The Early Philippine Drama The Philippines has an old theater tradition. Ma.

Teresa Munoz, in a comprehensive study of theater in pre-Hispanic Philippines based on anthropological findings, attests to the fact that even if it is difficult to ascertain the theatrical forms of the early Filipinos, much of it being lost on contact with the new and more aggressive culture, the early Philippine drama stemmed more from historical sources, since that theater which had its roots in religion and religious practice was barely at the threshold of the structure that constitutes the art. We had drama even many centuries before the Spaniards set foot on Philippines shores in 1521. The many external manifestations of this imitation of action -- dance, pantomime, acting song, chant, recitation be they performed solely on in combination, were found in the numerous rituals observed by the early Filipinos. Men assemble now as their forefathers did to discover themselves and feel their pulse as they experience lifes processes. It is said that Ferdinand Magellan himself was treated to a very rare presentation of a native play to celebrate the fact that the Filipinos and Spaniards were now brothers. Father Gaspar de San Agustin also mentioned that the early Filipinos were especially fond of comedies and farces, and therefore, there is no feast of consequence unless there is a comedy. Three Categories: Mga Katutubong Dula (Ethnic Plays) The Filipino Ethnic Plays or Katutubong Dula are plays based on old Flipino folklore and old traditions. They show the countrys indigenous culture and traditions. The play, Pamanhikan (Courtship), for example, focuses on the courtship rituals in the pre-colonial times. Mga Dula sa Panahon ng Kastila (Plays form the Spanish Era) From the Spanish era have a decided influence from the colonizers. A lot of them revolve around Catholic festivities like Senakulo (Pasiion of the Christ), Pinetencia (Penitence) and Flores de Mayo (May Procession). Some also portray the strain between Catholics and Muslims, like the play Moro-Moro (The Moors). Dula sa Panahon ng Amerikano (Plays from the American Era) The American era ushered in the sarsuwela or plays with singing and dancing. The sarsuwelas in this era were mostly used as subversive propaganda and had themes about patriotism and revolution. The most famous of these sarsuwelas are those made by Severino Reyes (Father of Philippine Drama) Walang Sugat, Paglipas ng Dilim and Bungangang Pating. The age of the zarzuelas is the considered the Golden Age of Philippine Drama.

Tragedy The tragedy deals with a serious action in which the consequences are of great magnitude to the characters involved. This genre tells the story through action instead of through narrative. It often deals with profound problems that are universal to the human experience. The tragic hero, or protagonist, of the drama often has one tragic flaw that causes his undoing, usually hubris, or too much pride. The protagonist realizes the severity of the flaw too late, which leads to inevitable downfall. A tragedy's action is meant to fill the audience with fear and pity while the action takes place; however, at the conclusion of the action the audience is meant to leave the theater uplifted and enlightened about the drama's unfolded events. Comedy Comedy represents the sense of renewal and rebirth, which is why this genre traditionally ends in a wedding and the expectation of a future generation. The pain and pity projected by a tragedy is replaced with absurdity and mass intellect in comedy. Characters behave in comic and absurd ways, serving as a mirror for society that encourages corrective behaviors. Romantic comedies point out the absurdities people perform when in love, which usually lead to unsuspecting unions. Dark comedies, on the other hand, leave the audience with a grim truth that's presented in humorous, playful seriousness. Melodrama In a melodrama the tragedy or problem is caused by external forces outside of the protagonist's control. It sets itself apart from tragedy because the protagonist does not take responsibility for the action, nor does she feel guilty. In fact, the protagonist is often the victim of circumstance. The melodrama has clearly distinguished good and evil characters. These plays end with a strict moral judgment that rewards the good and punishes evil in a fitting way.

Tragicomedy The tragicomedy attempts to portray characters and life in the most realistic way. Action, characters and plot are not absolute, but nonjudgmental. A character changes his mind and acts out of character, and the plot ends unpredictably. Tragicomedies are meant to show complex dynamics of human relationships and that society is in a constantly changing flux. As the name suggests, these plays present a thorough mix of tragedy and comedy.

Jason By Beverlyn S. Castillo I miss you My tongue lingers as I say your name I miss you Far away my heart goes Far away, my love You told me you like her I said, Wow, shes so lucky. Shes so fine. A gaping hole in my heart A gaping hole, my love Hollow deemed your heart now Why is it so? Where is the love you surrendered Say it aint so She left you She left, she didnt come back You stayed, she left You didnt hail back I told you Ill stay The darkness looms You waited I cried Still Im with you Your birthday came, you left me Eviscerated My past came, he left me Im defeated Cherubs emancipate Today they heed They lurk in flora Waiting to be freed Today youre with her, my valentine Today youre with her, youre not mine.