How Great Thou, What?

The STAinEd's First Show last March 6 is mission accomplished. I can simply say a succesul one as it finally delivered a "Teatrong Walang Takot sa Halimaw at mga Chihuahua na sumisira sa Sining ng Dula". The audience composed mostly of STA students had great shouts and applause, agreeing to the message on the rotteness of STA system.

Even though the production suffered from financial difficulties as none of the STA graduates we approached supported us, we found ways to have "STAinEd" be performed onstage. And now we are happy to annouce that the Second Show will push thru this coming June with a better plan, having learned our lesson.


Personally, I feel discouraged if not nutty to some STA graduates which were part of our play parade during college days, who were so eager to stage a play yet now not so interested to the craft anymore. So, I accepted their apathy as indication of the "TRUE REASON" on taking a course not designed to their blood type.

"Just-in-Need-of-a-Degree" or "Just-want-to-be-Famous-in-School" or "I-want-to-be-called-Artist" or "I-want-to-be-a-BU-student"

How's that?

Quite simply, it's more of staging rather than doing.

Arvin, my co-theater-worker, told me about a reaction of one of our classmates from STA Class 2005 upon knowing that our group is going to stage a play, as we ask her or him to be part of the play by being a donor or sponsor or whatever.

The Reaction?


- "Di ba matapos-tapos yan?"


Whew! Nice. Very Nice. So uncanny an answer from a graduate of Theater Arts. He/She should know our "drive" - the very thing that fuel the mind to create, to work, to juggle imagination into form. He/She should know that our craft is incessant in nature. (So dogmatic if I call it "passion" eh, so drive na lang). Well, no wonder why it is just right to stage a play, like STAinEd, that tackles pointless STA student minds, clueless on the taken course.


I was so stupid. I should have never asked help if I only knew the comformist thoughts of our former classmates. Wika nga ni Arvin, "makakamundo". Yup, so sad indeed. Well, maybe they are just practical in life now. What can a stage play do to them in the first place? Does it have something to contribute to their already-rich-senses? Does it answer the TRUE REASON of taking Speech and Theater Arts course?


So stupid Emil, so stupid.


By the way, where are the 7 Aces? Oh my! Maybe in deep slumber, suffering still from hang-over brought by Buwan at Baril. Peace Bros! Hahahahaha

"STAinEd" a stage play

"STAinEd"

a stage play for the STA students

When: 2nd Show - April 2008

Where: Naga City

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We are not satisfied to utterly accept things as they are, be they a collective convention or in any way man perceives. We tend to develop a habit of thinking, reacting, imagining, creating and re-creating. A self that continuously thinks, continuingly responds from the heart and perceives with soul is a self that will not straightforwardly conform orders and agree to colorful propaganda. As artists, we use our own medium to show our stance. Art serving as antennae of the social order is tuned into every coming chapter of social drama that is yet to be produced. As such, art now becomes a force for the transformation of the social order.

But how can we be sure of our oeuvres to show strong force? As we take art as a catapult for social change, the process of its utilization should begin on the training ground. Bicol University, my Alma Mater, is one of the few institutions that offer art courses in the region. The University’s College of Arts and Letters, to be particular, is regarded as a hub of arts and culture. This is the place where I learned and understand the world of Aeschylus; the place where I drank the precious wine of Dionysus; the very place I built my heart for theatre arts. However, I now see this "prestigious" college as obedience school for students to learn how to beg, fetch, roll over, and play dead; where the art program is in mind-numbing attempt to teach the proper art techniques; where most of their paid arts teachers cannot even define what art really means. The so-called "home of Arts and Culture" teaches students to perform to please parents and “babyluvs”, shoot for fame as well as provide entertainment through street dancing competitions. It is on this college that you are forced to dance in the streets just to earn a flat-1 grade from a subject clearly not related to dancing - a subject on speech communication with terpsichorean theme. Wow. Can we call it creative fusion? Nope. Label it as “Puppet Theatre” where the marionette students have all the strings attached onto their necks.

BU-CAL needs a genuine art education - an edification that starts by challenging the tameness of rote learning and pushing the students to dig deeper to find the answers to the unanswerable questions that fuel the engine of creativity. With a good academic program and valid-compelling teachers, the students can develop practices of astute observation, creative interaction, and clever juggling of imagination into form.

BU-CAL can be the place where we can see stories that the mainstream media fails to show or hear the tales that are kept out of the history books, or meet the characters whose physical attributes and upbringing are so totally different but the convictions and dreams are so astoundingly the same. Through BU-CAL we can lift art out of its mediocre perception as entertainment, hobby, diversion, and the likes, and put into a level where it will become a force of social transformation -- a hard hammer to pound the plastic key of liberty, a purified water to quench the inferno of confusion. But, in order to fully experience the soothing arms of art; one has got to fall down and skin a number of knees. This means risk, reservations, and questioning – the forms of artistic investigation and not only learning art for art’s sake.

Our care is on art and may not concern politics and prefer not to be entailed in a group act – a group that is susceptible to creating its own stifle type of conformity and mass mindedness that an artist by temperament might incline to defy. However, we must consider that art exists to question, to provoke, to stimulate. And that holds back the development of consent that politics and rotten art education heavily depend.

We should now go out in the open and show our principled creativity. Lets us now challenge the social order through our impeccable writings and guileless stage shows. Let their breaths interrupted by our panache dance moves. Make the world stopped with a philosophical painting or have their lives turned up side down by a pulsating piece of music. Let us now test the water of truthful arts where we can also know who among us has strong knees to withstand its unbearable torrents of consequence.

Let us start with the play “STAinEd” and show our shared orientation and conviction. What about the consequential sufferance? Just don't mind. Remember this old adage: “It takes a wound for an oyster to produce a pearl”.

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"STAinEd" (STA in Education) is an experimental stage play about the sickening system of the Bicol University College of Arts and Letters’ Speech and Theater Arts program. It directly tackles without hesitation the perplexed curriculum, cold-hearted administration, invalid teachers as well as the confused students. Through the use of different methods such as Viola Spolin’s Improv Theatre, Breacthian Theatre, and Boal, the show clearly and vigorously states the hypocrisy, confusion, and despondency that wreck the meaning and true purpose of theater arts.

As STA graduates, we always believe that our hope for change can be shown effectively through a stage play like "STAinEd" - where our disgust to the rotten art education system molded during our years of stay in Bicol University is delivered loud and clear. It is not just an opportunity but a clear theater of artistic impetus. Let's get it on!

- HARING TSINELAS

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Tools in Acting

1. Concentration. While you're acting, keep your mind on the stage and in the circumstances. You have to enclose yourself in the world of the play. You have to be wildly alive to what the other actors are doing and to how your character would react to them. To focus wavering concentration, set yourself small achievable tasks onstage, inside the story. The woman over there is your "mother"? What exactly is she wearing? How, exactly, is she responding to your "father"? What does your character want her to do right now? Drag your mind onto the stage and keep it there.

2. Be aware of rhythm. The actor's work is much like that of the jazz musician. Every play, every scene, every speech needs mixed rhythms. If everything is slow or everything is fast, everything is loud, everything is soft, and the minds of the audience (and even yours) drop out. Look for the quick part in the slow, nostalgic memory speech. Look for the pause in the hard-driving, angry argument. Reinvest new acting energy at the point where the subject changes or the conversation veers off. You need to find the sensible variety in speed and tone. Say to yourself, "Let's do a little jazz here!"

3. Get the part in your body. What your mind thinks, what your emotions feel, all of this is supposed to show up in your body if you really consider yourself an actor. Look around you. See that actor with nothing happening below the neck? Don't let that be you. Tell your body to get into the act. Acting is doing. Don't know how? Start with a simple physical task accompanying your speech. Stretch, do some easy exercises while you talk to your sister about last night's game. At the very least it will signal your body that it's expected to show up. In most cases, no body means no acting.

4. Ever heard the term "self-reacting"? You do it all the time in life but you probably don't do it enough on stage. Here's how it works. While you talk you have opinions about what you're saying and how you're saying it. You start a sentence describing an automobile accident. Suddenly you realize you left a detail out, and you stop in mid-sentence and readjust. Or you're talking and you say something even you think is stupid, and you make a face that lets the other person in on your new opinion of what you just said. Or you say something and realize it needs more emphasis so you repeat it. These are just a few example of self-reacting. It's a tool you need in your acting toolbox.

5. Tone. Here's a bad acting habit you need to be aware of. You might have let it become a key part of an important scene you're playing and you need to replace it with more specific work. It goes this way: you're doing the balcony scene in Romeo and Juliet and you're locked in the "love" tone. You give every line you say a particular sound that reeks of roses and heart-shaped chocolates and the words "I love you." The whole scene is being played in the love tone. There are other favorite tones, including the "angry" tone, the "memory" tone, the "tragic" tone, the "dominant" tone, etc. Get out of the tone and into the scene. Juliet may love Romeo, but she's also worried that her brother Tybalt will find him in the garden and cut him to ribbons, as well as being furious with herself for being attracted to a Montague, and scared to death the Nurse will come out and find her in her nightgown talking to some guy. Don't let some idea of how a scene should sound get in the way of what a character's action is on a moment-to-moment basis.

6. Words mean something. Sometimes I go to the theatre and get lulled into a somnolent state by a river of words that seem to have no personal meaning to the actor. The words seem colorless, containers filled with a transparent fluid. The good actor makes the words signify. When she says "Aunt Helen," you can picture Aunt Helen, remote, cynical, and overbearing. Part of this is simple emphasis. The sentence you're saying means entirely different things depending on the word or words you choose to stress. Another aspect of this is your attitude toward the words you are saying. You say, "The sea seemed to stretch out forever," but what's your attitude toward that sea? You long for it, you're afraid of it, you had a friend drown in it, you can't sleep without the sound of it, what? You need to invest meaning in the words you say, you need to energize them and sometimes roll the sound of them around in your mouth. Don't just let the words lie there. They need you.

7. Variety. Here's a real and continual secret of the trade. Don't be anything all the time. Don't be angry all the time, don't be sweet all the time, don't be passive all the time, don't be aggressive all the time. Don't treat the other characters all the same way. Life is changeable, and so is the personality of your character. Don't sit down all the time, don't stand up all the time, don't be still all the time or active all the time. When the audience thinks they know what you're going to do next they are less interested. Remember that the good actor is not only full of surprises but is sensitive to a continual need for change. Look for opposites in your part. If the character always seems to criticize his or her parents, look for the kindly gesture toward them. Like the old Pony Express riders, you have to be careful not to ride one horse until it dies under you.

8. The pause. Silence is the actor's condiment. It adds flavor where you need it. Remember that language is born out of silence. Silence is the gestation period for words. After a long line of words and sentences, a pause often refreshes the listeners and refocuses them. A sudden silence with the actor thinking hard about what to do or say next can literally startle the audience into a fierce attention. The pause usually appears at a key moment when there are important choices to be made or when going forward in the situation implies a profound commitment. Where are these moments in the play you are rehearsing or performing?
Often you will see (and hear) long sections of text delivered without these crucial rests. Think of it this way: the important pause occurs when what you want is so balanced by the difficulty of getting it that you have a profound need to think it over before you can go on. Think about the possibilities for these pauses as you rehearse. They can define the role.

9. "I know she knows I know". When you're playing a scene in which the characters know each other well and probably have for a long time, you have to be careful to play in a way that acknowledges that almost anything you say has a history. For instance, if you are talking to your long-term boyfriend about your old car, he has probably ridden in it. You would talk about it in a tone that implies mutual understanding rather than one that suggests what you say should be news to him. I call this the quality of acknowledgment. When you talk about a mutual friend to your brother, you already know what his attitude toward that person is and you take that into account as you talk. It is this understanding of each other that defines scenes where the two characters have a history together. When it's not present such scenes seem flat and even dishonest.
10. Finally, a small but important piece of advice. Don't drop the end of the line. Be careful that the strong verbal energy you start with doesn't gradually dissipate, so that near the end of the sentence or speech you have run out of gas. One of the reasons that this small flaw can deeply affect your playing is that playwrights often put the most important and colorful information at the end of the line. Drop the end of the line and you obscure or lose the sense of the line. Don't do it.
So, my actor friend, that's all for now. I hope these tools will be in your acting bag throughout your career. This article has been an attempt to rediscover for ourselves the things fine actors have known for generations. There are more where these came from. Perhaps you'll make a new discovery the time you are already in rehearsals or on stage even. Remember that as a good craftsperson you don't use every tool on every job. Practice will refine your sense of what tool will solve a current problem.

Break a leg!

from Educational Theatre Association

BEFORE THE LAW

BEFORE THE LAW stands a doorkeeper. To this door-keeper there comes a man from the country and prays for admittance to the Law. But the doorkeeper says that he cannot grant admittance at the moment. The man thinks it over and then asks if he will be allowed in later. "It is possible," says the doorkeeper, "but not at the moment." Since the gate stands open, as usual, and the doorkeeper steps to one side, the man stoops to peer through the gateway into the interior. Observing that, the doorkeeper laughs and says: "If you are so drawn to it, just try to go in despite my veto. But take note: I am powerful. And I am only the least of the door-keepers. From hall to hall there is one doorkeeper after another, each more powerful than the last. The third doorkeeper is already so terrible that even I cannot bear to look at him." These are difficulties the man from the country has not expected; the Law, he thinks, should surely be accessible at all times and to everyone, but as he now takes a closer look at the doorkeeper in his fur coat, with his big sharp nose and long, thin, black Tar-tar beard, he decides that it is better to wait until he gets permission to enter. The doorkeeper gives him a stool and lets him sit down at one side of the door. There he sits for days and years. He makes many at-tempts to be admitted, and wearies the doorkeeper by his importunity. The doorkeeper frequently has little interviews with him, asking him questions about his home and many other things, but the questions are put indifferently, as great lords put them, and always finish with the statement that he cannot be let in yet. The man, who has furnished himself with many things for his journey, sacrifices all he has, however valuable, to bribe the doorkeeper. The doorkeeper accepts every- thing, but always with the remark: "I am only taking it to keep you from thinking you have omitted any- thing." During these many years the man fixes his attention almost continuously on the doorkeeper. He forgets the other doorkeepers, and this first one seems to him the sole obstacle preventing access to the Law. He curses his bad luck, in his early years boldly and loudly, later, as he grows old, he only grumbles to himself. He becomes childish, and since in his yearlong contemplation of the doorkeeper he has come to know even the fleas in his fur collar, he begs the fleas as well to help him and to change the doorkeeper's mind. At length his eyesight begins to fail, and he does not know whether the world is really darker or whether his eyes are only deceiving him. Yet in his darkness he is now aware t of a radiance that streams inextinguishably from the gateway of the Law. Now he has not very long to live. Before he dies, all his experiences in these long years gather themselves in his head to one point, a question he has not yet asked the doorkeeper. He waves him nearer, since he can no longer raise his stiffening body. The doorkeeper has to bend low towards him, for the difference in height between them has altered much to the man's disadvantage. "What do you want to know now?" asks the doorkeeper; "you are insatiable." "Everyone strives to reach the Law," says the man, "so how does it happen that for all these many years no one but myself has ever begged for admittance?" The doorkeeper recognizes that the man has reached his end, and to let his failing senses catch the words roars in his ear: "No one else could ever be admitted here, since this gate was made only for you. I am now going to shut it."
- by Franz Kafka

Decipher Franz Kafka's thinking. Can you? Will you?

My Cat is Dead, He is Homicided.

Patay na si miming ko. Ilang araw palang kaming nagkasama ni Citrus, kinuha na siya ni Papa Jesus. Di pa nga nya alam ang mga pasikot-sikot ng mundo o kaya ang lalim at babaw ng buhay ng bawat nilalang. Nakakaawa siya. Siguro sa pagkakaroon ng murang isipan ang siyang naging dahilan upang idikdik nya ang kanyang ulo sa gumugulong ng gulong. Wala siyang alam na matigas pala bagay na yun, at pwede niyang ikamatay. Doon siya nagkamali (o pwede rin di siya naging mali kasi wala pa ngang alam, bobo!)

Inilibing ko siya kanina sa mababaw na hukay. Nagmamadali kasi ako kaya mababaw lng ang nagawa kong hukay, tsaka ma-ulan, ayaw kong magkasipon. Habang nilalagay ko siya sa huli nyang hantungan, at nagpipyesta ang mga langgam sa mura nyang katawan, naiisip ko ang mga sandali na kami'y magkasama. Maikli nga lang yun, kaya nga sandali, kasi palagi akong gabi-gabi na umuuwi. Pwera pa non, palagi syang inaaway ng isa ko pang miming, si Powder. Kaya di sya masyadong makalapit sa akin ng madalas. Eh, mas paborito ko kasi si Powder dahilan sa mas mahaba ang pinagsamahan namin at kulay puti sya at yellow color ang mata sa right at blue naman sa left. Marami siyang alam na tricks tulad ng pagkain ng isda na hindi mo alam, pag tulay sa sampayan, magsalita ng "meow" sa tamang tono at pronunciation, matulog ng madalas, at higit sa lahat lumalapit siya saiyo kaagad pag tinawag mo siyang miming 20x.

Yan sana ang mga ituturo ko kay Citrus. Sayang at hindi na niya madadala yun sa langit ng mga pusa. Alam ko na sa mabuti siyang kalagayan. Nakakakain ng madalas. Pero sana buo na ang ulo niya doon, kasi nakakahiya naman na maki jamming siya na yupi ang ulo, labas ang mata at alimantak. Ihambog na lang niya sa kanyang magiging friends ang bagong lace na bigay ko.

Farewell, Citrus, farewell. Tell Papa Jesus that I, Powder, and "uncles" boardmates love Him so much.