Beruflich Dokumente
Kultur Dokumente
Comedia de santo
(lives of saints)
VICENTE SOTTO
CONVENTIONS
DRAMA TEXT:
• Draws stories from European
romances
• Written by community poets
• Stories of kings and queens, sultans
and caliphs, princes and princesses,
generals and knights, and love and
courtship, as well as challenges,
battles, and magic and miracles.
STORY OF PRINSESA
MIRAMAR AT
PRINSIPE LEANDRO
PRINSESA MIRAMAR AT PRINSIPE LEANDRO (SUMMARY)
• TREATY: A truce was made after the children of the two leaders
plead to come to an agreement and establish peace.
• REPENTANCE: In deep regret of his anger, King Felipo kills himself.
• LAW OF THE LAND: Before the acceptance of the marriage, the
Moro must first be baptized.
• QUESTION: Everyone agrees to be baptized, except the Sultan. He
taunts by asking if the Christian God is the true one, why does He
not bring King Felipo back to life.
• RESSURECTED: Lighting strikes the king’s corpse and revives him.
PLOT: CHARACTERS:
- Revolves around Moros and Christians. - hierarchy: rulers, heirs, generals, subordinates
Presumed to be enemies - Most of the time, the protagonist is a prince
- Conflict arises when one of each faith
- Other princes and princesses provide subplots
falls in love with the other
- Other complications to thicken the plot - Rulers: declaration of war; women: emotion
- Always ends in conversation, and beauty
reconciliation, and order - Pusong/lokayo: clown, social commentator
VERSE:
Plosa: Twelve-syllable rhyming quatrains Monorhyme: is constant and consistent
Example:
Example:
(LOVE SCENE) Mga kamahalan
Walang kailangan na mabuhay pa ako Miramar, paalam
Kung ikaw ay wala mahal kong Leandro
Tapos na ang lahat, tapos na irog ko
Ang kaligayahan layaw ko sa mundo
• Love is the basal values of honor FLORITA Moro ma’t Kristiyano sa gawang pag-ibig
and respect Dapat na igalang ang pusong nais.
GARDEN SETTING/
STAGE FOREST SETTING
STREET OR MOUNTAIN
COSTUMES AND SPECIAL EFFFECTS
ROYALTIES’
MEN’S COSTUMES COSTUMES
WOMEN’S
COSTUME
PRODUCTION
• Prominent members (Hermano and Hermana Mayor)
• Older Komedyantes (director, apuntador, director de
musica, director de magia, traspunte)
• Young members
• Merchants and businessmen
• Craftsmen and seamstresses
• Rest of the community
MESSAGES OF TRADITIONAL KOMEDYA
https://www.youtube.com/watch?v=rVR8-Ehpc6s
INDIGENIZATION OF KOMEDYA
If one were to look back at the history of komedya, the process of
indigenization seems to have been effected in five ways:
1. According to Isabelo de los Reyes, who defended the komedya against
the attacks of Severino Reyes and other sarsuwelistas in 1902, the
komedya may have been brought here by Spain but it has become truly
Filipino.
2. In using the native languages, the komedya necessarily got indigenize
to some degree, localized even, depending on the specific language
used.
INDIGENIZATION OF KOMEDYA
3. There were attempts on the part of some writers to use the komedya
as a way of making statements about the colonial situation under Spain.
4. If censorship could ban a komedya from the stage, no one, not even
the friar or alferez, could censor the words and antics of the pusong or
locayo.
5. The komedya was indigenized because it played a vital role in the way
the natives related to the sacred.
REVITALIZATION OF KOMEDYA
• Komedya is called upon to also play a larger role in the creation of
a national theatre in particular, and in the building of the nation in
general.
• It is a cultural form that the country cannot allow to simply die or
fade away.
• At the same time, however, the komedya, like other traditional
forms, cannot be simply preserved the way it is.
• In addition, the new komedya needs to adapt to the hectic pace of
urban life.
• In 1962, progressive civic leaders of San Dionisio, Parañaque, headed by Dr.
Angel Mendoza, wanted to introduces changes into the traditional komedya.
• To pump new blood into the komedya, Dr. Mendoza asked Dr. Felicidad
Mendoza to direct the new script.
"Rodante"
"Princesa Perlita"
• In 1994, a new experiment at creating the new komedya was staged in
Dongalo, Parañaque, this time with the children of the Dongalo Elem. School.
• Like new komedya on the open-air entablado, new komedya in a closed venue
requires script and production to be trimmed down to just a two or three-hour
performance which is the normal length of a performance in the modern
theatre.
REVITALIZATION
CCP in 1990: lauched and
implemented a carefully planned
and systematic effort to revitalize
the komedya. The Komedya ng
San Dionisio (TKSD) theater group
was made the focus of the effort.
Torneo I
Phase I CCP (CULTURAL CENTER
OF THE PHILIPPINES)
Phase II
REVITALIZATION
The CCP effort at revitalizing the komedya was anchored on the
conviction that the komedya as theater form could be invigorated
by:
1. The writing of new komedya at the community level, using
aesthetics that conform to community standards.
2. Replacing the threadbare and culturally offensive theme of the
conversion of Muslims to Christianity with themes dealing with more
significant and/or contemporary problems and issues.
3. Conforming to a more modern approach to playwright through.
4. Preserving the characteristic features of the komedya.
BAGONG KOMEDYA (PUTRI ANAK)
• One of the year-long series of events celebrating the UP College of Music’s
centennial year, Putri Anak features a composite text from the celestial
maiden narratives common in South East Asian cultures and showcases
performance elements adapted mostly from the San Dionisio Komedya,
which includes, among others, the dicho, loa, marcha, pasadoble, sintahan,
laban, and gran batalla.
• The production also showcases Komedya movements, enhanced by Filipino
and Southeast Asian performance traditions, with inspiration taken from
Indonesia’s Tari Java (Javanese court dance), India’s Bharata Natyam, and
the martial arts sagayan, arnis, and pencak silat.
BAGONG KOMEDYA (PUTRI ANAK)
• Bagong Komedya responds to the need for a contemporary Filipino performance by
combining the rich music and performance traditions of the Philippines and its Asian
neighbors that will hopefully be appreciated by the more cosmopolitan taste of a
present-day audience, according to director and Asian theater scholar Jina C. Umali.
Angela Baguilat and Jeremy de la Cruz, the production’s co-directors, created the
choreography to the music composed by Verne de la Peña.
• Putri Anak seeks to present a theatre of peace and unity, free of religion-based
discrimination and violence, and which instead celebrates Asian culture, heritage and
artistic expression.