"TATLONG KWENTO NI LOLA BASYANG" I.

SYNOPSIS

"Tatlong Kwento ni Lola Basyang" chronicles three stories by Severino Reyes (as retold by Christine Bellen) through dance (ballet). Luz Fernandez acts as Lola Basyang who gives the general plot to each story. The production was a collaborative effort of Ballet Manila, Anvil, and Star City. Ang Prinsipe ng mga Ibon is about a princess who fell in love with the prince of birds. Her king/ father is against the relationship, thus, the drama. Liza Macuja played the princess who was distraught and torn with her love for her father and her lover. Ang Kapatid ng Tatlong Maria is an epic-adventure about a young man in search for his three lost and bewitched sisters. His quest brought him in the kingdom under the sea, the kingdom of the birds, and the kingdom of fierce animals. Ang Mahiwagang Biyolin is a comedy about a young boy maltreated by his heartless employer. He was able to get back at his tormentor when he was given a magical violin that can make people around him do comical acts.

II.

DIRECTING Dancing is Story Telling. To not limit yourself to one story, saying it in three acts. But tell three stories in three acts. And make it a ballet trilogy. Lisa Macuja-Elizalde, artistic director and principal ballerina of Ballet Manila,

leads the cast. Together with her all-new choreography, original music was also made by leading contemporary composers and National Artists. Veteran actress Luz Fernandez also reprises her role as Lola Basyang. The stories in the play are based on the Anvil Publishing editions of Severino Reyes classics, as retold by author Christine Bellen and illustrated by Frances Alcaraz.

III.

ACTING They tell stories with their bodies, without using a single word. And that is why they train their bodies to move in a way that looks effortless, graceful, and easy to do although its not. They move on stage like moving three-dimensional sculptures. And that is what they are trying to do with Tatlong Kwento ni Lola Basyang: The Ballet. They are telling the story by manipulating our body on stage using sets, costumes, lights and dancers and music, to stir up the senses of the audience so that they follow the story, the plot, and are entertained by it.

IV.

COSTUMES, PROPS AND SPECIAL EFFECTS Simply not scrimping on creativity. To be in charge of designing the costumes and the set of the play was a long process, back-and-forth process. Aside from coordinating with choreographers, who tend to change their minds in a jiffy, shifting from the old plan to the new plan to the old plan again, he will also coordinates with directors, sponsors, and other key people in the

production. Their collaboration and collective creativity enabled them to produce

a ballet that stays faithful and at the same time enriches Reyes classic childrens stories further. Lola Basyangs stories may have been transformed into different art forms, but one thing remains the same: the magic that holds children and adults alike spellbound.

V.

MORAL LESSON OF THE PLAY a. Society Ballet Manila was organized to bring ballet closer to people. First, it reunites the family together. Watching

b. Community and Family -

play like this will make each member of the family know their part and responsibilities. And last is, being brave to conquer all the challenges. c. Myself After seeing the Tatlong Kwento ni Lola Basyang, I take my

hat off to Liza Macuja and her associates. It indeed made the "dance of the elite" closer to mortals like me. Kudos to all those who made the Lola Basyang production possible.

"PASYON NI RIZAL" I. SYNOPSIS Pasyon ni Rizal interpreted the life he have inside the prison. First, is the things surrounds him in

everyday of his life. Next, on how he survived the challenges of taking a deep breath inside the metal cage. And lastly, is the patience that his family and friends encompass, that serves as the power to survive.

II.

DIRECTING The flow of the story is ascending. From the light part of connection of the characters with Rizal to deep interactions was a great idea. Because it made the viewers understand the connections of every characters in the novel with Rizal.

III.

ACTING The deliberations of lines were good and they have a voice modulation, loud voice that fit their characters.

IV.

COSTUMES, PROPS AND SPECIAL EFFECTS The casts have appropriate costumes. I like the part of changing characters through costumes. The smokes and light effects have good timing and add enthusiasm to the viewers.

V.

MORAL LESSON OF THE PLAY a. Society Dr. Jose P. Rizal is a great hero with one of a kind

characteristic that no one ever has. If only people would understand his sufferings for the nation, we can conquer the dilemma that we have nowadays. b. Community and Family Sometimes its better that youll listen to what

your heart desires, just like what Dr. Jose P. Rizal did. c. Myself Whatever decision you made, stick to it. Just pick one of

your choices and have one way to your goal. So you will know where to pause for a while and stop when its not right and change if theres better one.

"DOC RESURECCION: GAGAMUTIN ANG BAYAN" I. SYNOPSIS

The one-act play which was first seen at the Virgin Labfest 2009, is a story of a respected young doctor, Jess Resureccion who is running for mayor aiming to introduce positive changes in the community. Unfortunately, his cousin Boy Pogi Resureccion was paid by the incumbent mayor to ran as a nuisance candidate to spoil the campaign of Doc Resurecion. Doc Resureccion visited the Boy Pogi's habitat in a poor fishing village and tried to convince Boy to withdraw his candidacy in exchange of money and promising him of a better future. The end of the play was unforeseen, no hints of it was manifested throughout the conversation by the two men. At the end, Boy killed Doc, an act of violence that was really unexpected. The play is a mix of comedy and drama. At the end, you will realize how true it is especially in the small places in our country. Unlike other political playwrites, Doc Resurrecion: Gagamutin Ang Bayan set a story of a traditional provincial politics.

II.

DIRECTING It was directed by Tuxqs Rutaqio. The writing of Bucoy won first prize on the Don Carlos Palanca Awards and was staged by different theater groups all around the

country. The play runs in reality, its not a happy ending like others; its about what is happening around. This is more of the negative side of Politics.

III.

ACTING The actors and actresses really persuaded the emotions of the characters. They can carry your emotions to the extent of the drama. The violent scene was so true to my naked eyes, I felt the hatred, agony and sacrifices.

IV.

COSTUMES, PROPS AND SPECIAL EFFECTS The costumes were simple but their acts were more powerful. And the characters portrayed their best. All the props were used. But the banca caught my attention when Boy Pogis father came out on it and revealed the logic of poverty where everyone can take a sleep wherever is possible. As the story is approaching the end, I was just amazed of every set-ups, props and mind-twirling ideas that made the ending terrific.

V.

MORAL LESSON OF THE PLAY a. Society Its not about the wealth, fame and power, its about your

personality as a person. Money is the root of all evil. You cannot exchange everything for money. b. Community and Family Respect can be earned through another

respect. Relating to the story, blood is thicker than water. Every character has its

purpose but killing is not a conclusion. Reminiscing your past moments with your family can tied you up. c. Myself You cant trust everyone except yourself. Because youre the

one who knows everything in you.

"MAYNILA NI JUAN" I. SYNOPSIS For majority of the audience, the most memorable choreographies among was the the new happiest:

Gerardo Franciscos patriotic, Maynila ni Juan. It beckoned Jonathan Janolo, assistant ballet master, back to a comical point-shoe-wearing, motherly role as mayordoma of a house that included Michael Divinagracia as Juan, the errantpaying border. Francisco?s tried-and-tested formula served as a fitting finale for a company dedicated to bring ballet closer to the hearts of the masses. The dancers mimed vignettes of typical life at a boarding house in Manila using OPM hits of the 80s and 90s such as Hotdogs Manila, Apo Hiking Societys Pumapatak ang Ulan, and Smokey Mountains Da Coconut Nut.

II.

DIRECTING The flow of the story is well organized. From the casting, choreography down to the succession of song choices was good.

III.

ACTING The acting was exaggerated. They maximize their spaces on dancing. Minimal usage of lines specifically the Mayordoma.

IV.

COSTUMES, PROPS AND SPECIAL EFFECTS The costumes separated the casts by categories. The jeepney was a great choice, a dual purpose of using it as a props and as an advertisement of promoting Philippines. They provided right choice of songs which also has relevance to the theme.

V.

MORAL LESSON OF THE PLAY a. Society He never dump himself of being a Promdi but using his

ability to adapt on a new environment. b. Community and Family Having a good family background is a must but

how you are raised up by your family is more reputable. c. Myself I learned from the play Ive watched is that, its not about

yesterday, its about today. I must lift my head for a new beginning and do everything for my goal and see myself in the future.

" BAKIT WALA NANG NAGTATAGPO SA PHILCOA OBERPAS " I. SYNOPSIS

EYEBALL have shown the two sets of twinbills. Set A includes Carlo Pacolor Garcias hilarious Bakit Wala Nang Nagtatagpo sa Philcoa Oberpas, directed by Riki Benedicto, which tells the story of a man and a woman who decide to meet at the Philcoa Overpass after months of flirting online. Because of their desire to move-on with their exes and have a new lovelife.
II. DIRECTING

The cast of this riotous play includes TP Actors Company members Jonathan Tadioan, Jelson Bay, Martha Comia, Marco Viaa and Gino Ramirez; and guest artists Pam Hundana and Carmina Capile. This is a comedy-love story which is not boring to watch with the twist of a family connection.
III. ACTING TAMANG TIMPLA. Right timing in comedy and throwing of lines and the dance choreography is not hard to watch and really fitted with the characters. Their facial expressions are exaggerated which is fun to watch. IV. COSTUMES, PROPS AND SPECIAL EFFECTS Costumes have clear details like eye-catching, right combinations of colors and fit to the characters. Props were awesome especially the oberpas because it is

dual purpose from a platform in Doc Resureccion to Overpass props. The billboard helped a lot especially when I recognized that in every scene there was a corresponding picture there. V. MORAL LESSON OF THE PLAY a. Society Moving on is not easy, finding another person to love is

harder but in the society, eyeball and meeting anywhere is socialization but it can cause you damage not only to your pocket but also to your own life. b. Community and Family Poverty is a problem. But being poor is a

choice, being contented with your little salary and little house to live in is your destiny. But having happy family despite of these can cure all the pain. c. Myself I learned a lot in the story because its about socialization.

The way you socialize and care with your friends is different on how you treat your family. Blood is thicker than water, and it is true.

Fundamentals of Dramatic Speech and Writing

THAR 2023

Submitted By:

Genestly Claire M. Masanque

Submitted To:

Segundo C. Dizon