Pamana Theatre Exchange

12/28/2023

https://usa.inquirer.net/137795/jose-rizals-legacy-shines-on-victorias-stage

'Pepe,' a compelling play shedding light on the remarkable life of the Philippines’ national hero, Jose Rizal, takes center stage in Victoria.

10/20/2023

PEPE | By MALOU JACOB

THE CAST

James Gonzales

Q: Of all the characters you play, which one is your favourite and why?

A: Mos def it'd be the Katipunero. As I've seen in history books and pics, Clara found the right shirt and even dyed it for a much used shirt in the rice fields and in bloody battles. The pants to weapons were the completion of the outfit. In each play, I saw myself as a real Katipunero. And outside the stage, I'm still a Katipunero.

Q: Which other character would you like to play or explore more and why?

A: It's a tie between the Mango vendor and the Katipunero with the Filipino martial arts fighting sticks and the blade.

Mango vendor was simply a funny, light-hearted scene. However, it was a challenge for me to express without words to the mostly Caucasian audience how in the Philippines, the people will always serve anyone with a smile.

Katipunero was a great chance for me to share with the audience that we can fight with our soul... to the end.

Q: Name the "Top 3" things that you'll take away from this experience.

A: - Resilience

- The legend and history continues

- Coolest friendship!! With the cast and production, I have met new friends who've got the same heart for motherland. "Mabuhay ang Pilipinas".
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10/20/2023

PEPE | By MALOU JACOB

THE CAST

Sheila Alonzo

Q: Of all the characters you play, which one is your favourite and why?

A: My favourite is the "early Filipino" or Babaylan in the prologue. She represents the indigenous farmers and healers.

Q: Which other character would you like to play or explore more and why?

A: I would like to play and explore the character of Inang Bayan (mother land) because she represents the idea of a nation from the gaze of Europeans. With an academic background in political science who is studying Philippine history, I wonder how things would have been different if Jose Rizal's wish for reform (for more Spanish government rule of the Philippines) came true.

Q: For the audition, we were asked to bring a body of work, what did you bring for your audition and why?

A: I tore a piece of writing from my journal, edited and performed it as spoken word. The piece was titled "Of Minarets and Green Parrots" about the feeling of displacement and belonging. Jose Rizal travelled through Europe (and exiled) like I did growing up as an expat and later, for my education. I can relate with the feeling of not belonging and constantly having to reinvent oneself.

Q: What do you have to say about the movement pieces or the process of using drama therapy for the choreography?

A: I enjoyed the process of using drama therapy or collaborative theatre to reach the choreography for the movement pieces in the play. It helped bring the ensemble together in an organic way that also gave a certain freedom of expression and surprise.

Q: What outfit, accessory or prop would you like to keep and why?

A: I would like to keep the maria clara top as a formal wear because when I wear it, I move differently in it and feel the familiarity of the fabric and butterfly-wing sleeves on my skin.
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Bayanihan Community Center
Theatre Inconnu

10/19/2023

PEPE | By MALOU JACOB

THE CAST

Janice Valdez

Q: What do you think is the main message in Pepe?

A: The play illustrates a man who was called a hero yet considers himself to be ordinary and imprisoned still in death. For me, the main message is in one's answer to the last line of the play "Are you prisoner still?"

Q: Of all the characters you play, which one is your favourite and why?

A: Let's see: The Modern Child was super fun to dance and express youth, Inang Bayan involved looking like royalty which was fun for how unreal it is to my everyday life. A mysterious message in a lamp with Sister and holding a gun as Sisa are compelling moments.

I can't say I have a favourite because I appreciate each of them distinctly. But if I were to choose one I looked forward to playing most each show it would be, for a variety of reasons, Leonor Rivera. For one, hers was the most elaborate costume of them all and I enjoyed the ritual of doing her hair, getting help with her jewelry, and playing with her fan and handkerchiefs. Her dance opposite Pepe was flirtatious and playful with a touch of restrained fire. To play a character who dwells in childhood love and melancholic longing, Leonor was a pleasant departure from the heavier moments I had with Sisa and Sister.

Q: Which character would you like to play or explore more and why?

A: I would like to explore / learn more about women who upheld and inspired José Rizal - his mother, Josephine Bracken, and Leonor Rivera.

Q: What do you have to say about the movement pieces or the process of using drama therapy for the choreography?

A: This could be a thesis, but in short - I employed a blend of strategies from my drama, acting, and dance/movement experiences. Ensemble Thinking exercises mentored to me by Julie Lebel of Foolish Operations in Vancouver were a key guide in how I composed with the cast. While I have a drama therapy background, I would not say drama therapy was applied to our composition processes.

Q: Name the "Top 3" things that you'll take away from this experience.

A:
1. A renewed appreciation of old friendships and gratitude for new ones.
2. I would say memories of making the ensembleA:
1. A renewed appreciation of old friendships and gratitude for new ones.
2. I would say memories of making the ensemble pieces but over time there's a good chance I'll forget the details of our process. What I do believe will last are the lessons that will live on in my body from having danced the characters to life.
3. Joey Ayala's voice singing "Ultimo Adios".
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Bayanihan Community Center
Theatre Inconnu