#dulaang UP

[wendellcapili]

Reunion and homecoming for UP College of Arts and Letters-UP Department of Speech Communication and Theatre Arts alumnus and UP CHK former faculty member Jeffrey Rm Garcia—he has been Hong Kong Disneyland’s Creative (Show) Director and Choreographer for the past 18 years. Previously he was part of many UP Filipiniana Dance Group, UP Varsity Pep Squad and Dulaang Unibersidad ng Pilipinas (DUP) performances and productions, where he was known for his spins, jumps and splits. We also celebrated the birthday of the School of Media Studies, Mapúa University Dean David R Corpuz, who received awards and nominations for his films The Ordinary Things We Do (2014), Kusina (2016), and Kuya Wes (2018). Last year, he won a Carlos Palanca Memorial Award for his essay “Autoetnograpiya ng Luksa.” He is also a member of the Commission on Higher Education(CHED) Technical Panel for Multimedia Studies. David is a UP College of Media and Communication and DLSU College of Liberal Arts alumnus.

[slvrdlphn]

Dulaang UP: Rosang Taba runs again this April 2024!

Dulaang Unibersidad ng Pilipinas is restaging the highly-acclaimed Kung Paano Nanalo sa Karera si Rosang Taba this April 19 to May 05 2024 in UP Diliman. Considered one of the Best Filipino Theatre of 2023, this reimagining of Dean Francis Alfar’s beloved children’s book by Maynard Manansala and Rody Vera showcases the power of storytelling to reclaim and celebrate one’s independence. A race…

[lakan-olivares]

Ang Paglilitis

1996 Papier-mâché sculptures For the play “Ang Paglilitis” (The Trial) of Dulaang UP (university of the Philippines)

[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 𝟏��, 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

[calliopesink]

She’s DOLLY... and she’s KILLING IT!

A Praise for a Resilient Talent

Dolly De Leon, a rising star in the acting industry, has been making waves with her recent achievements. Following the sweeping success of her international film “Triangle of Sadness” at the Academy Awards in Hollywood, she has been thrust into the spotlight. However, it doesn't get in the way of who she is—a passionate driven artist and a down-to-earth person— which has been shaped by the challenging journey she has endured.

In most of her acting gigs in the Philippines, she often found herself playing supporting roles that did not have significant character arcs. Despite this, she remained dedicated to her craft and strived to be a good actor because acting is her passion. Throughout her journey as an actor, she consistently faced multitude of unfriendly and disrespectful individuals, she assured that one of her fortes in acting includes respect.

“Creating and acting should work hand in hand with building relationships with the people you work with,” she said with a proud tone.

She quickly rose to fame due to her exceptional talent, charisma, and captivating personality. Her passion for acting has been evident throughout her 30-year career. Although she initially had smaller roles, her breakthrough in an international film led to larger opportunities and increased recognition. Despite the pressure that came with starring in the acclaimed film Triangle of Sadness, she remained focused on her craft and the impact of her work.

“The pressure wasn't so much on me as an actor, parang that's such a big responsibility to carry around.” she said.

In like manner, Dolly expressed deep gratitude towards her alma mater, the University of the Philippines Diliman. She passionately shared how her experience at the school transformed her life, shaping her views, and laying a strong foundation in acting. The University theatre group Dulaang UP played a pivotal role in her training, imparting almost everything she knows about acting. She also credited the brilliant creative individuals she had the privilege of working with, including Tony Mabesa, Josefina Estrella, Ogie Juliano, and Cris Vertido.

“I thought acting was just something you did for fun but in UP, I was educated on that and I learned a lot from them that acting or performing is a discipline.” she said.

In contrast, being born in a generation when gender roles were the norm particularly in the film and TV industry, Dolly grew up seeing women as a minority and second class citizen. Regardless, she firmly believes that there's no need to double her efforts for any validation as doing her job is already enough.

“Hindi ko iniisip na oh, I have to work harder kasi babae ako, hindi, I have to work harder kasi i have to keep my standards up and to make sure that I'm doing things in excellence and in the service of my job.” she said.

Dolly’s primary goal is to expand beyond the realm of filmmaking. She has been considering a shift toward producing, in order to showcase her diverse talents beyond acting and establish herself as a well rounded story teller.

“Ayun yung gusto kong ma-achieve talaga, kasi for me, ayun yung epitome ng creation, you're not just creating a character, you’re creating a whole narrative with a whole team, and you're part of the process of making that happen.” she said.

Her journey serves as an inspiration to all aspiring actors, showing that hard work and dedication can lead to incredible achievements. Her resilience and determination serve as a powerful reminder that success is possible, regardless of the obstacles in her way. She is a shining example of breaking barriers and defying expectations.

“Don't ever let the industry tell you otherwise; don't be limited by what the powers may impose mon you; don't ever compromise your creativity and your talent.” she said.

Every line that comes from her mouth serves as the great and strong cadence of her journey. Her sturdy presence on and off the screen has indeed broken the barriers and subdued the fears, on her way to killing the industry with her strong goodwill yet powerful persona.

Written By:  Jackielou Almajose & Justiniano Ceruma

Pubmat By: Cathleen Jasmin Marfil

[sforzesco]

also re: the philippines and shakespeare

regarding Dulaang UP’s “Tinarantadong Asintado” (Titus Andronicus), in Is There A Filipino Way of Doing Shakespeare?, Cora Llamas

& also

The Regular Grind on the above production, quoted here

So uh does Caesar inherit the cannibalism from Sulla?

this is actually more of a creative dialogue-shapespeare kind of thing than anything to do with sulla: a couple of filipino stagings of shakespeare's plays get really gnarly with the food-cannibalism-politic interplay, and caesar as a thing that consumes (and is consumed, I guess) is a theme in JC itself

cassius voice: upon what meat doth this our caesar feed, that he is grown so great?

and the answer I'm turning around in my head right now, tbh: the last generation of the republic. the novi homines. his collection (consumption) of the novi homines is a kind of social-political cannibalistic disruption of the republic. gotta get 'em new, that way you can remake the next generation into whatever image you want. additionally, clemency as a way to keep people under your foot. clemency (derogatory, hostile) can be a kind of consumption too, in terms of power balances. or something. the caesar (julius-octavian) dynast/empire building agenda, some kind of digestive comparison to the transitional shift from republic to empire.

we'll see where all of this ends up!

if you want Sulla doing cannibalism, tho, this fic lives in my head rent free, I think about it at least once a week

[originalamateur]

The Seagull

The Seagull, written by Anton Chekhov in 1895, takes place in the Russian countryside. The play is about Konstantin, a desperate and frustrated writer deeply in love with Nina, a rising but naive actress who loved him back but got into an affair with Trigorin, a famous writer dating Arkadina, a famous but seemingly obsolescent actress that has the frustrated writer for a son. Along with the…

[irritatinglytidsoptimist]

OPEN INVITATION❗❗

LF>> Kasama manood areng Pagtatanghal sa Teatro sa UP Diliman.

Would prolly watch by the weekend, most possibly Sunday 7pm. Pero kung may makakasama oks lang earlier date.

If ayaw akong kasama, but you want to go, please go. This is a FREE ADMISSION performance. I guarantee you this will worth your time.

[exgorevfortheater]

UP Dulaang Lab’s “@nlex” Paves the Road for New Ways of Storytelling

The new production "@nlex", an adaptation of Tony Perez's Sa North Diversion Road under UP Dulaang Labratoryo that dropped this August 27, 2021 breaks new ground for the genre of virtual-performance. The pandemic is just around the corner of its second year anniversary and the genres it had created for our survival has shifted, slowly gone back to normal or in the case of Philippine Virtual Performances, evolved.

     The production team and creators behind "@nlex" definitely show this. Directed by Fitz Bitaña alongside Serena M for the Theatre 198 Special Project class of 8 UP Diliman theatre students, they show bravery and teamwork in the building of a production that, once again, has redefined the meaning of a Virtual Performance.

Their adaptation of Sa North Diversion Road by Tony Perez surprised the audience with its beautiful visuals, brilliant direction, contemporary storytelling and performances led by the incredible Sabrina Basilio, Gino Ramirez and Markel Gamboa. EXGO REV also gives praise to the video editors and visual effects artists for having stitched together the scenes beautifully and in-line with the story.

"@nlex" is a story about a couple and the many stages there are in a relationship. The pair embody different couples and separate relationship status asking questions of trust and loyalty as well as begging the audience to unscramble and undo their thoughts for them by way of watching the play again and again. But using NLEX as an analogy perhaps we need not to be unscattered as cars on a highway/freeway. As through out the entire drive we're all ultimately going the same direction. Maybe at different paces but on the same road.

      The play requires multiple watches for audiences to fully understand the deep and personal text of Tony Perez.

Though even so with how confusing or scrambled the story can be, Fitz Bitaña and Serena M's direction and choice of visuals paint us a picture of what the story is really trying to say and what they themselves want to say with it. From visual transitions that show the timelapse of vegetables deteriorating to the beautiful closing shot of a very long drive as one character bids their goodbye to the other. We cannot give enough justice to how beautiful the play looks so instead we encourage everyone to see it in UP Dulaang Laboratoryo's Facebook page while it is available.

      "@nlex" has paved the road for what we should expect from Virtual Performances from now on.

More on Tony Perez:

    Tony Perez is a playwright, artist and writer most commonly recognized for his collection of stories in his book "Cubao Pagkagat ng Dilim: Mga Kuwentong Kababalaghan". It is hard to come by a Tony Perez play these days so it's especially thrilling to see one even in a virtual setting. EXGO REV would even be so bold to claim, this adaptation gives justice to the original script of the playwright.

That is to note, there are many more different interpretations of the story, especially in Tony Perez's original script.

      Malugod na pagbati sa mga creators, teams at theatre makers ng produksyon. Mahusay! Pagpugay!

Watch their play on UP Dulaang laboratoryo’s Facebook page: https://fb.watch/7Hii3XTHY7/

“@nlex” Direction by Fitz Bitaña and Serena M under UP Dulaang Laboratoryo

An adaptation of Tony Perez’s Sa North Diversion Road

Blog by EXGO REV (Edits were added due to some previous misinformed details.)

Please Like and Share! 

[mariehuwanna]

Umpisa pa lang. Makapanindig balahibo na. 🐊❤️👌🏻 . . . . #theatre #play #theaterplay #UP #updulaanglaboratoryo #dulaang laboratoryo #lamang #lamangangsugongnalbuan #biagnilamang #vsco #vscocam #vscofilter #vscodaily #photo #photograph #photography #iphonephotographer (at Palma hall University of the Philippines)

[wendellcapili]

Bumped into reliable Dulaang UP administrative staff members Jesus (Jess) Lopez & Archie Clataro. UP has been fortunate to have dedicated and reliable administrative staff members like Kuya Jess (since 1979) and Archie (since 2009), who have served at the College of Arts and Letters for many years. Not surprisingly, Archie was named recipient of UP Diliman's Gawad Tsanselor para sa Natatanging Kawani two years ago. Kuya Jess, on the other hand, has worked in theatrical productions involving National Artists Salvador Bernal, Wilfrido Maria Guerrero, Amelia Lapeña Bonifacio, Bienvenido Lumbera, Antonio Mabesa and Rolando Tinio. They have played a crucial role in ensuring the smooth operation of their office, handling various administrative tasks with efficiency and professionalism. Their years of experience and commitment have been invaluable in supporting faculty members, staff members, students, alumni, and visitors. Their hard work and dedication have been instrumental in maintaining high standards of excellence and reputation within the university community. We are grateful for Kuya Jess and Archie's continued service and look forward to many more years of collaboration.

[slvrdlphn]

Dulaang UP Studio: Workshop with Acclaimed Actress Dolly de Leon

Dulaang Unibersidad ng Pilipinas (Dulaang UP) is set to kickstart the launch of DUP STUDIO with Dolly de Leon entitled Auditioning for a Role and Landing It. The award-winning film and theatre actress Dolly de Leon will serve as a mentor to six participants for the first-ever Studio Work of the program. This will also be open to the sit-in participants to witness the session first-hand. The DUP…

[southeastasianists]

“Philippine theater has never hesitated to go to war,” wrote cultural historian Doreen G. Fernandez. In times of political struggle, Filipino activists have used plays to express their vision for a better world and give the ordeals of the oppressed a place at center stage. To this day, shows like Black Box Productions’ Dekada 70, PETA’s A Game of Trolls, and Dulaang UP’s The Kundiman Party have been staged and restaged, empowering younger audiences to confront social realities.

In honor of Independence day, we revisit the roots of protest theater in Philippine history—how our nation’s storytellers served as harbingers of hope, voices for the voiceless, and the citizens’ conscience, even as censors threatened to stifle them.

1900’s: “Seditious” plays of the Philippine-American War

In 1901, the Sedition Law was enacted under the Taft Commission, criminalizing the advocacy of Philippine independence. Any protest art was considered a rousing threat to American rule. Still, playwrights took their anti-American sentiments onstage, risking not just their own arrests but those of cast, crew, and audience members.

Juan Matapang Cruz’s Hindi Aco Patay was about the love between Karangalan (honor) and Tangulan (the defender) as they resisted the usurper Macamcam (who symbolized the American insular government). During a performance on May 8, 1903 in Malabon, a drunken American soldier hurled a beer bottle at a Katipunan flag prop, proceeding to tear the scenery apart. Cruz and ten of the play’s actors were soon arrested. The renowned playwright Aurelio Tolentino also suffered nine imprisonments in his life, one of which was for a staging of his equally patriotic play, Kahapon, Ngayon at Bukas.

Their works—while labelled ‘seditious’ then—are now recognized as some of the first nationalist plays of the country, marking the advent of revolutionary drama.

1940’s: Secret messages in the Japanese Occupation

The ban on American films in Japanese-occupied Manila allowed live shows to take their place on the stages of movie theaters. This gave rise to what National Artist Daisy Hontiveros-Avellana called ‘The Golden Age of Philippine Theater’, when Filipino plays were much in vogue. The efficient censorship of scripts, however, did not allow for the obvious symbolism seen in the nationalist plays that preceded them.

Instead, stage shows carried subtle messages of hope to those shaken by the war. “Darating si Mang Arturo,” an actor uttered in one skit, alluding to General Douglas MacArthur’s famed promise.

Theaters also reportedly served as message centers for guerrillas, where they could furtively meet with friends and supporters. If the Kempeitai (Japanese police) entered the theater, a vocalist would suddenly go onstage mid-show to perform a signal song, alerting the rebels that they had to bolt.

1960’s: Proletarian theater groups and the tide of nationalism

The return of the American presence in the forties restored the use of English in local theater. Western classics (such as Shakespeare and Broadway) ruled Philippine stages even after independence in 1946, making theater a bourgeois art appreciated only by the fluent, upper-class minority. By the early sixties, many thespians acknowledged this problem, prompting a huge shift: Where at first, the Filipino tongue was called baduy, by the end of the decade, it had become the language of the stage.

Companies like PETA and playwrights like Rolando Tinio started staging more original Filipino works and translations of Western plays. The rise of student activism also led to the formation of cultural groups like Panday Sining, Gintong Silahis, Tanghalang Bayan, and Samahang Kamanyang. They popularized ‘proletarian theater’, devising spectacles from real-life experiences of oppression and exposing the injustices that hounded the era’s political landscape.

Through their ‘dulansangan’ in basketball courts, churchyards, and rice fields, these groups laid the groundwork for theater activism under Marcos’ martial law regime.

1970’s: Camouflaging political intent under martial law

Under Proclamation No. 1081, theater could not be as propagandistic as before. While some commercial theater troupes stuck to ‘harmless’ zarzuelas, comedies, and musicals, activists strove to resist indirectly through their art. They staged plays around history and tradition, depicting past issues that mirrored those of their dark present. Nicanor Tiongson’s Pilipinas Circa 1907, for instance, was a politicizing spectacle disguised in an anti-American Christmas play.

UP Repertory’s Bonifacio Ilagan also used the cover of religion in Pagsambang Bayan. But because of the more blatant criticism it contained against the tyrannical Marcos administration, director Behn Cervantes was arrested after a 1977 staging of the play. Many other cultural workers and political actors simply ‘disappeared’.

“Political will and a keen sense of the power of the medium drove us to learn theater through actual and urgent theater work, like learning warfare through warfare…No rally was complete without activist theater,” Ilagan later wrote. The multi-awarded progressive playwright, filmmaker, and Panday Sining co-founder Bonifacio Ilagan at a 1971 protest in UP Diliman. Photo c/o Boni Ilagan.

1970’s—1980’s: People’s theater in Visayas and Mindanao

As performance activists grew louder with increasing human rights violations and the Aquino assassination, some left Manila to bring people’s theater to outlying regions. Former participants of PETA’s Basic Integrated Theater Arts Workshop (BITAW)—a three-day course that empowered thespians to stage their stories of exploitation—in the early seventies relayed their knowledge in Davao, Lanao del Norte, Negros, Leyte, and Samar.

Playwright and Mindanao Community Theater Network founder Fr. Karl Gaspar was among these BITAW organizers. Although he was arrested twice for the protest plays he produced, he continued to write behind bars and even established a theater program for his fellow detainees in 1983. Meanwhile, members of the police intelligence chased actors around the stage in a Christmas play from Samar’s Makabugwas theater group. This blossoming of regional theater came with such ‘necessary evils’ of thespian harassment. ‘Militant priests’ in Mindanao encouraged church-based community theater in parishes and on religious holidays. This began in the sixties with an alliance between PETA and the church. Photo c/o Karl Gaspar.

Protest theater has gone a long way since colonial years. In every stage, it has proven to be a powerful weapon—an art of resistance and emancipation that flourished when others tried to muzzle it.

With their ingenuity and guts, these pioneering activists remind us to continue making noise on the stage of the nation.

[pinoyparazzi]

JC Santos, from gay role, pari naman ang papel sa “Buwan at Baril sa Eb Major”

Nakilala nang husto si JC Santos bilang si Ali sa ABS-CBN’s “Till I Met You”. Gumanap siyang bading sa seryeng ito na pinagbidahan nina Nadine Lustre at James Reid. Pero bago sumikat sa serye ng Kapamilya Network, naging produkto si JC ng Dulaang UP at naging tampok sa mga...

Continue Reading... http://www.pinoyparazzi.com/jc-santos-from-gay-role-pari-naman-ang-papel-sa-buwan-at-baril-sa-eb-major/

[samadalingsabi]

Baka Naman Hindi | Cultural Center of the Philippines

***

First staged at the CCP in the 1970s under the direction of CCP President Arsenio “Nick” Lizaso, this new production brings back the rollicking sexual comedy popular during the period. Set in 1907, this humorous tale deals with jealousy, love and lust between long time couples and friends. In this play, set during the “belle epogue,” a woman, suspecting her lawyer husband of having an affair, plots to catch him in the act. **more details here

***

Sinauna man ang set up ng dulaang ito, nakakaaliw ang kwela nitong tema. Nagdudulot talaga ng gulo ang pagdududa o tamang hinala sa isang relasyon. Lol

Sa kabilang banda, mahusay ang pagganap ng mga karakter. Nagustuhan ko rin ang kasuotan at ayos ng entablado. Hindi gano'n kalalim ang mga salita maliban sa mga dialogue na ang gamit ay salitang kastila. Ang pilyo ng mga batuhan ng linya na siguradong ma-appreciate rin ng mga tito's at tita's. Hehe

Siya nga pala, kabilang pa rin ako sa mga pasaway na pasimpleng kinukunan ang isang scene ng play. Bukod sa rememberance, may maipakita man lang sa ilan at umaasang ma-appreciate rin ang mga ganitong theatre play.

[johnmark-villanueva]

“E, hindi naman talaga armed struggle ang totoong struggle dito sa amin… Ang totoong struggle dito e sa transportation.”

Inihahandog ng UP Dulaang Laboratoryo at Theatre 141 FXY (Stage Direction 1) ang TANGLAW. Isang Birtuwal na Pagtatanghal ng mga isang yugtong dula na idinirehe ng mga mag-aaral ng sining panteatro sa patnubay ni Prop. Dexter M. Santos.

Bagong salta sa Lanao del Norte si Bambi upang magtungo sa kanilang opisina. Sa kanyang paghihintay ng masasakyang bus o jeep, makikilala niya si Hamid na isang habal-habal driver at Meranao. Hanggang saan kaya hahantong ang pampe-persuade ni Hamid na mapasakay ng habal-habal si Bambi?

Tunghayan ito sa dulang “Ang Bayot, Ang Meranao, at Ang Habal-Habal sa Isang Nakababagot na Paghihintay sa Kanto ng Lanao del Norte” ni Rogelio Braga.

sa Direksyon ni Regine Alingal

Tampok sina: JM Villanueva bilang Bambi Adrian Carlo Fajardo bilang Hamid

Disenyo ng Produksyon at Kasuotan | Daphene Giga Direksyong Panteknikal | Gio Buenaventura Bidyo Editing | Regine Alingal Pamamahala ng Entablado | Alexa Biacan Disenyo ng Poster | Daphene Giga at Regine Alingal

Tanglawan ngayong Hunyo 11, 2 n.h. sa UP Dulaang Laboratoryo Facebook Page.

#TANGLAW_UPDuLab

Babala: Ang palabas na ito ay naglalaman ng senaryong maaaring makagambala sa mga manunuod. Inilaan ito para lamang sa mga may edad na labinlima pataas. Ang ilang mga senaryo ay mayroong temang pakikipagtalik, pagmumura, karahasan, at tumutukoy sa ilang sensitibong usapin gaya ng suicide. Ibayong pag-iingat sa panunuod ay kinakailangan.