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1983 » The Philippines » Scénická a kostýmní tvorba národní expozice
| Curator: | Wenifreda Gamboaová |
Filipíny
The Philippine Center of the ITI has selected the works of the designers of PETA, specifically production designs by its repertory company, the Kalinangan Ensemble, and workshop design results of its training arm, CIT AS A, or the Central Institute of Theatre Arts in Southeast Asia. Composed of around a hundred volunteer members, PETA is a national theatre organization founded in 1967 to promote a National Theatre Movement reflecting life concerns of Philippine society through drama. Due to the uniqueness of Philippine history (400 years of Spanish Colonization after a period of Muslim and animistic tribal civilization, 40 years under American Rule, 5 years of Japanese occupation, and 40 years now as a Third World republic), in this drawn from the various theatrical and cultural traditions from such a history to develop a creative, people-based and indigenous theatre movement. Given the socio-economic-cultural problems of many Third World countries (such as: very few technically equipped theatres; absence of subsidized help to independent theatres like PETA; bad economic conditions make the creation of theatre financially prohibitive especially in the countryside, etc), PETA slowly developed design styles and processes fit for the concrete socio-cultural realities in the Philippines. Called by PETA the AESTHETICS OF POVERTY, this principle of theatre design has meant the expensive use of the imagination and ethnic theatre traditions. PETA's exhibit in the Prague Quadrennial In practice, this is seen in PETA's use of organic and indeginous sources for design, imaginative improvisation with available materials, and critical selectivity from visual aspects of Philippine traditional folk and ethnic theatre traditions. PETA's exhibit in the Prague Quadrennial 1983 shows the applications of these principles both in its repertory productions [May-I, May-I, Juan Tamban, Canuplin, Brechťs Galileo Galilei, Caucasian Chalk Circle, in Filipino), as well as in PETA's workshops in the provinces and even in Southeast Asia, with farmers, workers, students, professionals, who utilize the theatre for education, social awareness, and meaningful entertainment.
