21st Century

SUBMITTED TO:

Ms.Maricel Bangibang

SUBMITTED BY:

Carl Jian Emil W Bassiag

 A Brief Historical Survey of Philippine Theater
INDIGENOUS DRAMA

The first Spaniard who wrote about Philippine drama, Vicente arrantes, affirmed that all Tagalog Theater
was definitely derived from Spanish theater, and that there was none of it before Spanish contact.

A later more careful scholar, Wenceslao retana, noted that Barrantes proof consisted of arguments
rather than of documents, finally to come to the conclusion that there was no proof that Tagalogs had
any representacion esceica before 1571, When one remembers that the Spaniards had come from ac
try that reached its Siglo de Oro of drama in the 16th and centuries, and that produced Lope de
Vega and Calderon de Barca at that time. then we realize that the drama they were ing for must have
been that which they knew from back home, scripted, staged, costumed Spanish comedias and autos
sacram tales, and which they were of course unlikely to find among Filipinos who were chanting
epics, performing rituals, and celeb ting victories with their own kinds of songs and dances.

CANONICAL ACTORS AND THEIR WORKS

Cristina Pantoja-Hidalgo

 She is award-winning Filipina fictionist, critic, and pioneering

writer of creative nonfiction. She is currently Professor
Emeritus of English & Comparative Literatyre at the
University Of The Philippines Diliman and Directors of te
University of Santo Thomas Centre for Creative Writing and
Literary Studies.
 BORN: 21 August 1994

NATIONALITY: Filipinio

EXERPT FROM “NEW YORK CITY, PORT 9/11”

Insight:

Christina and friends went to GROUND ZERO to see the images

and famous towers, then she notice that they are so many
changes in GROUDN ZERO because of the renovation.
GILDA CRODERO-FERNANDO

 Is a writer and publisher from the Philippines. She was born

on June 4, 1932 in Manila, has a B.A from St.Theresa’s
College-Manila, and a M.A from the Ateneo de Manila
University.
 Cordero-Fernando is also a visual artist, fashion designer,
playwright, art curator and producer in February 2000. She
produced Luna, An aswang Romance.
 BORN:June 4 1932
 PARENTS: Narciso Cordero, Consuelo Luna Cordero
 EDUCATION: St Theresa’s College, Ateneo de Manila
University

LANDUGIN MO BABY
Insight:
Patricia Chanco Evangelista
 Is a manila-based journalist and documentayry filmmaker
whose coverage focuses mostly on conflict disaster and
human rights, she is multimedia reporter for online news
agency rappler and is a writer-at-large for Esquire Magazine.

THE BABY IN THE BACKPACK

Insight:
DEAN FRANCIS ALFAR
 Is a Filipino playwright, novelist and writer of speculative
fiction. His plays have been performed in venues across the
country, while his articles and fiction have been published
both in his native Philippines and abroad, such as in Strange
 Horizons, Rabid Transit, The year’s Best Fantasy and Horror
and the Exotic Gothic Series
 He is the author of the novels Salamanca (Ateneo Pres,s,
2006) As well as three collections of short fiction The kite of
Stars and other stories (Anvil Publishing, 2007) How to
Traverse Terra Incognita (Visprint 2014) and A Field Guide to
the Roads of Manila (Anvil Publishing 2015)
BORN: 2 January 1969
 WORKS EDITED: Siglo Freedom
 AWARDS: Carlos Palanca Memorial Awards for Short Story
for Children

SIX FROM DOWNTOWN

THE WET MARKET

INSIGHT:

The sight and sounds of the wet market from part of the reachest
tapestry of community life, where local people buy affordable
food. Wet markets are the prime local business areas or town.

BUSINESS QUARTER

In this I learned how to make presentable outputs and how to

document a business in a good way.

RED LIGHT DISTRICT

I learned that we should not be attracted to such job like that,

even though it’s hard to find job, Let us not lose hope in searching
job.
UNIVERSITY BELT

We should be appreciating the deeds of others even in a little

way.

RESTAURANT RAW

I have learned to be stronger and focus in my career and be

positive always.

HOUSING PROJECT

My reflection in this thing is about the possible outcome of it.

SHAKIRA ANDREA SISON

 Is a two-time Palanca –winning essayist. She currently works

in finance and spends her non-working hours writing stories
in subway train. She is veterinarian by education and was
managing a retail corporation in manila before relocating to
New York in 2002.
 She is the co-author of Don’t tell Anyone. Literary Smut, a
collection of lesbian and gay stories with Ian Rosales
Casocot, Published by Anvil in 2017
 In 2000, she was included in the University of the Philippines
Creative Writing Centers of the New Century. She was also a
fiction fellow at the Gotham Writers Workshop in 2008.