REVIEWER in 21st CENTURY LITERATURE (AutoRecovered).docx

**REVIEWER in 21^st^ CENTURY LITERATURE** Module 1: MAPPING OUR LITERARY PAST, PRESENT, and FUTURE: Philippine Precolonial Literature -- brimming which a tradition of oral literature, weaved with countless myths and legends to explain certain phenomena in life. Proverbs -- practical observation...

**REVIEWER in 21^st^ CENTURY LITERATURE** Module 1: MAPPING OUR LITERARY PAST, PRESENT, and FUTURE: Philippine Precolonial Literature -- brimming which a tradition of oral literature, weaved with countless myths and legends to explain certain phenomena in life. Proverbs -- practical observations and philosophy of everyday life that are written in a rhyming scheme. Teaches basic skills in surviving local life Riddles -- they demand an answer and are used to test the wits of those who are listening to them, usually riddles (bugtong) Folksongs -- are beautiful songs that are informal expressions of our ancestors' experiences in life. Range from courtship (harana), to lullabies, harvest, funerals, and others Tales -- stories of origin for certain places, their names and creation. Also known as myths and legends. Epics -- are long-winded poems about a hero and his adventures and misadvantages. Usually tells of a male hero who is born with pleasing qualities that your ancestors like in a person and who also has superhuman capabilities. Spanish Colonial Philippine Literature -- when Spaniards came, it then centered on the Christian faith, and the stories about natural phenomena suddenly became all about the lives of saints and other religious hymes. Corrido -- is a legendary religious narrative form that usually details the lives of saints or the history of a tradition. Awit -- is a chivalric poem about a hero, usually about a saint. It is also usually sung and used in religious processions. Pasyon -- a narrative poem about Jesus Christ, beginning from his birth and up to his death. Cenaculo -- is the dramatization of the passion of Christ, highlights the sufferings and death of Jesus Christ. Moro-Moro -- is a blood-and-thunder melodrama depicting the conflict of Christians and Muslims. Carillo -- is a play that uses shadows as its main spectacle, made from animating figures made from cardboard. Tibag -- is the dramatic reenactment of St. Helena's search for the Holy Cross. Duplo or Karagatan -- are native dramas that are connected to Catholic mourning rituals and harvest celebrations. Zarzuela -- are musical comedies or melodramas that deal with elemental passions of human beings. MODULE 2: PHILIPPINE POETRY: ITS FORM, LANGUAGE, AND SPEECH \- In the early 1900s, Filipino poetry celebrated romanticism, and several poems about love flourished. *Senses* and *images* are used by the writers to describe their impressions of their topic or object of writing. Introduction to Imagery -- the use of descriptive language that appeals to the senses - Visual Imagery -- what the writer wants you to see - Olfactory Imagery -- what the writer wants you to smell - Gustatory Imagery -- what the writer wants you to taste - Tactile Imagery -- what the writer wants you to feel - Auditory Imagery -- what the writer wants you to hear Diction -- is the denotative and connotative meaning of the words in a sentence, phrase, paragraph, or poem. Rhyme Scheme -- the way the author arranges words, meters, lines, and stanzas to create a coherent sound when the poem is read aloud. *Carlos Angeles* -- born on May 25 1921, Leyte. His poetry collection, *Stun of Jewels,* won the Republic Cultural Heritage Awards in Literature back in 1964. "Gabu" was the poem he made that was widely loved by Filipino's. Word Order -- either the natural or unnatural arrangement of words in a poem. A poet may use a word grammatically or not-often called as *poetic license*-and may invent words too. Module 3: THE LANDSCAPE OF PHILIPPINE FICTION Fiction -- is a story that is entirely made up and is not true. At times, fiction may resemble reality, but it is purely circumstantial. Techniques of Fiction - **Character** - **Symbolism** -- a character may symbolize a community or an event in history. **The Plot Structure of Fiction** - **Exposition** -- is the beginning of the story, where the writer introduces the characters, describes the setting, and sometimes a brief background of the story. **Inciting Incident** -- small events and telltale signs that a conflict is about to happen. - **Rising Action** -- is when complications begins to occur. - **Climax** -- event in which the greatest tension in the story - **Falling Action** -- is the result of the climax, and it is the part when the things start falling into place for the characters. - **Resolution** -- reaching the conclusion of the story, the story reaches a premature *resolution* of conflicts, problems, and issues. - **Denouement** -- is a French term that means "ending". This is where the story reaches its final conclusion. MODULE 4: DRAMA IN LITERATURE (THE HISTORY OF PHILIPPINE THEATER) **Theater** - refers to the art form that involves the performance of plays, including the physical It encompasses all aspects of staging a performance, including acting, directing, set design, lighting, costumes, and audience \- it encompasses the entire process and experience of live performance. It includes various forms such as plays, musicals, opera, and even some forms of dance \- The term can also refer to the venue where performances take place, such as a theater building. **Drama** - It consists of written works (scripts) that are composed of dialogue and stage directions, meant to convey a story through performance. \- refers to the written text of a play or performance. It is a literary form, like poetry or prose, focused on depicting human conflict and emotions through dialogue and action. \- While drama can be read and analyzed as a literary work, it is ultimately designed to be brought to life in the theater **Summary:** - Theater is the art form and the space where performances occur, encompassing all elements of staging. - Drama is the literary genre or script that forms the basis of theatrical performance. **Introduction to Drama:** - drama is a genre of literature that is meant to be performed rather than just read, involves characters in conflict and action. - Its focus is to entertain, inform, and provoke thought through representation of real-life situations **Elements of Drama:** **Plot**: The sequence of events or actions in the drama. **Characters**: The people or beings who carry out the action. **Setting**: Where and when the story takes place. **Theme**: The central idea or message of the play. **Dialogue**: The spoken words between characters. **Conflict**: The struggle between opposing forces, which drives the plot Structure of a Play **Acts and Scenes**: Explain how plays are divided into acts and scenes. **Exposition**: Introduction of characters and setting. ** Rising Action**: Events that build up to the climax. **Climax**: The turning point or moment of highest tension. **Falling Action**: The events following the climax leading to resolution. **Resolution/Denouement**: The conclusion of the play where loose ends are tied up. Types of Drama ============== **Tragedy**: A serious play with a sad or tragic ending. **Comedy**: A light-hearted play with a happy ending. **Tragicomedy**: A mix of both tragedy and comedy. ** Melodrama**: A dramatic work that emphasizes plot over character, often with exaggerated emotions. **Farce**: A type of comedy that uses highly exaggerated and funny situations. THE HISTORY OF PHILIPPINE THEATER --------------------------------- A. Pre-Colonial Period ====================== Indigenous Rituals and Performances: - **Baybayin and Epic Poetry**: Early forms of storytelling using chanting and dance. - **Religious Rituals**: Performance of spiritual rituals by babaylans (spiritual leaders), often involving theatrical elements. - **Tribal Performances**: Cultural celebrations and storytelling in indigenous communities. **B. Spanish Colonial Period (1565-1898)** - **Komedyas**: Popular during religious festivals, featuring stories of saints, the lives of Jesus, and other religious narratives. - **Sarsuwela**: A musical drama that combines spoken dialogue with singing, often portraying social and political issues. - **Moro-Moro**: A theatrical form depicting battles between Christians and Muslims, reflecting the conflictsduring the Spanish colonization. - **Religious Influence**: Spanish missionaries used theater as a tool for religious conversion and education. - **Bodabil**: A variety show influenced by American vaudeville, incorporating dance, comedy, and music. - **Social and Political Themes**: The rise of plays addressing nationalism, independence, and social issues. - **Golden Age of Sarsuwela**: Continued popularity of sarsuwela, now addressing more contemporary and nationalist themes. **D. Post-War Era (1946-1960s)** **Rebuilding and Transformation:** - **Decline of Traditional Forms**: The gradual decline of sarsuwela and komedya, with the rise of more modern forms. - **Introduction of Realism**: Influence of Western realism, focusing on social and political themes. - **PETA (Philippine Educational Theater Association)**: Founded in 1967, playing a pivotal role in the development of contemporary Philippine theater. **E. Martial Law Period (1972-1986)** Theater as a Form of Protest: - **Street Theater**: Used as a form of resistance against the Marcos dictatorship. - **Political Plays**: Plays focusing on human rights, social injustice, and freedom, often performed underground. - **PETA and UP Repertory Company**: Continued to produce socially relevant plays despite censorship and repression. **F. Contemporary Philippine Theater (1986-Present)** Diversity and Innovation: - **Rise of New Theaters**: Establishment of new theater companies like Tanghalang Pilipino and Repertory Philippines. - **Musical Theater**: Growth of original Filipino musicals and adaptations of Western productions. - **Independence and Innovation**: Experimental theater groups exploring new forms and narratives. - **Contemporary Issues**: Addressing modern social, political, and cultural issues through theater. ***Notable Figures in Philippine Theater*** **Severino Reyes**: Father of Filipino Sarsuwela, known for \"Walang Sugat.\" **Rolando Tinio**: Playwright, director, and National Artist for Theater and Literature. ** Nicanor Tiongson**: A key figure in the study and revival of traditional Philippine theater forms. **Philippine Theater in the Global Context** - International Recognition: Filipino productions and artists gaining recognition on the global stage. - Collaborations: Partnerships with international theater companies and participation in global theater festivals. **Guide Questions:** 1**. Can you briefly describe the origins of Philippine theater during the Pre-Colonial period?** \- Pre-colonial Philippine theater was deeply rooted in the indigenous cultures and traditions of the archipelago. It was characterized by ritualistic performances that combined dance, music, and storytelling, often related to animistic beliefs and community life. These performances were integral to ceremonies, agricultural rituals, and spiritual practices, reflecting the diverse cultures and languages of various ethnic groups across the islands. 2\. **How did Spanish colonization influence the development of Philippine theater?** \- Spanish colonization brought Christianity to the Philippines, which influenced local theater. Spanish missionaries used plays to teach religious lessons and spread Christianity. Over time, this led to the development of a unique form of theater that combined Spanish and Filipino elements, such as \"komedya,\" which was a popular genre of the time. 3\. **What are the main characteristics of Komedya, and how did it reflect the society during the Spanish Colonial period?** \- Komedya, a type of theater that emerged during Spanish colonial rule in the Philippines, is characterized by elaborate costumes and settings reflecting Spanish style, themes centered around chivalric tales with knights, battles, and romance, and the incorporation of music and dance. Performed in a mix of Spanish and local languages, komedya mirrored the society by showcasing Spanish influence, social hierarchies, and religious elements, blending colonial culture with Filipino traditions. 4**. What is Sarsuwela, and why was it significant during the Spanish Colonial period?** \- Sarsuwela, or \"zarzuela,\" is a form of musical theater that combines spoken dialogue, song, and dance. During the Spanish Colonial period in the Philippines, it was significant because it blended Spanish operatic and theatrical traditions with local culture and languages. This allowed Filipinos to express their own stories and concerns through a popular and accessible medium, reflecting both colonial influence and local identity. 5\. **How did the American Colonial period change the landscape of Philippine theater?** \- During the American Colonial period, Philippine theater saw several significant changes. American influence introduced new forms and styles, including vaudeville and Broadway-style musicals. The use of English became more prominent in performances, and new themes emerged, reflecting contemporary issues and American culture. Additionally, American support for education and the arts helped develop theater as a more formal and professional field, leading to greater variety and innovation in Filipino theater. 6\. **What is Bodabil, and what Western influences shaped its development in the Philippines?** \- Bodabil is a Filipino form of entertainment similar to vaudeville, featuring a variety of acts such as comedy, music, dance, and magic. It emerged during the American Colonial period and was significantly shaped by Western influences, particularly American vaudeville and variety shows. These Western forms introduced new performance styles and entertainment formats to the Philippines, blending with local traditions to create the distinct and popular Bodabil. 7**. During the Martial Law period, how was theater used as a form of protest? Can you give an example?** \- During the Martial Law period in the Philippines (1972-1981), theater was used as a powerful form of protest against the regime\'s repression and human rights abuses. Plays and performances often addressed political and social issues, critiqued the government, and mobilized public opinion. \*\*Example\*\*: One notable example is the work of the theater group \*Pangkat ng mga Aktibistang Kabataan\* (PAK), which produced plays like \*"Buwan at Baril"\* (Moon and Gun). These performances depicted the struggles of the Filipino people under Martial Law and aimed to inspire resistance and awareness among audiences. 8\. **Who was Severino Reyes, and why is he considered an important figure in Philippine theater?** \- Severino Reyes, also known as \"Lola Basyang,\" was a Filipino playwright, director, and actor known for his significant contributions to Philippine theater. He is considered an important figure because he popularized the \*sarsuwela\* (a form of musical theater) and was instrumental in shaping its development in the Philippines. Reyes\' work, particularly his sarsuwelas and plays, reflected Filipino culture and social issues, making a lasting impact on the country\'s theatrical tradition. 9\. **How did PETA contribute to the evolution of contemporary Philippine theater?** \- PETA contributed to contemporary Philippine theater by introducing innovative and experimental productions that addressed social issues, focusing on theater as a tool for education and social change, and training new generations of theater practitioners. 10\. **Can you name a contemporary Filipino playwright or director who has significantly influenced modern** **Philippine theater? What are some of their notable works?** \- One contemporary Filipino playwright and director who has significantly influenced modern Philippine theater is \*\*Ricky Lee\*\*. Notable works by Ricky Lee include the plays \*"Sinapupunan"\* and \*"Sa Kabila ng Buwan"\*, as well as the screenplay for the film \*"Himala"\*. His work is known for its innovative storytelling and exploration of social and political themes. 11\. **In what ways did Philippine theater serve as a tool for cultural preservation and resistance during colonial and post-colonial periods?** \- Philippine theater preserved cultural traditions by incorporating local stories and rituals into performances, while also serving as a form of resistance by critiquing colonial rule and addressing social and political issues in post-colonial periods. 12\. **How do you think the themes in Philippine theater have evolved from the Pre-Colonial period to the Contemporary period?** \- The themes in Philippine theater have evolved from celebrating pre-colonial folklore and communal values to addressing colonial oppression, social issues, and contemporary concerns, reflecting a shift from traditional cultural expressions to critical examinations of modern society and politics. 13\. **What role does theater play in reflecting and shaping social and political issues in the Philippines today?** \- Today, theater in the Philippines plays a crucial role in reflecting and shaping social and political issues by presenting critical perspectives on current events, fostering public dialogue, and inspiring social change through engaging and thought-provoking performances. 14\. **Compare and contrast the theater forms introduced during the Spanish Colonial period with those introduced during the American Colonial period.** \- During the Spanish Colonial period, theater forms such as sarsuwela and komedya focused on religious themes, chivalric tales, and moral lessons, blending Spanish and local languages with a strong emphasis on Catholicism. In contrast, the American Colonial period introduced forms like vaudeville and Broadway-style musicals, leading to the development of bodabil, which emphasized variety shows and light entertainment in English, reflecting American cultural influences while incorporating Filipino elements. 15\. **How did traditional forms of theater like Komedya and Sarsuwela differ in their portrayal of society compared to modern experimental theater groups today?** \- Traditional forms like Komedya and Sarsuwela often portrayed society through idealized or moralistic narratives, focusing on chivalric themes, religious values, and social hierarchies. In contrast, modern experimental theater groups today present a more critical and diverse portrayal of society, exploring contemporary issues, challenging norms, and incorporating innovative styles and multimedia to reflect and address current social and political realities. 16\. **If you were to create a play based on the history of the Philippines, which period or event would you focus on, and why?** \- I would focus on the \*\*Martial Law period\*\* because it was a time of significant political and social upheaval that deeply impacted the lives of Filipinos. This era offers rich material for exploring themes of resistance, human rights, and the struggle for democracy, making it a powerful backdrop for a play that can both educate and provoke thought about the complexities of Filipino history and its ongoing relevance. 17\. **Imagine you are a director staging a modern adaptation of a Sarsuwela. What contemporary issues would you address, and how would you incorporate traditional elements?** \- In staging a modern adaptation of a Sarsuwela, I would address contemporary issues such as social inequality, political corruption, and environmental challenges. To incorporate traditional elements, I would blend classic sarsuwela features like live music, dance, and elaborate costumes with modern staging techniques, multimedia projections, and contemporary dialogue. This approach would maintain the essence of the traditional form while making it relevant and engaging for today's audience.