The Theater Experience/Juancho M.

Babista THEATER OF THE WAR YEARS

Module 8
THEATER OF THE WAR YEARS
n

Japan took over the Philippines from the American during

World War II. Movie actors and actresses could no longer appear in
films because the Japanese confiscated all film equipment. However,
the komedya, sarswela, and bodabil remained in the country as forms
of entertainment and expression. The bodabil evolved to become stage
shows or variety shows with a short melodrama at the end to
accommodate the actors and actresses who moved their craft to
bodabil and theater. Venues such as the Manila Grand Opera House
and the Savoy Theater became homes of bodabil.
At the end of this module, you are expected to achieve the
following:
1. identify the theater form during the Japanese occupation;
2. describe the theater situation during the period; and
3. state the importance Philippine theater played during the
Filipinos war against the Japanese.

Japanese occupation of the Philippines occurred between 1942 and 1945

when Imperial Japan occupied the Commonwealth of the Philippines during
World War II.
The invasion of the Philippines started on December 8, 1941, ten hours after
the attack on Pearl Harbor in Hawaii, the largest United States military base
outside mainland USA. At Pearl Harbor, American aircraft were severely damaged
in the initial Japanese attack. Lacking air cover, the American Asiatic Fleet in the
Philippines withdrew to Java on
December 12, 1941. General Douglas
MacArthur was ordered out, leaving
his men at Corregidor on the night of
March 11, 1942 for Australia, 4,000
km away.
The 76,000 starving and sick
Filipino and American and defenders
in Bataan surrendered on April 9,
1942, and were forced to endure the
infamous Bataan Death March on
MANILA GRAND OPERA HOUSE which 7,000 to 10,000 died or were
The Manila Grand Opera House was the murdered. The 13,000 survivors on
home of bodabil during the war years. Filipinas Corregidor surrendered on May 6,
Heritage Library.
1942.

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MANILA METROPOLITAN THEATER

This Art-Deco landmark of Manila was a popular venue for bodabil and theater plays
during the Japanese occupation in the Philippines. It has been renovated several times and at
present stands as a glorious reminder of the wealth of Philippine theater. Google Images.

Japan occupied the Philippines for over three years until the surrender of
Japan. A highly effective guerilla campaign by the Philippines resistance forces
controlled 60% of the islands, mostly jungle and mountain areas. MacArthur
supplied them by submarine, and sent reinforcement officers.

Theater Under Japan

Japanese invasion of the Philippines led to a halt in film production in the
country, at the insistence of the Japanese who were not keen to allow Western
influences to persist within the country. However, bodabil was permitted, and it
became the predominant form of entertainment in the country. Many film actors
whose careers had been stalled became regular performers in bodabil shows.

MOVIE HOUSES OF THE JAPANESE OCCUPATION

The Capitol and the Ideal were only two of the movie houses turned theaters for stage shows
and bodabil performance during the Japanese era. Filipinas Heritage Library.

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JAPANESE CHORINES
Travelling Japanese chorines perform on Manila’s Metropolitan
Theater stage during early days of occupation. Photo and text from The
Sunday Times Magazine dated April 16, 1967. This was the second issue
of three issues on World War II in the Philippines. The resourceful
Filipino survives the dismal, challenging occupation years, 1942-1945.

Among the performers whose careers were halted during this period were
Anita Linda, Panchito Alba, Rosa Mia, among others. Those who were sarswela
and bodabil performers continued their work on stage like Atang de la Rama, Katy
de la Cruz, Chichay, the partners Dely Atay-atayan and Andoy Balun-balunan, the
tandem of Pugo and Togo, Dolphy, who
started under the stage name Golay as a comic
dance partner of Bayani Casimiro.
Dearth of movies and other
entertainment forms during the Japanese
regime paved the way for Philippine drama.
The three years of the Japanese occupation
are noted for a lively theater life. The venues
were the movie theaters like Avenue, Capitol,
Life, Dalisay in Manila, which were allowed to
show only Filipino and Japanese, and not
American films, and whose stages were
available for live performances.
Plays from Spanish and English and
American theater were translated and/or
adapted by Dramatic Philippines led by
Narciso Pimentel, and gave inspiration like
Martir sa Golgota, Julian Cruz Balmaceda’s
MARTIR SA GOLGOTA
Lenten play, laughter like Cyrano de
This modern production is a take- Bergerac, translated by Francisco ‘Soc’
off of Soc Rodrigo’s Martir sa Golgota Rodrigo, and hope like Sino Ba Kayo?,
which was started during the Japanese originally Sangkuwaltang Abaka.
period. Google Images.

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Many bodabil shows during the war

incorporated subtle anti-Japanese and pro-
American messages. As the use of English
was taboo, Lamberto V. Avellana put up a
stage show with a Tagalog full-length
drama, followed by songs, dances, and
comedy acts by the great Tugo and Pugo.
The duo had a popular routine. They would
make fun of the Japanese non-verbally, by
pulling up their cuffs and revealing rows of
TAP DANCING
wristwatches, which the Japanese had
Dolphy and Bayani Casimiro taken to confiscating and wearing
perform a tap dance act in a bodabil simultaneously. They were soon briefly
performance. Filipinas Heritage Library. incarcerated for that spoof.
There were comedic and dramatic skits that
referred to the impending return of “Mang Arturo.”
Especially remembered is the skit in which a sorrowing
daughter is consoled by her father with the assurance
that “Mang Arturo will return,” an obvious reference to
General Douglas MacArthur and his promise “I shall
return.”
Even guerilla members attended bodabil shows.
Theaters became message centers, as guerrillas would
come in not only to be entertained, but to receive word
from friends and supporters. If the Kempeitai, the
Japanese military police appeared in the audience, ANITA LINDA
Google Images.
tenor Cecile Lloyd, or someone else, would suddenly
appear on stage during a love scene, a dance,
intermission, singing the signal song, “Bakit Ka Hindi Dumarating” (Why Haven’t
You Returned?), which told guerrillas it was time to slip away (Avellana, 1967).
The Japanese Shim-
bunsha was strict and
efficient, censoring scripts,
issuing guidelines, and
closely watching
implementation but these
theater devices were caught
by the audience, passed on,
remembered as among the
most effective ways of
keeping up the peoples’
hope and courage through
three dark year
MYSTERY SINGER
After the war, Cecile Lloyd, who was known in bidabil
movies returned to shows as the mystery singer, would belt out
his signature song whenever the Japanese
popularity, and the bodabil kempeitai were around to warn the guerillas
era slowly lost its luster. they needed to run off the theater. Google
Stage shows became small Images.

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and cheap performances were held in open-air stages in the provinces. Decades
later, the bodabil deteriorated to become burlesque and strip shows were held in
cheap theaters in Manila and around American military bases.

References:
Babista, Juancho M. (2018). The Theater Experience 2 (Asian-African Theater). Lucban,
Quezon: Southern Luzon State University-College of Teacher Education.
Diamond, Catherine. (1996). “Quest for the Elusive Self: The Role of Contemporary
Philippine Theatre in the Formation of Cultural Identity.” Tdr (1988), vol. 40, no.
1. (doi:10.2307/1146515).
Fernandez, Doreen G. (2000). “Philippine Theater in English.” World Literature Today,
vol. 74, no. 2. (www.jstor.org/stable/40155578).
Lockard, Craig. (2017). “Philippines: Pinoy, Protest, and People Power.” Dance of Life:
Popular Music and Politics in Southeast Asia. Hawaii, USA: University of Hawaii
Press.
Tiongson, Nicanor G. (2009). “A Short History of the Philippine Sarsuwela (1879-
2009).” Philippine Humanities Review. 11 May, 2010.
(journals.upd.edu.ph/index.php/phr/article/view/4754).

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Module 9
PHILIPPINE THEATER IN ENGLISH

Philippine theater in English had its roots in classrooms where

the first objective was for English language instruction. Gaining
mastery of the language, playwrights began to bring their plays on
legitimate stage where audiences pay to watch performances quite
different from the sarswela, komedya, and bodabil. The ability to use
the English language became the standard for the educated Filipino,
and thus, as more gained competencies in the new lingua franca, plays
in English became popular. Playwrights wanted to disseminate the
art so they brought theater to the masses.
At the end of this module, you are expected to achieve the
following:
4. state the role of schools in developing theater in English;
5. describe the Philippine theater in English; and

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6. name the various playwrights in English and the contents of

their works.
Free public education system introduced by Americans facilitated the
learning of English. In a matter of 48 years, the Filipinos were able to speak and
write in the language of Uncle Sam with the facility of a native speaker. The
founding of Silliman Institute (now Silliman University) by Presbyterian
missionaries on August 28, 1901, the Philippine Normal School (now Philippine
Normal University on September 1, 1908, and the University of the Philippines on
June 18, 1908, and the establishment of English newspapers like the Cablenews,
helped boost English usage.
The first ten years of the
century witnessed the first verse
and prose efforts of Filipinos in
student publications like The
Filipino Students’ Magazine first
issue in 1905, a short-lived
quarterly published in Berkeley,
California, USA, by a Filipino
pensionado or government
scholar; the UP College Folio
with first issue in 1910; The SILLIMAN UNIVERSITY
Coconut of the Manila High Founded by Presbyterian missionaries as
Silliman Institute in 1901, the educational institution
School with first issue in 1912; is one of the first schools that employed English as
and The Torch of the Philippine medium of instruction. Silliman University Library.
Normal School with first issue in
1913.

PHILIPPINE NORMAL UNIVERSITY

Formerly the Philippine Normal
School, it traces its roots to the Escuela
Normal de Maestros or Normal School for
Male Teachers created by the Spanish
Educational Decree of 1863. By virtue of Act.
No. 74 by the Philippine Commission that
mandated the establishment of normal and
trade school, it opened in 1901 in the Escuela
Municipal in Intramuros as an institution for
the training of tachers. PNU Library.

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The beginnings of anything

resembling a professional market for
writing in English would not be realized
until the 1920s with the founding of other
newspapers and magazines. The period
saw the rise of journals like the
Philippines Herald in 1920, the
Philippine Education Magazine in 1924
which was renamed Philippine Magazine
UNIVERSITY OF THE PHILIPPINES
UP first opened on Calle Isaac, now in 1928, and later the Manila Tribune, the
United Nations Avenue, and Padre Faura in Graphic, Woman’s Outlook, and
downtown Manila in 1909, with the College of Woman’s Home Journal.
Medicine (the Philippine Medical School in
1905), predated the University by 3 years. The publications helped introduce
University of the Philippines.
the reading public to the works of Paz
Marquez-Benitez, Jose Garcia Villa,
Loreto Paras-Sulit, Luis Dato, and Casiano Calalang among others. This proved
that the Filipinos had mastered the language of the Americans. Cash incentives
were given to writers in 1921 when the Free Press started to pay for published
contributions and awarded Php1,000 for the best stories.
The organization of the Philippine Writers Association in 1925 and the
University of the Philippines National Writers Workshop in 1927, which put up the
Literary Apprentice, also helped encourage literary production. In 1939, the
Philippine Writers League was put up by politically conscious writers, intensifying
their debate with those in the “art for art’s sake” school of Jose Garcia Villa.
Although writers were intensifying their skills in the English language,
drama and theater performances were limited to schools, and most of them were
interpretations of classical Greek, Shakespearean plays and works of American
playwrights like Tennessee Williams.

Philippine Theater in English

Theatre in English was the immediate result of both the language training
and the educational system. When English became the lingua franca of the
academe, the thinking audience that could have pushed the Philippine theatre into
authentic realism had begun staging William Shakespeare, George Bernard Shaw,
or plays written by Filipinos in English like Carlos P. Romulo, Vidal Tan and Jorge
Bocobo. Though theater in English was far from established, English language
changed people’s attitude to the theater in vernacular. Discussed in classrooms,
‘textbook’ plays were aimed at teaching the language, and at rehearsing students
in the speaking of it.

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These were not linked to life outside the

classrooms as in folk theater embedded deeply
in community and popular life. Plays staged in
classrooms as language exercises came to be
many a student's first and lasting impression of
theatre. Stories like The Monkey's Paw and
Longfellow's poem Evangeline were
dramatized. Playlets, dramatizations, and
longer plays were staged at the University of the
Philippines.
WANTED: A CHAPERON
The first Filipino drama in English is A This one-act play by Wilfrido
Modern Filipina (1915). It was written by Ma. Guerrero tackles issues on
Jesusa Araullo and Lino Castillejo, both dating of the middle-class families.
Dulaang UP.
teacher-students at Philippine Normal School
(now Philippine Normal University).
With mastery of the language came more
playwrights, like Jorge Bocobo, Carlos P.
Romulo, and Vidal Tan. Vidal Tan's The
Husband of Mrs. Cruz (1929), a comic
rendering of elections and their effect on
community and family relationships showed
the Filipino's ease with the language and with
the one-act play form, and his successful THE BASKETBALL FIGHT
adaptation of both to Philippine subject matter This one-act play of Wilfrido
Ma. Guerrero presents a comical
and life. scenario of pamanhikan that does not
transpire because of the La Salle-
By the 1940s and 1950s, when drama
Ateneo basketball game rivalry.
had moved out of the classroom and onto school Dulaang UP.
and legitimate stages, and Shakespeare and the
Greek tragedies had been performed in public by the Ateneo de Manila and the
University of the Philippines theatre groups, playwrights such as Severino
Montano, Wilfrido Ma. Guerrero, and later Alberto S. Florentino developed. For
them, theatre was no classroom exercise, but a real and earnest art.

SABINA
This play by Severino Montano was
presented on stage by the Lucban National High
School Dramatic Guild in 1976. My SLSU Journey
Archives.

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Severino Montano (1915-80)

studied drama at the University of the
Philippines and at Yale University in
the United States. He still considered
drama as a tool for education. Thus,
he established the Arena Theatre at
the Philippine Normal College while
he was serving as the Dean of
Instruction. With him as director,
producer, and actor, the group staged
almost two hundred performances
from 1953 to 1964 throughout the
country. His aim was to bring "drama to the masses" and specifically modern
drama to the schools and communities. Realizing that many communities could
not provide real stages, Montano had his plays presented arena-style in
auditoriums and classrooms, in meeting halls and open spaces.

A PORTRAIT OF THE ARTIST AS FILIPINO

Repertory Philippines’ 2009 theater
season begins with a gem of a production.
The company presented Nick Joaquin’s A
Portrait of the Artist as Filipino, which can be
considered a timeless classic of
contemporary Philippine theater. PEPPH

FATHERS AND SONS

Chitong, the Caritela King’s
grandson, takes Bessie’s side as Mrs.
Paulo expresses her disgust towards the
go-go dancer who now acts as the
Caritela King’s wife. Dulaang UP.

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Being centers for speaking and

writing English, schools were notable for the
activity like UP Dramatic Club (first directed
by Jean Edades, then by Wilfrido Maria
Guerrero), Ateneo Dramatic Guild (first
directed by Henry Irwin, S.J., followed by
James B. Reuter, S.J.), the Arena Theater
(led first by Severino Montano, then by Naty
Crame Rogers), and Aquinas Dramatic
Guild of the University of Santo Tomas. FATHERS AND SONS
This play by Nick Joaquin was most
Wilfrido Ma. Guerrero (b. 1917) was recently staged in 2017 at the Wilfrido
Ma. Guerrero Theater of UP Diliman
the major Filipino playwright in English. His under the direction of DUP and UPPT’s
work was authentic and proper to the times founding Artistic Director, the late Tony
(40s – early 60s) because his language was Mabesa. Previous runs of the play
of the people he wrote about, the educated included the 1977 production under
PETA and the 1995 and 2014 productions
middle class whose concerns were faithfully under Tanghalang Pilipino. Dulaang UP.
reflected in his writings for the stage. In an
era of foreign plays, his are the most popular plays like Wanted: A Chaperone
(1940), which took a traditional custom into a setting of incipient modernity; The
Three Rats (1948), the first psychological play in the Philippine repertory; and
Condemned (1943), about a man sentenced to death, and the loves around him.
His comic Movie Artists (1940), Half an Hour in a Convent (1934), and his first
three-act play, Forsaken House (1938), have been staged in the 80s and 90s, but
in Tagalog translation.
Alberto S. Florentino (b. 1931) brought to the attention of Philippine theatre
directors and audiences the world outside the English-speaking universe. The
slums and denizens of Tondo were in his plays like The World Is an Apple (1954),
Cavort with Angels (1959), Cadaver (1954), and Oli Impan (1959).
Nick Joaquin, who wrote under the pseudonym Quijano de Manila, though
prominent in journalistic and prose writing, was a prolific playwright. His plays,
like his prose, deals with themes of history, paganism and Christianity, and
morality. His play, Fathers and Sons: A Melodrama in Three Reels, was a
dramatization of his earlier story Three Generations. Moreover, his A Portrait of
the Artist as Filipino is a timeless classic of contemporary Philippine literature,
and of contemporary Philippine drama in English.
Semi-professional groups existed like Barangay Theater Guild, led by the
eminent film director and former Ateneo stage actor Lamberto Avellana and his
wife, the actress-director Daisy H. Avellana. The theater premiered with great
success with Nick Joaquin’s Portrait of the Artist as Filipino.
Encouragement for writing of plays in English was provided by Palanca
Memorial Awards for Literature that has included the one-act play in English in
the prize category since 1954.
Dramatic writing never really took off after Guerrero and Joaquin, due
perhaps to the awareness by the writers, especially in the seventies, of the
implausibility and severe limitations of using English on stage. Moreover, the
popularity of drama in the vernacular was gaining ground. Nevertheless, theater
in English continues to be presented through Broadway adaptations, particularly

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the musical plays, and the like by Repertory Philippines and other small drama
groups.
Just over a hundred years old, Philippine drama in English has already
established a tradition for itself, particularly with performers joining worldwide
performances by theater companies in the United States and United Kingdom, and
other foreign theater companies, and continues to help define, together with the
theater in vernacular, the self and soul of the Filipino.

Let’s Do This!

How Dramatic!
Declamation is the recitation of a poem from memory. Originally, it was
considered as oration, a dignified way of delivering a speech for the purpose of
argumentation and giving a chain of reasoning to persuade. However, it has evolved
to the modern-day use of declamation as the art of delivering a poem from memory.
The delivery is marked by strong feelings but must be free from histrionics. Materials
used for declamation are poems which carry strong emotional appeal.
Medea is a Greek tragedy by Euripides while Julius Caesar is a tragedy by
William Shakespeare. Both belong to the genre of dramatic poetry, thus the monologue
of Medea and of Marc Anthony, respectively, are both good materials for declamation.

Tips for Successful Declamation

Delivering a declamation piece requires preparation. The following might be
helpful pointers for a successful delivery of a declamation material:
1. Study the assigned poem and look for its strong emotional appeal.

2. Consider the appropriacy of the piece to the declamer as well as the audience.
3. Read the poem aloud several times for understanding and analysis.
4. Develop mastery of delivery by memorizing the poem by heart.
5. Practice delivering the poem from memory with conviction, using good vocal
techniques and appropriate gestures and movements to convey the meaning and
emotions.
6. As you face your audience, pause to give them time to focus on you.
7. Establish your locus.
8. Give the full force of your voice, but use vocal variety as needed to convey the
meaning of the poem.
9. Avoid histrionics.
10. When you are done delivering the poem, pause for a while before looking at your
audience to give them the title and the author of the piece you delivered.

Mechanics for Handling Declamation

1. Overall intonation and rhythm.

2. Correct pronunciation and stress.
3. Proficiency in handling difficult structures.
4. Memorization.
5. Poise, posture and eye contact.

Directions: Follow the instructions below.

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The Theater Experience/Juancho M. Babista THEATER OF THE WAR YEARS

1. For the Male:

Look for a summary of Julius Caesar to fully understand the message of the piece.
For the Female:
Look for the summary of Medea to fully understand the message of the piece.
2. Study carefully the assigned declamation pieces: From Julius Caesar and Medea
which can be found at the end of this activity.
3. Imagine the period the play is portraying.
4. Determine the emotions embedded in the declamation materials.
5. Memorize the piece.
Note: If it will not hamper the performance, use an idiot board.
6. Rehearse the delivery of the piece.
7. Consult the dictionary if you are not familiar with the pronunciation of some
words.
8. Face the mirror and try to bring to life the character in focus.
9. When satisfied with the rehearsals, prepare for the performance.
10. Improvise costumes. Be imaginative with curtains and bedsheets if costumes are
not available.
11. Video your performance using a cellphone or videocam.
12. Upload your video in _______________________.

From JULIUS CAESAR

William Shakespeare
Friends, Romans, countrymen, lend me your ears.
I come to bury Caesar, not to praise him.
The evil that men do lives after them;
The good is oft interrèd with their bones.
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious.
If it were so, it was a grievous fault,
And grievously hath Caesar answered it.
Here, under leave of Brutus and the rest—
For Brutus is an honourable man,
So are they all, all honourable men—
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me.
But Brutus says he was ambitious,
And Brutus is an honourable man.
He hath brought many captives home to Rome,
Whose ransoms did the general coffers fill.
Did this in Caesar seem ambitious?
When that the poor have cried, Caesar hath wept.
Ambition should be made of sterner stuff.
Yet Brutus says he was ambitious,
And Brutus is an honourable man.
You all did see that on the Lupercal
I thrice presented him a kingly crown,
Which he did thrice refuse.
Was this ambition?
Yet Brutus says he was ambitious,
And sure he is an honourable man.
I speak not to disprove what Brutus spoke,

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But here I am to speak what I do know.

You all did love him once, not without cause.
What cause withholds you then to mourn for him?
O judgment, thou art fled to brutish beasts,
And men have lost their reason!
[He weeps.]
Bear with me.
My heart is in the coffin there with Caesar,
And I must pause till it come back to me.

*****

From MEDEA
Euripides

Women of Corinth:
If anything has been spoken too loudly here;
Consider that I believe I was alone
And I have some provocations.
You’ve come, let me suppose,
With love and sympathy,
To peer at my sorrows.
I understand well enough
That nothing is ever private in Greek city,
Whoever withholds anything.
I thought sullen or proud;
Undemocratic, I think you call it.
But this is not always just,
For we know that justice, at least on earth,
Is a name, not a fact! And as for me,
I wish to avoid any appearance of being proud.
Of what? Of affection?
I will show you my naked heart.
You know that my lord Jason has left me
And made a second marriage
With a bright-haired child of wealth and power.
I, too, was a child of power;
But not in this country.
And I spent my power for love of Jason.
I poured it out by before him like water;
I made him drink it like wine.
I gave him success and fame.
I saved his precious life, not once; many times!
You might have heard what I did for him.
I betrayed my father for him;
I killed my brother to sake him;
I made my homeland to hate me forever.
And I fled west with Jason in a Greek ship,
Under the thunder of the sails,
Weeping, and laughing.
That huge journey through the Black Sea,
And the Bosphorous,

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Where the rocks clang together;

Through the Sea of Marmara,

And through Hellespont,
Watched by the spearmen of wealthy Troy.
And home to Greek waters,
His home, my exile, my endless exile.
And here I have loved him and borne him sons.
And this man has left me and taken Creon’s daughter,
To enjoy her fortune, and put aside her soft, yellow hair.
I do not know what other women;
I do not know how much a Greek woman can endure.
The people of my race are somewhat rash and intemperate.
And as for me, I want simply to die.
But Jason is not to smile at her bride over my grave.
Nor that great man Creon.
Hang wreaths and make a feast day in Corinth;
Or let the wreaths be bright, blinding fire!
And the songs, a high wailing.
And the wine – BLOOD!
*****

References:
Babista, Juancho M. (2018). The Theater Experience 2 (Asian-African Theater). Lucban,
Quezon: Southern Luzon State University-College of Teacher Education.
Diamond, Catherine. (1996). “Quest for the Elusive Self: The Role of Contemporary
Philippine Theatre in the Formation of Cultural Identity.” Tdr (1988), vol. 40, no.
1. (doi:10.2307/1146515).
Fernandez, Doreen G. (2000). “Philippine Theater in English.” World Literature Today,
vol. 74, no. 2. (www.jstor.org/stable/40155578).
Lockard, Craig. (2017). “Philippines: Pinoy, Protest, and People Power.” Dance of Life:
Popular Music and Politics in Southeast Asia. Hawaii, USA: University of Hawaii
Press.

94