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"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.

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Page 1: Ballet Play

"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,

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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 it’s 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

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a ballet that stays faithful and at the same time enriches Reyes’ classic children’s

stories further. Lola Basyang’s 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.

b. Community and Family - First, it reunites the family together. Watching

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.

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"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.

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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 it’s better that you’ll 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 there’s better one.

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"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

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country. The play runs in reality, it’s not a happy ending like others; it’s 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 Pogi’s 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 - It’s not about the wealth, fame and power, it’s 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

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purpose but killing is not a conclusion. Reminiscing your past moments with your

family can tied you up.

c. Myself - You can’t trust everyone except yourself. Because you’re the

one who knows everything in you.

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"MAYNILA NI JUAN"

I. SYNOPSIS

For majority of the audience, the most

memorable among the new

choreographies was the 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 errant-

paying 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.

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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 I’ve watched is that, it’s not about

yesterday, it’s about today. I must lift my head for a new beginning and do

everything for my goal and see myself in the future.

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" BAKIT WALA NANG NAGTATAGPO SA PHILCOA OBERPAS "

I. SYNOPSIS

EYEBALL have shown the two sets of twin-

bills. Set A includes Carlo Pacolor Garcia’s

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 Viaña 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

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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.

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Fundamentals of Dramatic Speech and Writing

THAR 2023

Submitted By:

Genestly Claire M. Masanque

Submitted To:

Segundo C. Dizon