YSA TATIANA LLUISMA

Based on your research, what are the issues confronting contemporary Philippine
theatre?

Contemporary Philippine Theatre has come a long way from the long history of
colonialism, revolution and liberation. Despite the accomplishments of theatre, certain
challenges still confront it today. From the articles read in class, research and class discussions, I
observed certain issues prevalent in Philippine contemporary theatre.

First is the competition with the other entertainment industries such as television and
film. The media has more accessibility to the masses compared to theatre which is struggling to
survive the competition. Funding, marketing and grabbing audiences still remain to be challenges
in theatre. Tejada (2010) stated that, “the truth is, when time comes for you to put on a show, it’s
difficult to sell tickets. So in terms of audience development, theater could do a lot better”. He
further explains that theatre still lacks popularity in the Philippines compared to mainstream
media; this in turn, affects the overall appeal of theatre to the audience.

Accessibility is also another challenge related to audience development and popularity.

Theatre is still mostly available to students in schools and basically, to those willing to pay the
ticket price to watch the show. Venues for theatre are still limited which is one of the factors of
its lack of popularity. Also, the economic situation of the Filipinos has placed theatre at the
bottom of its “hierarchy of needs” which is why theatre groups mostly gain audiences from
required students and the middle up to upper classes in society.

Though street theatre reaches out to the masses, it is still not enough to gain exposure for
theatre. Its usual political sentiments provide only a small perspective of Philippine theatre which
the majority of the Filipinos are yet to discover and witness.

Second is the lack of support for theatre especially in rural areas and at the community
level. Classical forms such as the sarsuelas have resigned the provinces while main cities remain
ignorant of their existence and importance. The colonial mentality of Filipinos has led to the
preference of Western plays, rather than local plays. The limelight of local and regional plays has
played secondary to that of Western plays. Adaptations and restaging of Western theatre forms
and plays have become a part of Philippine theatre, in a way.

This leads to the third issue: the identity of Philippine theatre. Today, the question still
remains ambivalent; the clear and defined parameters to describe Philippine theatre remain
undefined and unclear. What makes a play considered to be “Filipino”? Are foreign adaptations
by Filipinos considered as “Filipino”? Does a purely Filipino theatre form exist?

These questions are still in the process of seeking answers. I believe that there is a need to
consolidate Philippine theatre in the country to be able to answer these questions. More studies,
interest and support is need to pull theatre away from the background against mainstream media
and to be able to reach out to the majority of Filipinos.

Contemporary Philippine theatre, then, has the responsibility to realize these challenges
and find a way to overcome them. Having modern knowledge and technology on its side, it
should promote theatre and further improve its pool of talents to maintain the integrity and
heritage of Philippine culture and to give homage to history as well. Contemporary Philippine
theatre serves as the bridge of the past and the future; it has to preserve history to make sure it is
not forgotten and it should work hard to pave the way for the future as well. Thus, it carries the
weight of initiating the solution to these issues and challenges because it is the period of
realization and the period of modernity.