theater (BTT) were in Avignon playing Woyzeck then. And he said he just wanted to explore possibilities of a collaboration with PETA. That one visit opened a whole chapter of the continuing bond between PETA and BTT that grew into a deep friendship. That chapter culminated in a fabulous collaborative production of Romeo and Juliet—which for me, even today, was the best collaborative project I have ever been involved in. Not only because of the fantastic rehearsal process that we were discovering along the way, but because of the talent, the fun, the learning we all shared. Papa Gen’s lone visit to PETA house in Lantana was the key to this wonderful experience.
Much of the production process of Romeo and Juliet was documented in still pictures, video, etc.
However, what couldn’t be documented was the time Gen and I spent writing the scenario in his hideaway, a small town by a lake, away from Tokyo, where he taught me how to fish, and, in between our scribbling of the scenario of the play, he would tell me how he loved fishing in Canada, and enumerated all the fish he had caught from trout to bass, distinguishing one catch from another. And that despite all the fish that he knew—he would still end up craving for samma. And while we finished eating the fish we caught that afternoon, we talked about the possible endings to our Romeo and Juliet, while dishing up edamame beans as he had his beer.
What wasn't documented was, on the way home, Gen took me to a small restaurant and asked if I ever tasted black natto. And had me taste them and waiting for me to throw up and take back all I’ve said about how much I loved it. And how his eyes widened in silly admiration when I finished the serving.
What wasn’t caught on video was when one time he asked me how it felt to be gay. That maybe he might want to try becoming one, now that he was old and thought that having sex didn’t make that much of a difference whether it was with a woman or a man. And I remember laughing and asking if probably it was too late for him to do that… and then slowly wondering if he was serious but never got to push that issue any further.
What wasn’t caught on video was when he took us one night in Saito’s pad and we had a Kurosawa movie marathon while he annotated his own reviews of the early works of this great man. When he introduced me to the stories of Kenji Miyazawa, and told me why he preferred Kawabata to Mishima. And I remember one time asking him why many great Japanese writers had attempted suicide—I can’t remember what his explanation was anymore. And I remember him handing me a Margaret Atwood novel which he couldn’t bother to read since it was in English. Papa Gen, I read it. I would have wanted to tell you the story. But it doesn’t really matter. And anyway it wasn’t as great as your little stories about food, sweets, fish, literature, theater, film, Ed McBain, your wife Napa and your daughter Aya-chan, your wonder and fascination about new things you’ve learned about the Philippines, your commitment to your art, so many things you got interested in, so many things you wanted to talk about—and we did talk about it while you juggled with the handful of English you knew. And even if we didn’t understand each other many times, it didn’t matter as long as we understood each other here in our hearts. It was the company we had, knowing that no matter what we said we knew we weren’t going to hurt each other because we cared for each other, because that’s the way friends really are.
What wasn’t caught on video was your generosity. And I remember how much you appreciated it when we reciprocated that generosity. How much you enjoyed eating Philippine chicken and eggs saying how much they tasted better than those in Japan. How much you loved eating in Emerald Restaurant and the other chinese restaurants I brought you to.
The last time I saw Gen was when suddenly, again, he appeared at the PETA office, this time here in this building (Eymard Drive). Everyone was asking what brought you here, Gen. And like before, you said nothing really. That you were on vacation, again. No agenda. You had this new Canon digital SLR camera. And I remember you showing me all the pictures you took with it. And you handed me the copy of the play, Kitchen Medea—a monologue you wrote which Yoshi directed and Mailes acted for the Virgin Labfest. We kept asking what you wanted to do during this vacation—and you answered vaguely. That you just wanted to spend time with friends.
It was only after you left that we learned why. It was really to say farewell, for you sensed that you might never see us again. It was better we saw you happy, you probably thought. It was better we remembered you as the same jolly and gentle Papa Gen whose great great mind you always tried disguising with an innocent silliness. So Gen, that’s how I will always remember you. This last lone trip you made to Manila to visit us, just to see us one last time, was your gallant way of goodbye. Even up to the end, Papa Gen, you were such a gracious, gracious man. With deep respect and lots of hugs and kisses.
Thursday, August 12, 2010
August, the ghost month
Wednesday, July 28, 2010
hopeless romantic (2)
In defense of romantics
but is it a malady at all? could it be a genetic propensity or an intrinsic characteristic of the bold who are never satisfied with the ordinary, the predictable, the average. foolish romantics are deemed foolish by their envious neighbors when they meet their doom and yet one would think whether they hadn’t expected that impending tragic outcome. Hadn’t these foolish romantics dared to see that ultimate outcome straight in the eye? Even death could blink at their determination. When all have retreated in fear, or, at the last minute, recanted their claim of passion– the foolish romantics ready to have their heads bashed in, unfazed by humiliation and ridicule, assuming a quixotic air, relentless and resolute, view this “foolishness” as a heroic plunge into the depths thus fulfilling the most noble task of dying for a cause. whatever cause. Love? Revolution? – anyything that pushes one to the brink, oblivious of death.
romantics have the highest heroic sense. it is they who dare ask why things are so and it is they who push the limits set by the status quo. it is they who conjure the vision of a world outside the box. who could not be satisfied with what is given, unable to bear the monotony of cycles or the security of the herd. Thus romantics are, by nature alone and shall forever be lonely despite people who love them.
And in literature they abound. Great writers have paid tribute to them. Ophelia might be the most tragic of Shakepeare’s hopeless devoted romantics. confused and bewildered she goes mad and flings herself into the lake. Young Werther has roused the emotions of much of Europe when Goethe published his story. Young men have emulated Werther’s despair, and in his death, many perceived as victory over unrequited desire. And what about Thomas Mann’s Aschenbach wasting away in Venice over his obsession with beauty in the form of a young man?
the French have mastered re-telling the stories of these foolish romantics. From Victor Hugo’s hunchback to the more recent filimng of Jean de Florette/Manon of the Springs. There’s a bittersweet scene where a peasant has gone insanely in love with Manon, that he sewed her ribbon onto his chest, near his heart– and it stuck to his chest till he died.
surely it can’t be a sickness? It is embedded in our hearts. whether we choose to indulge in this passion or not may be triggered is entirely up to us. The object may not necessarily be someone. it could be an ideology, a scientific discovery, art, an inexpressible religious experience. and yes, when the romantic is assailed by all these, time will stand still.
But i am, of course, exaggerating so as to ingratiate myself among these larger than life luminaries. for I am not one of them entirely. I do allow myself to indulge in this passion and yet up to a certain degree. i fall short of the heroic and so all I could do is admire and adore those who are really hopeless and severe. and yet i do feel the same pain, the same intensity. But my will is much weaker than these who have dared to walk past the forbidden line.
Saturday, July 24, 2010
hopeless romantic (1)
hopeless romantic (1)
hopeless romantic. it’s a label tagged over and over again for people who are so much into falling in love– no matter who the object of desire is. pathetic little creatures we are. we dwell in our fantasies. we spin splendid scenarios of intimacies clutching our pillows when we’re in bed, talking to ourselves while we take long walks, collecting daydreams, relishing that tingle of pain that scratches our hearts when we recall a sweet memory. it’s a sickness that I catch less and less now. But when I do catch it (yes, it’s like flu), the intensity is much the same.
I’ve known some people who can easily brush this malady aside. Is there a vitamin that somehow strengthens one’s resistance to it? In fact I think we, hopeless romantics are very few in proportion. We are the stuff films and plays and a host of mediocre tv crap are made of. We are the lifeblood of this otherwise drab existence. and yet others who have managed to keep this passion at bay would, I imagine, laugh at us for being idiots.
i have always believed that amorous love– this feeling, this passion is at its most magnificent when it is without dignity. which paradoxically, by virtue of that lack, in fact, gives it a higher form of dignity instead. My example would be victor hugo’s hapless lonely daughter gone insane over a soldier who didn’t love her. adele, immortalized in truffaut’s the story of adele h. plunged into doing undignifying things for the object of a love that she knows will never be hers. and at the film's end, i would be awestruck by how she had destroyed herself almost willfully for love. and this very fantasy fascinates me. and continues to fascinate me. how much can I really do for love (that song in chorus line comes to mind– i told you– it could get divinely profound or awfully cheesy– it doesn’t matter, this is my blog!) ?
how many times have i been in that similar situation, licking the wounds I inflicted upon myself. painfully deciding to set free the object/s of my desire.
my friends roll their eyes. I don’t have their sympathies. they know I love the feeling of being smitten and getting hurt and going through the rigmarole of unrequited affections. it’s an idiotic state I will avidly get into whenever i get the chance. the risks can get very high indeed. i am beginning to believe it’s giving me the lower back pain. and yet I willingly dive into the murky pool, unmindful of consequences to me, especially.
I watched another french movie about four years ago. I forgot the title. (can anyone supply?) I remember the very first scene: a female cat was in terrific heat and she was quivering in awful passionate cringing desire. it was the story of a married woman who falls madly in love with a rather dispassionate NGO volunteer. when the guy leaves her she suffers a breakdown. Unable to function, she goes into a terrible depression (not unlike the cat in the film's opening credits). she chances upon reading about this obscure Greek myth. there was this cliff where the god Apollo throws hopelessly languid mortals into the sea to cure them of their lovesickness. On one occasion, she goes to Greece with a friend and finds this cliff. she plunges into the water. Her friend thinking that she has committed suicide shouts for help. After a long while, we see her resurface, and immediately we know she has just been cured.
that’s almost what it will take for me to relieve me of this awfully painful yet sweet malady, whenever it comes and comes unrequited. now i realize why i take to swimming much too much. back to the pool.