jscelucia

[jscelucia]

“𝑩𝒂𝒏𝒈𝒊𝒔! 𝑲𝒂𝒕𝒂𝒑𝒂𝒏𝒈𝒂𝒏! 𝑲𝒆𝒍𝒂𝒏𝒈𝒂𝒏 𝒎𝒂𝒈𝒊𝒏𝒈 𝒎𝒂𝒕𝒂𝒑𝒂𝒏𝒈.”

Ako si Harold! Ang isa sa marketing staff ng Nanay Bangis. Samahan niyo kaming tunghayan ang paglalakbay ng isang inang nawalan ng mga anak sa gitna ng hidwaan sa Mindanao noong Dekada ’70.

Sa tradisyon ng teatro ni Bertolt Brecht, samahan kaming siyasatin ang digmaan sa isang 𝒎𝒖𝒔𝒊𝒄𝒂𝒍 na 𝒂𝒏𝒕𝒊-𝒎𝒖𝒔𝒊𝒄𝒂𝒍. Walang mga birit, walang mabigat na orkestrasyon, kundi ang pulu-pulupot na mga buhay na nakatago sa likod ng giting ng digmaan.

𝐍𝐀𝐍𝐀𝐘 𝐁𝐀𝐍𝐆𝐈𝐒

Direksyon ni 𝐽. 𝑊𝑖𝑙𝑙𝑖𝑎𝑚 𝐻𝑒𝑟𝑏𝑒𝑟𝑡 𝑆𝑖𝑔𝑚𝑢𝑛𝑑 𝐺𝑜

Mula sa adaptasyon ni 𝑅𝑜𝑑𝑦 𝑉𝑒𝑟𝑎

ng “Mother Courage and Her Children” ni 𝐵𝑒𝑟𝑡𝑜𝑙𝑡 𝐵𝑟𝑒𝑐ℎ𝑡

📅 𝐍𝐨𝐯 𝟏𝟓, 𝟐𝟐, 𝟐𝟗 (𝟕:𝟑𝟎𝐏𝐌)

📅 𝐍𝐨𝐯 𝟏𝟔, 𝟐𝟑, 𝟑𝟎 (𝟐:𝟑𝟎𝐏𝐌, 𝟕:𝟑𝟎𝐏𝐌)

📅 𝐍𝐨𝐯 𝟏𝟕, 𝟐𝟒, & 𝐃𝐞𝐜 𝟎𝟏 (𝟏𝟎:𝟑𝟎𝐀𝐌, 𝟐:𝟑𝟎𝐏𝐌)

𝐓𝐈𝐂𝐊𝐄𝐓𝐒 𝐍𝐎𝐖 𝐀𝐕𝐀𝐈𝐋𝐀𝐁𝐋𝐄!

🎟️ 𝗧𝗜𝗖𝗞𝗘𝗧𝗠𝗘𝗟𝗢𝗡: ticketmelon.com/dulaang-up/nanaybangis

🎟️ 𝗗𝗜𝗥𝗘𝗖𝗧 𝗣𝗨𝗥𝗖𝗛𝗔𝗦𝗘: bit.ly/NanayBangisTickets

🎟️ 𝗘𝗔𝗥𝗟𝗬 𝗕𝗜𝗥𝗗 𝗣𝗥𝗢𝗠𝗢 𝙐𝙉𝙏𝙄𝙇 𝙊𝘾𝙏𝙊𝘽𝙀𝙍 𝟭𝟱: For current UP students and employees with ID/Form 5: bit.ly/NanayBangisTickets

Ang “Nanay Bangis” ay nakasentro sa buhay ni Anna Perpetua, na naglakbay kasama ang kanyang mga anak na sina Elvis, Kesong Puti, at Christine sa isang karinderyang de-gulong sa gitna ng tumitinding hidwaan sa Mindanao noong 1971. Sa isang military checkpoint, makakaharap nila ang gutom nang digmaan na naghahanap ng mga bagong tagapagtaguyod nito.

Photography: Ocs Alvarez and CJ Junio

Post-processing: Marc Stanley Mozo

#DulaangUP47

#DUP47AmihanAtHabagat

#DUPNanayBangis

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Isang appreciation post para sa mga nakatrabaho at nakasama ko sa pagbubuo ng produksyong ito. Sa wakas ay nairaos din natin ang pagtatanghal nito. Sa katunayan, hindi ko inaasahan na magiging posible pala sa kabila ng ilang beses na pagback-out ng ibang mga actors na kinukuha natin. Pero ito, kinaya natin na tapusin kahit marami pa need iimprove. Unang una nais kong pasalamatan ang manunulat na si G. Rolin Cadallo Obina sa pagpayag sa akin na gamitin ang kanyang likha sa proyekto kong ito. Labis akong namangha sa ganda ng obra kaya't hindi na ako nagdalawang isip na ito ang piliin ko para sa aking final na proyekto. Sumunod naman ang aking mga aktor na sina CJ, Gerald at Abigail. Napakahusay ang inyong ipinakita at pagtulong sa akin sa mga scene works natin. Tsaka maraming salamat sa inyong tyaga na pumunta sa mga rehearsals at pagpapamalas ng dedikasyon sa produksyon na ito. Alam ko na kahit busy kayo sa inyong mga pag aaral ay nabibigyan niyo parin ng oras ang ating mga rehearsals. Lalo na kay Abigail na mabilis niyang pagsasaulo ng iskrip at pagtanggap ng role na ibinigay ko kahit kakaunti na lamang ang oras bago ang presentasyon. Maraming salamat sa mga staffs ko na naging boses din sa likod ng telon. Sina Rhia at EV na kasama ko sa pagaaral ng iskrip. Ang inyong mga ideya ay nakatulong upang tignan ko ang ibang perspektiba na nasa dula. Sina Shaun at Ayce na aking mga stage managers na maaasahan ko sa pagtulong sa akin sa ibang aspeto ng produksyon. Si Lora na tumulong sa akin sa pag disenyo ng entablado. Si Mika sa pagdisenyo ng tunog. Si Theya na aking tagapamahala ng produksyon. Si jesy na nagmake up sa mga aktor at si munar na tumulong sa pagsasaayos ng props. Nais ko rin pasalamatan ang mga kaklase ko sa klaseng ito sa pagtulong na mapanatiling smooth ang daloy ng aming pagtatanghal. Kay Ma'am Loren sa ilaw at sa pagassign sa amin ng dalawang masisipag at maaasahang stage managers. Maraming salamat din kay Ma'am José sa pag gabay samin sa pagdidirek ng aming mga sariling produksyon. Labis akong nagpapasalamat kung wala kayo hindi magiging posible ang proyektong ito. Nawa'y makatrabaho ko kayo sa mga susunod pang mga produksyon! (at Teatro Hermogenes Ylagan) https://www.instagram.com/p/CoUootGPY-9L9h90ekGsvGVr0MHD5mvXDTPZ-M0/?igshid=NGJjMDIxMWI=

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1st day of production! That was so much fun. It is also my first participation in Dulaang UP's productions. Actually, I don't want to be part of the set and props because I feel like it is loaded with works :< but I didn't expect that I am enjoying it. The theatre will be open soon, SO EXCITED!!!! (at Teatro Hermogenes Ylagan) https://www.instagram.com/p/Ck1AGq_PBfB8F5AZoNTF1q4Zmyfl_d6iquFHAo0/?igshid=NGJjMDIxMWI=

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Natapos rin ang pagtatanghal para sa diagnostic sa aking directing class. Nais kong iappreciate kung pano natin binuo ang eksana na magkasama. Ang piyesa aking napili ay ang Tser ni Maynard Manansala sapagkat labis itong tumatak sa akin. Habang sa pagpaplano ng isasagawang maliit na proyekto, nahirapan na ako pumili ng mga aktor para dito. Noong una naisip ko na pumili ng set of actors na magkakaibigan in real life upang maging natural ang kanilang arte ngunit bigo akong makahanap. Sinubukan ko kumuha ng aktor na walang inaalalang pamantayan at hindi magkakakilala. Sa pag intindi sa kanila ng iskrip at pagbubuo ng larawan sa kanilang imahinasyon sa aking gabay, hindi ko napansin kasabay ng pagbubuo namin ng eksena ay pagbubuo ng kanilang pagkakaibigan. Ang kauna-unahang natuklasan ko bilang isang direktor ay yung kakayahan ng iskrip na kakaibang proseso ng pagbubuo ng relasyon sa bawat aktor na pati mismo ako na direktor ay kaisa sa prosesong iyon. Kahit dami man naging problema at nagastos sa maliit na proyektong ito, naging makabuluhan ito sa aming byahe patungo sa reyalidad ng istorya. Nasaksihan ko kung paano naging malapit ang mga aktor ko sa isa't isa gaya ng paglapit ni Titser Rose sa buhay ng mga estudyante niyang Lumads. Salamat sa mga tumulong sa akin upang maging matagumpay ito. Salamat sa mga aktors ko rito. Sana makatrabaho ko muli kayo! (at UP Palma Hall) https://www.instagram.com/p/CjqMcyppGWQ/?igshid=NGJjMDIxMWI=

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2nd and final dress rehearsal! handa na kami sa Thursday yeheyyy (at Murphy, Quezon City, Philippines) https://www.instagram.com/p/Cjfg-JjL5df/?igshid=NGJjMDIxMWI=

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UPROTC is the BEST! (at UP Department of Military Science and Tactics) https://www.instagram.com/p/Cjcf556Oght/?igshid=NGJjMDIxMWI=

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1st F2F Rehearsal for Diagnostic Project sa Directing Class. Sheeeeesh gagaling nila hehe inggit nanaman mga pinklawans... (at Murphy, Quezon City, Philippines) https://www.instagram.com/p/CjXpImXLofy/?igshid=NGJjMDIxMWI=

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1st F2F class in Stage Management! (at Teatro Hermogenes Ylagan) https://www.instagram.com/p/CjVjVX3JQjT/?igshid=NGJjMDIxMWI=

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Kay ganda mo, sintang paaralan!❤💚🌻 (at UP Diliman) https://www.instagram.com/p/ChuJhzlpbEf/?igshid=NGJjMDIxMWI=

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Acting Journal 13:

Everything was set. The next thing we did was to film the performance. We shoot it at 11 'o clock at the night to take advantage of the silent environment. I haven't memorized all the script so we cut it into scenes in every paragraph I deliver. I also include parts where our monologues were connected. We finished the shoot at 1 am. I compiled all the scenes and put subtitles on them. I send it to Munar so that he could insert his part. I'm finally done with my requirements for Theatre131. I indeed learned a lot from this class that I can use in my future performances. I also learned how to analyze performance, especially understanding its intention. This is what I always put in my performance, the clarity of intention, like why am I doing this performance? What for? Who is the audience I want to address? I constantly put my stand in my performance from diagnostic up to the final performance. All of these were made based on how I fabricated my own future, which is also obvious that the level of the situation in the diagnostic is different from the situation in the final performance but has the same context. This is because the changes happenings in the present that varies the how we foresee the future. The exercise we did in the class was so much fun and refreshing. It stimulated my instinct in performing and reaction that connects to the other actions. These remind me of the previous workshops that I attended. Being with Ms. Olive in our journey to become effective theatre artists is full of fun and excitements. I hope I could get another course from her for the next semester.

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Acting Journal 12

The concept was done. My intention for the performance was clear. So the next I did was script writing. As much as possible, I want my script to be something that is related to my life. That when I will show this performance to my family members, it might be a way for them to change their perspective on what I want them to understand. I made the settings futuristic, a couple of years after, under Marcos' administration.

The script I wrote was about the things my relatives scold me for being an activist. I also include what I learned from the Marcos' supporters regarding their envisions of Marcos' governance and the anti-Marcos anxieties. These helped me shape my setting for the performance. Some examples of situations I put in my performance are the militarization of the university campuses, the abduction of vocal critics and activists that are critical of the government, and the abolition of the free tuition law.

In the part where I call them out for being privileged, I also used figurative speeches, especially the imagery, to stimulate the spectator's senses. I emphasized the reality in the marginalized community that was being affected and oppressed by the ruling class yet they still choose to vote for the same person, the same family, the same abuser, and the same oppressor.

I visualized the performance as a monologue of a student being accused by the government force that he is allegedly connected to the communist party, inside the police station and taking his mugshot. I instructed my partner in the performance, Aaron Munar, to film himself as the same thing as mine but he should make a different script. I also asked my former classmate in senior high that could he help me with my performance, especially in positioning the camera, crafting the backdrop, and as my assistant.

For the lighting, luckily, I asked my mom to provide me ring light and stand because I really need them for my performances like this final output for Theatre 131.

In the venue where I film myself, I used the 3rd floor of the house. The house I am currently staying in is my grandparents' house. There is something that happened between me and my mom that is why I am staying here temporarily. I choose that because there is a wall that I think is perfect to place the backdrop.

The materials I bought for the backdrop were 3 sheets of cartolina, masking tape, and a marker. My assistant and I crafted the backdrop a night before we shoot the performance. We make sure that everything is set by putting marks in the center line of the small stage I will performing on and marks on each foot of the ring light's stand.

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Acting Journal 11:

I have my concept for my digital performance derived from what I felt after the election and to express my anxieties about the incoming Marcos administration. Given that oppression is increasing and making the voices silent. People started to believe in their own perceptions without scrutinizing them. The essence of books, facts, historical data, research, and credible sources will be eventually replaced by fabricated and misleading information. I was thinking of a title that will fit the performance and I came up with "Ang Galileo sa Kasalukuyang Panahon" (The Galileo in the Modern Era) which refers to the youth who still stands to fight for what is right.

Galileo Galilei was an Italian astronomer who was well-known for his revolutionary discoveries. One of his discoveries is the theory that the Earth moves around the Sun. This theory is against Ptolomy's Geocentrism and the  Church's doctrines, then became a reason why he was convicted by the Roman Catholic Church for committing Heresy in 1633. He was sentenced to house arrest for the rest of his life. He was banned from publishing his books, and he was prohibited to meet his friends. The church took away his freedom till his death. But after 359 years, Pope John Paul II declared that Galileo was right and that what the church did was wrong. Even though Galileo no longer exist, they still acknowledge Galileo and admit their institution did a mistake in judgment of him.

In this incoming administration where another Marcos is about to inaugurate, the fear of yesterday still exists among the people who were victims of the dark age of the country. The anxiety of experiencing another fascist regime for the next 6 years. In times of martial law of Marcos Sr, anything against the government was being abducted, harassed, assaulted, tortured, and killed by the military force of the government. Countless cases of human rights violations and cases against the Marcoses. How do people forget those painful days that made them vote for a son of a dictator? Will we, especially the youth and the future generations, experience this cruelty of a Marcos governance? How will we entrust to an exiled family for the sake of the nation?

These questions bother my mind. As a theatre student of the University of the Philippines, activist, and critic, what I may expect to face under another Marcos regime? I analyze how people in my surroundings treat me, their stands on issues, and their ideas and political views. I thought of making a monologue about a UP student still fighting for his rights but caught by the police because he is alleged to a communist group. I want my character will show the realities of students being red-tagged by the government forces.

The relation of Galileo to this performance, the student in the monologue is hoping that one day, people will accept the concerns that they were trying to address but misunderstood by others. The character is hoping that one day, people will change their perspectives and realize that activism is not an act of treason, but an act of nationalism.

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Acting Journal 10:

The election day came. The result was disappointing. I felt down, while my family celebrated BBM's victory. The worries I have before the election went up after seeing that the late dictator's son is about to win. Everyone was cheering and celebrating because for them it was the Philippines' victory to put back another Marcos to the Malacañang, unconsciously putting the country's future in danger. At that moment, I have no energy to do any of my schoolwork. My relatives who are loyalists made fun of me in the comment section of my Facebook posts and my parents restricted me from replying to those comments. They guilt-tripped me by blaming me for the consequence I faced because of expressing myself. They told me if I didn't post things about politics, I may not receive these kinds of comments. Hearing those from my family, relatives and parents made me feel unsafe in our own house. There were some of my friends chatted with me and cheered me up. Few of them stood up for me from my relatives who commented harshly on me in the comment box. I felt empowered and realized how voices are powerful that others trying to silence them. I am a theatre student and my voice is my weapon, why do people want to steal it from me? Because of these, I came up with another idea for my performance. I will use it to express my fears and worries for the future of youth under this incoming administration. I also observed satirical posts on Facebook that it can be theatre without a stage or even body actions. As Tiongson said Theatre is any performance that involves mimesis. The posts of other people that mimic a certain person, a gain reaction from the audience complete the formula of Bentley which is "A impersonates B while C looks on". With these, my perspective toward theatre changed, and understand that theatre is everything.

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Acting Journal 9:

The 9th week of our 2nd sem was the week before the election. I was still confused about what concept I will use for my final performance. The 1st one I had in mind was the monologue of the abusive soldier. Then I realized that it was hard to execute it. So I decided to come up with something that is related to the election. There were 2 ideas I have for my performance: (1) the monologue of a diehard Marcos loyalist vlogger, Sankay Janjan TV, a troll inside, and (2) the biased broadcaster from an independent news company and also a loyalist, Dante Maravillas, with the same concept of my midterm performance. These 2 vloggers are what my grandpa usually watches on youtube. My grandpa is a Marcos loyalist. He romanticizes all works of Ferdinand Marcos Sr. and credits them to BBM. The contents of these vloggers made my grandpa a diehard Marcos loyalist even more. Hearing those vlogs of these vloggers annoys me but I thought I could make a performance with these.

Sankay Janjan TV is known as one of Marcos' propagandists. He is a singer, vlogger, musician, and teacher who creates videos about history and vlogs that provide false information. The tone of his voice in his videos sounds arrogant and he makes fun of other beliefs to make his belief superior to others.

On the other hand, Dante Maravillas is known as a broadcaster and owner of an independent news company BULLSEYE which he and his son, Bjillon Maravillas were the newscasters. Besides being a newscaster, he also has a separate youtube channel where he uploads vlogs that share his opinion towards happenings, specifically, the interactions of his supporting Uniteam and its opposing side which he called "kakampon/pwet". I planned a performance that shows Janjan or Dante will reveal something after they shoot their vlogs. For Janjan, I thought of portraying him as a vlogger who doesn't have a concern for the victims of his victims in spreading misleading information and he only cares is the money paid for his duty as a troll. While for Dante, I will make him crazy like what I did in my midterm performance. I will do his usual vlogging which laughs at the opposing party and after that, I will do what Miss Olive suggested to me before, the "talking the wall" scene at the end. But I was not sure about these ideas I came up with.

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Acting Journal 8:

On the 27th day of April, my digital performance for the midterm was presented to the class. The feedback I got from the class was good. Miss Olive suggested that I should bring my audience to my world. Also, she said that I can make it even though I am the only character in the monologue. She recommended that it would be effective if I do the "face the wall" and talk to it instead of inserting another character portraying a caregiver to establish my imagined space. Also, that day was the consultation day for the final performance. I proposed my concept for it. That was the 1st concept I have in mind for my final performance, the continuation of my diagnostic output but in the perspective of the abuser, the character would be a soldier who planned to abduct me battling with his conscience, but eventually winning against it and turn to be obsessed in using violence to feel the power. I wasn't able to demonstrate my concept at that time because I still don't have a concrete plan on how I will portray it. Miss Olive let my other classmate present their concept for their final performance in class. I witnessed Kuya Ken's concept and how he demonstrated his character. I was astounded seeing him being flexible in any instruction that Miss Olive gave to improve his work. It was tiring to see how many retakes Kuya Ken did just to execute Miss Olive's directions in his performance. He maintains his energy from the first attempt till the last one and even adds up some more energy on it. That time, I asked myself, can I do the same thing Kuya Ken did? watching him do it drains me even though I'm not the one who's moving. I'm happy for him that he already has an output for that one and I hope I can have an idea that will come up to my mind for my output. 

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Acting Journal 7:

After the Lenten break, I went back to my acads. On the 18th day of April, after the day of my birthday, I was thinking of what concept I will use for my 3-minute digital performance. At that time, I was still not getting over my performance last night at our church. So I decided on the concept of a father-son relationship for my performance.

While thinking about my performance, I want to twist and think of having a father abroad and the son is always excited to video call with him, but then eventually reveal to the audience that the son is a patient in a mental hospital. 

I thought of using my terno pajamas as a costume and the performance will be after the bath so that I could make time wearing my clothes and hang my towel to fulfill the 3 minutes requirement performance. I also asked my auntie to borrow her scrub suit to use for my performance and invited my former classmate in high school to help me with my task.

  I actually have a second thoughts about using my former classmate in the performance since the monologue supposedly have one character. But since he was already there and that's the original plan to reveal the twist of the son's mental state.

On April 26, we did the performance at 11 pm and we finished at 1 am on April 27, after numerous retakes of the monologue. Then I turned it in the submission bin even its too late.

Doing that 3-minute digital performance was actually fun. In the process of brainstorming, I have a lot of thoughts about building that concept in my mind. Also, because of being late, my brain set pressure to make myself do it even though I wasn't able to pass it on time. My former classmate told me he had fun taking the scene with me and wanted to join me in my theatre organizations. I told him next time if I have production and I need help, I will contact him.

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Acting Journal 6

When the reading break ended, the Lenten break started. It was a hectic week of rehearsal where we have to do our best on it and to make sure we will execute our roles. But still, I couldn't release my emotion effectively. There were 4 days before the show and I just have small progress in my acting. One of my co-actors, Tita Ging, offered me help to release my emotions. She is a veteran actor and performed as Mama Mary in our Senakulo and the main characters in our Lenten performances several times. She was trying to penetrate my emotion and make me wear the shoes of my character. She was with our co-actor, Kuya Bien, who gave me advice on how to execute my role effectively.

They tried to penetrate me, even more, to make me feel the catharsis. I thought I failed to feel that exact emotion. All I felt was a disappointment and I used that to cry it out. When Tita Ging saw my tears, she asked me to do the part where my character is crying. She cried while I'm delivering my lines. "Kaya mo pala eh" she said. I just smiled and thanked her. I told her that I accepted it as a challenge because, ever since I was a child, I had been accustomed to hiding my feelings and choosing not to express them due to the trauma from my childhood. At that moment, I felt the release of my emotions. The next day, I'm still trying to find out how did I do that and did my best in the rehearsal. The director didn't criticize me for my performance and told me to give it some little push.

 The final rehearsal came, we were in the church, 8 p.m., we, the actors, translated what we practiced on a small stage to a larger space before the altar, the stage manager and his staff prepared the props for every scene and reviewed the flow of the performance, the director and the technical staffs at the choir lobe giving directing from up there and testing the 6 condenser microphone surrounding the stage space. after everything was set, we did 2 dry runs on the actual stage space.

Here it comes, it was the day of the show. The show will start at 8 p.m. and we are prepared at 3 p.m. We finished our makeup, last rehearsal and we prayed in hope for the show's success.

At the beginning of the performance, watching my co-actors performing on stage made me cry. Then I'm next. I was delivering my lines loudly and jolly at first where my lines were meant to be like that. When Tita Sahlee, my mother in the scene, fainted in front of me, I rushed to carry her and wake her up. I delivered my lines with the best I could to give the audience the feeling they need to feel. After the last line, I tableau and feel the background music looking at the Mama Mary at the back of the choir lobe. I paused there for such a long time to the point that the next actor is waiting for my exit and my director is signing at me to exit the stage. I realized it lately so I carried Tita Sahlee and slowly exit the stage. The stage manager scolded me for being too long for our scene. But the reason I stayed there for so long is that I felt the catharsis where I don't want to be interrupted. At that moment, I was happy that I did it!

My heart filled with joy and I felt proud of myself that I have overcome the challenge. It is true that the factor of being there in the performance and you felt the emotion of your co-actor on stage, it will help you release your emotion.