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We thank you, CARMELA G. LAPEÑA for this article.
Don’t miss the chance to see this show. Still running from tonight, September 23 until September 26 ’10 at UP Diliman CAL New Bldg, promptly opens by 630pm. Wear comfortable clothes and shoes!
News Release: UP DECL celebrates centenary with a play directed by Anton Juan
17 September 2010, Quezon City – The Department of English and Comparative Literature, College ofArts and Letters of the University of the Philippines-Diliman marks its centenary with a play adapted from Griselda Gambaro’s Information for Foreigners as part of its ongoing celebration. The cast members created collaborative devices in mounting a carnivalesqueportrayal of social injustice.
The foreigners in the play are the audience members who will be guided to scenes that show the parallel histories of Argentina (Gambaro’s country) and the Philippines. Under the direction of Anton Juan Jr., the two-hour play will be staged within the CAL (new) Building from September 20 to 26, 2010 at 7:00 p.m.
The DECL, founded in 1910 two years after the university was established, is the second largest department at the UP. The Commission on Higher Education declared it a Center of Excellence in Literature and in the English Language for demonstrating the highest degree or level of standards in the areas of instruction, research, and extension.
Renowned and multi-awarded Juan was a professor in the Department of Speech Communication and Theater Arts and associate professor for Drama at the CreativeWriting Center at the CAL. He is currently a full professor and theatre director at theUniversity of Notre Dame du Lac in Indiana, USA.
The production is borne from a one-and-a-half month workshop led by Juan and his artistic team comprised of Patrick Valera, assistant director; Jethro Joaquin, sound designer; Ohm David, technical director; Meliton Roxas, lights designer; Winter David, video designer; Lhenvil Paneda, costume designer; John Paul Gaerlan, props designer; Karen Gaerlan, production manager; Jojo Landrito, assistant technical director; Donna Dacuno, stage manager; Karla Vizcarra, assistant stage manager; Marcus Guasque, Lehner Mendoza, Krystel Dionisio as Boardmen and; Diana Mon Directo, Jennelyn Cabauatan and Jodee M. Reyes, staff members.
Workshop participants and cast members are Adrian Kevin C. Agonoy, Maryjane Alejo, Ron Aries A. Billete, Ara Carmela Bonilla, Janellyn Briones, Jennelyn Cabauatan, Christian M. Dagsil, Rico del Rosario, Renz Danielle Dugenia, Emma Fisher, Chona Fernando, Carlo P. Garcia, Karen Gaerlan, Ekis Gimenez, Benedick Hernandez, Nestor Benny P. Leyson, Michael Ian Lomongo, Michael Magallona, Jeena Rani Marquez, Olive Nieto, Paul Jake A. Paule, Carlo P. Pulido, Jodee M. Reyes, Opaline Rae B. Santos, Betty Uy-Regala, and Jaime J. Yambao with the special participation of guest actor, Peter Serrano.
Ticket is at P250. For ticket inquiries, kindly contact Karen Gaerlan at (0927) 554-1854.
—ooOoo—
For more information or to arrange for interviews, please contact Betty Uy-Regala at (0906) 260-4175.
Press Release of Griselda Gambaro’s INFORMATION FOR FOREIGNERS, directed by Anton Juan Jr.
Two more days left, and the show will begin. But first, take a peek on what you, as part of the audience will do, and what you will expect, as the play runs from September 20 to September 26, 2010.
Here are links of media pickups for news release
http://www.philstar.com/Article.aspx?articleId=613422&publicationSubCategoryId=79
http://www.ncca.gov.ph/about-ncca/announcements/announcement.php?i=3937
http://panitikan.com.ph/newsarchive/monthly/september2010.htm#mayday
The following links will give you more idea of what the show is about:
http://sites.google.com/site/desapphilippines/
http://www.desaparecidos.org/phil/eng.html
oOo
As a stranger to this country, you are invited to:
INFORMATION for FOREIGNERS
a memorable tour showcasing the fascinating history of this nation.
Come and hear our stories! Learn about our virtues! Meet our great heroes! See the beautiful, the glamorous and the prosperous. We shall take you to a journey that you, dear stranger to this country, will (hopefully once and for all) truly remember!
WHERE: CAL New Building, U.P. Diliman (behind the Faculty Center)
WHEN: Limited tour from SEPT. 20 – 26, 2010
TIME: Meets promptly at 6:30 PM
REMINDERS:
1. Please wear comfortable clothes.
2. Bring a fan (pamaypay) and drinking water.
3. For mature strangers only.
4. Standing room only.
5. If you’re bringing a friend, hold on to them – TIGHT. We don’t want anybody missing!
For reservations, please contact Karen at 0917 554 18 54.
Come if you’re dying to know about this country! Come! We’ll be expecting you.
Sincerely,
Your Guide
Brought to you by Department of English & Comparative Literature, U.P. Diliman
Adapted from the Griselda Gambaro’s Information for Foreigners
Devise & Project Mentorship – Anton Juan, Jr.
Dramaturgy & Asst. Direction – Pat Valera
Sound Design – Jethro Joaquin
Lights Design – Meliton Roxas
Costume Design – Lhenvil Pineda
Video Design – Winter David
Technical Direction – Ohm David
Featuring:
Michael Ian Lomongo, Olive Nieto, Michael Magallona, Mary jane Alejo, Carlo Garcia, Karen Gaerlan, Jeena Marquez, Opaline Santos, Pat Valera & Peter Serrano.
Griselda Gambaro’s Information For Foreigners
For its CENTENNIAL, the Department of English and Comparative Literature of the University of the Philippines, Diliman is staging…
Griselda Gambaro’s
INFORMATION FOR FOREIGNERS
under the Direction of Anton Juan Jr.
Asst. Direction & Dramaturgy – Pat Valera
Sound Design – Jethro Joaquin
Technical Direction – Ohm David
Lights Design – Meliton Roxas
Costume Design – Lhenvil Paneda
Playdates: September 20-26 ’10, 7pm at College of Arts and Letters Building.
Watch and see a carnival of mystery and the macabre.
For tickets, text Karen @ 0927.554.1854
Feel free to share with friends! See you there!
U.P. Night Ride
Was surrounded by Lovers
On this cold, dark night
Hands going all over their partner’s body
One shoots a kiss
Another a sweet smile
I felt something strange
Sent shivers down my spine
Alienated
On this Jeepney ride
Just Can’t Hide It (Savoring the First Time)
I woke up yesterday at the sound of a text message.
Feeling groggy and jaded, I walked through the window to get my phone and check who it was. Thinking that it was just a message from a crazy guy who won’t have the decency to introduce himself and just bug me everyday, I was ready to immediately delete the message and wouldn’t want to bother reading whatever he said. But when I saw the word, “CONGRATULATIONS!” I literally paused (this time, thinking it was one of those spam text messages of me winning a lottery or something, which I didn’t even joined for). But as I run through the text, it was a message from the Production Manager of a theater play I auditioned last Saturday (July 24). It was then that I remembered I did something that weekend. Something that I almost forgot about, ’til this message came.
“CONGRATULATIONS! We are happy to inform you that you passed the audition as a workshop participant for Information for Foreigners. At this point we would like to inform you that instead of talent fees, you shall receive an allowance at the end of the production, THE AMOUNT OF WHICH IS YET TO BE DETERMINED. We hope that this monumental experience with Dr. Anton Juan shall transform you into a better actor and citizen. If these terms are acceptable, please attend the character tabling tom. At 6 to 9pm at CAL 311, U.P. Diliman. Kindly confirm attendance. Thank you. – Karen Gaerlan, Production Manager”
I was so sleepy and “bangag” that evening. I was even thinking of backing out of the audition and just go home to sleep ‘coz I can’t think of a piece that I can do for a monologue. I was not prepared at that time. We were just made aware of the audition, like 2 or 3 hours before. But then again, at the back of my mind, someone’s shouting: “Carpe Diem(seize the day), Jha! Carpe Diem(seize the day)!!!”
So there I was with my co-acting workshoppers and mentor (we all auditioned) in a cab, them writing or thinking of their audition pieces – and me, trying hard not to fall asleep and think of my own lines. But there was nothing. Blank. Nada. Zero. Nothing came to mind. So I just said, “bahala na(come what may)”.
Then there I was. In front of Dr. Anton Juan. When asked if I have prepared a monologue – I didn’t lie – I said, yes. Well, not that prepared really, but more of like, I do have something to present – an impromptu piece that is. Whatever comes out of my mouth, whatever it is that I can think of, at that very moment. 
So yeah, I can say, I have a prepared monologue. Hehe.
Of course, it’s different if it is a requirement to present a piece from a published playwright (like what was asked of us for CCP Tanghalang Pilipino Actors Company audition last June 30). Good thing that this second audition I went to, didn’t really require much, so I just did my own.
Pardon me, but even though this is not the first time I auditioned for a theatrical play, this is the first time after 7 years (last was in 2003 for FEU Theater Guild’s, “The King and I”), that I auditioned – and passed. I will still keep my word when I said, that I won’t stop ’til I get and do what I have always wanted to do – Act.
So Thank you, Lord for this great blessing and for all the people who have prayed with me and supported me all this time. For they know what really makes me happy and they believed in me when I say
, I can do it.
Pintigan Acting Workshop Journal – Actual Day 4
July 10 2010
Pffttt… I came in a couple of minutes before the Physical Exercises begun. My eyes that day were really swollen, and I dunno why. I managed to get an hour of sleep (errr…nap that is) in our sleeping quarters after my shift, but when I remembered that I have to meet up with Dad and treat him for lunch, I immediately jumped out of bed bumping my forehead on the double-deck railing (stupid me. Hehe). But still, that doesn’t explain why I can’t stop the rapid blinking of my eyes whenever I attempt to look and focus on a certain object. I began to wonder what’s wrong.
Anyway, so there we were, started the day with the exercises (hoping that time, I can at least do most of them, after practicing at home – but still failed). Oh, well – more practice. After the break though, we were gathered by Mr. Michael Ian Lomongo (who, as I mentioned on my previous post, is our new mentor), and briefed us on what will be the changes on our remaining two or three scheduled classes.
JUST STAND
He then asked each of us, one by one, to stand in front of the class… and do nothing. Just stand…for one minute, while the rest of the class observe the one standing. Alright, so I thought it was easy. Hell no. Just a few seconds of me trying to stare on an empty whiteboard, I felt my eyes scanning the rest of the room. Oh, I almost forgot. He did mention that we also need to observe what was happening around. And observe what’s going on in our body.
Funny thing was, after that few seconds of me trying not to think of anything, as the Dreamy Idealist as I am, my imagination started to fly and think of crazy things. My sudden dream of bumping into a gorgeous guy I barely knew in the middle of a footbridge while crossing the road, thinking he may be The One, which is real crazy; and thinking again of how stupid it was for me to suddenly jolt out of bed early that morning to see my Dad, causing a slight bruise on my forehead which hurts. Those things made me smile (which I bet they saw, when I was standing in front of them). Silly imaginations, followed by some kinky ones, also didn’t stop me from smiling that day. I dunno what got into me, though. Haha. Well, I managed not to move, yes, I just stood up…but I can’t stop smiling. 
The evaluation of that exercise followed. Ian said that the purpose of that is for him to know how we felt standing in front of an audience – or just even in front of someone you know, who stares at you. Also, he wants us to observe, how our body reacts on such occasion. Almost all of us felt nervous, I did too. And that nervousness was the reason why, no one of us had the courage to look at the audience.
I did felt nervous – but not the kind of nervousness that I feel on a certain performance on stage. For me, it was just a typical “shyness” in front of everybody. My imaginations overflowed, that it got me unaware of the time passing by while standing. Maybe it was because I got used to standing up after I eat, and think of things while I let my food digest itself in my stomach(hehe); compared to, if I am supposed to be in a character of someone or something that needs to be always standing and that the audience need to see. That’s different. If I know that I need to portray such character, I’ll be too mindful of the instructions given to me. Just stand and do nothing. But in that exercise, I was not in character. I was myself. So in short, I did not follow the instructions. I did stood up, but my eyes were moving everywhere and my lips twitched every time I want to smile.
JUST STAND, PART 2
We did that exercise again. This time, for two minutes. We’ll stand for two minutes – but was instructed to look at the audience, and if we felt a reaction in our body, we needed to let that reaction spread over the rest of our body parts. I said, okay (saying to myself, “follow the instructions this time, Jha. Just stand, if you feel anything, let that feeling show on the rest of your body parts”).
I did it wrong again. Though, Ian said that there’s actually no right or wrong on the said exercise, I still felt what I did was wrong. ‘Coz despite of me literally bursting in laughter (after I saw one of my classmates, yawn and scratch herself in a fast manner like that of a child whose so impatient to get his milk from her mom), I still felt my knees getting stiff to the fact that I can’t move it freely as I laugh. That’s where my nervousness showed – which our mentor saw when I was standing there.
I thought that by choosing which among my feelings has the higher percentage of being shown on my body, is what I needed to show my audience, I could cover my nervousness. That’s why I decided to let my upper torso show them how that simple thing got me teary-eyed while laughing. I thought that I could cover my knees shaking through that act. But it didn’t. So for me, for following instructions, I’m on strike two.
THE TOUCH, REACT, AND GO
For the next exercise, Ian told us to choose a partner and decide whose going to be A and B. Then he instructed for all A’s to lie down on the floor and close their eyes. The task of all B’s were to touch their partner in any part of the body, let them react, then let go. Little by little, all B’s will be given instructions on what to do next. Then exchange tasks – all A’s will be the ones who’ll touch, then all B’s will be the ones who’ll react (but this time, both are standing up).
I guess the purpose of this exercise is to see, feel and observe how fast we react on a certain touch or thing that will come across our bodies. In theater, maybe its to check how quick we think or deliver an ad lib if our partner forgets his line. It’s on how one could get through a scene without being so struck with nervousness like you don’t know what to do. It’s on how an actor shows how versatile he is to react on certain unavoidable situations during a performance.
THE TUNNEL 
The workshop ended with another case exercise, wherein we were asked to stand up, walk slowly and just focus on one spot in front of us – imagining there’s a bright tunnel ahead, and that we’re about to get out of a dark space (or so, that’s how I imagined it to be). We were asked to not let go of that spot and follow the instructions given by our mentor, as we walk towards it – that no matter what happens, whatever it is he says we do, we’re still looking at that spot, the tunnel.
Slowly as we walked, our mentor told us to imagine that, “there’s a rose coming out of our left eye, then later, a rose is coming out of our hands, our back, our hips, which grows bigger and bigger…”. I thought I have to show and react while there’s something growing on me. Yes, we have to, but the instruction is NOT TO LET GO OF THE SPOT WHATEVER HAPPENS. I failed again. Tsk, tsk. Strike three. Hehe
We were asked to do it again. Correctly. Our mentor noticed my reaction as a beautiful rose grows on each part of my body. He asked, “Jha, what’s a rose for you?” and I said, “It’s full of thorns. I know it’s supposed to be beautiful, but for me, they’re just full of thorns”. Now he understood why I reacted so differently from my classmates, who, just by hearing the type of flower, smiles and their faces brighten up. While I feel hurt and disappointed that there’s something that grows on me, making my walk towards that end, so slow and complicated.
Well, it’s not that I don’t like that flower, though. In fact, I like anything red. But it’s just that, I’d prefer a very beautiful, red Tulip, than that of a rose in which once it reaches my hands, I’ll be so bothered thinking where to hold it, so it won’t hurt me; than just hold a tulip right away and let me fondle on its beauty.
oOo
At the end of the day, we were given an assignment. Think of a “performance-to-die-for” and present it to class next Saturday. Something that we haven’t done before, or simply put, we need to perform our dream role next week. A dream role that once we do it, we can die anytime with the fulfillment of that dream. The thought never left me for the entire week.
So there I was on a Monday morning, writing my own piece. I never danced in front of an audience – ever. Well, yeah I remember once, but I’m masked and with a costume. No one recognized me. And when I was in Grade 5 for our Village’s Fiesta. But I haven’t danced as an adult.
So, I thought of dancing. At the same time, there was this almost true-to-life story that I included in my script. Something that I have learned to let go, but didn’t manage to forget. The thought of being taken advantage of; of wanting to escape from someone who went against your will to get his own pleasure; of wanting to get help.
My dream was to portray my own life, as I’ve been through a lot. I know we all do. But living my life and having the courage to portray it and show it to the whole world, makes a difference. Something that I will treasure til my last breath.
I just hope that I get to perform it the way I wanted it to be seen by the class. But anything happens, if I fail again, it won’t matter. Just the thought of me having that courage and will to show what I got, makes me more than satisfied.
‘Til next week!
Open Space: And this is why we tell the story
…and this is why I had goosebumps at this early lunch time. Read, reflect, and understand why I behave like this.
Open Space: And this is why we tell the story: ““Why are we doing this?” I surprised the participants of the recently concluded theater workshop for teachers of the Department of Educatio…”
Pintigan Acting Workshop Journal (supposed to be Day 4)
July 3 2010
This day got canceled due to an unavoidable circumstance. We were notified by Ms. Anna, a few days before this scheduled Day 4, that Sir Sol will no longer be our workshop mentor, and that Mr. Michael Ian Lomongo will take over from hereon. If this means, we’ll be starting from scratch, so be it. But if we’ll continue on where Sir Sol left off, just fine by me. I’m after the experience anyway – regardless of the mentor.
For me, I make sure that on every workshop or class I get into, I walk out with something – whether that was a new concept, or a new way of looking at something I’ve done hundreds of times. (excerpt from The Brian Bowers Project, “Acting is not a business! (and other tall tales)”
Pintigan Acting Workshop Journal Day 3
June 26 2010
I came in so freakin’ tired from my night shift, due to a lack of sleep the day before. I didn’t even get surprised of Ian (Mr. Michael Ian Lomongo), who was seated on one corner of the room, silently texting or reading something. I just said, “Hello po”, then tried to doze off (since we were just the two ‘early birds’ in there) while waiting for the others.
It didn’t take long before Ms. Anna Gamboa entered the room and greeted me as I walked in from the restroom looking bangag (hehe). I did try to take a nap again – but couldn’t. My mind’s set for the class already, wishing it starts right away to “wake up my senses”.
So there, after a couple of minutes, Ian started the exercises – even if we’re not complete yet. Which is a good thing, because on my previous workshops, if the director sets the time at 2pm, he WILL start at 2pm regardless if everyone’s in or not. I miss that type of discipline on stage.
He introduced The Cat Exercise (this is the one I loved most ‘coz it really made me sweat – which you can barely have if you’re working in a so freakin’ cold environment). I love how that exercise made me realize how strong my arms are – making sure I don’t give up on carrying my weight on it, and in every move I make.
After the exercises and a short break, Sir Sol came in and started giving us a brief background of Theater as a form of Cinema (sounds a bit late to discuss on a third day, for this should have already been covered on Day 1, but it’s just fine with me). He also briefed us on what will be the concept of our Showcase at the end of this workshop. Though I understood what he’s trying to say, I can’t help but notice (or imagine) a lot of question marks plastered on our faces as to how we will be able to put up that kind of ‘show’ in a span of 5 days. Given the fact that our class is composed of students and working people, I find it hard to imagine how we can all get our schedules jive into one for the sake of the rehearsals. We didn’t even have a piece to study yet.
When we went down to once again check the venue of our performance on the final day, we were told of what we’re supposed to do. Surprisingly enough, we were told that all we’re going to use will be that empty parking lot, the little spaces in between those Greek-like Arches, and that bare floor (cement) without a support if we accidentally fall down during the performance.
I have no problem with the venue, to be honest. The first thing that concerns me, though, was the bare floor. We were told that as part of our performance, we’ll be doing the ‘stunts-like exercises’, which we thought were just for warm-ups at the start of the day. We’ll be doing those ear/head/handstands without even a single mattress to support our heads in case we stumble and fall. We’re no professionals, and we don’t do those stunts in every day of our lives! Sheesh…
Also, I was concerned about my classmates. This, I believe, will be a very, very great challenge for all of us. I was just left there wishing that we could be given ample time to rehearse if we’ll push through with that plan.
At the end of the day, we were assigned to bring our own knee-pads and blankets(as our draft costume) and prepare our poems by the next meeting, so we can start the rehearsal.
Woah! What a day.
Pintigan Acting Workshop Journal Day 2
June 19 2010
We started our “afternoon exercises” again, around past 2pm with Mr. Michael Ian Lomongo. Did the wave, and the ear/headstand stunts once again (which, I can still barely do until now) and the forward and backward rolls, for us to carefully warm-up all the parts of our body and prepare for the next session.
Sir Sol started the class by watching us “fall” (drop on the ground) without any sound from our bones. “Just fall”, he said. “If you make a sound, we’ll start all over”. Ugghh…I don’t know why despite of our physical exercises earlier, our knees and bones still managed to crack! (Oh, make a “crack sound” that is. Hehe)
Our workshop mentor also invited some of his friends who play percussion instruments to help us “feel the beat” and “talk to each other through the beats” at the same time “focus” on just what was told for us to do (move-in-between and make a sound through our feet while following the percussion).
According to him, this session is one way of “Acting-without-words”. I enjoyed it (because I once became the drummer of our school’s cheering squad in elementary – haha – and since then, got fond of New Wave music and fast RnB songs, while following the beats using a spoon & fork and a tabo. Hehe). While I was still getting the hang of it, suddenly, we were asked to stop – and Sir Sol shouted and reprimanded one of my classmates to go out. The reason why, I chose not to share to give respect for my classmate.
So there. Our 2nd day ended with heavy rains, as we went down the room and checked our showcase venue (which is a parking lot).
I wonder, what’s in store for us on our third Saturday…
Pintigan Acting Workshop Journal
June 12, 2010
With some of my co-Acting Workshoppers (From L: Harold aka Haronce, Vanessa and Vince aka Lady Gagita) See more photos here.
We started with some physical exercises – led by Mr. Michael Ian Lomongo, a member of the Neo-Angono Artists Collective and was with the Tanghalang Pilipino Actors’ Company from 1999 to 2003. Oh, when I said, physical, I REALLY mean PHYSICAL (i.e. handstand, earstand, roll-overs and what have you. I now finally realized how a great amount of physical activity I’ve lost since I stopped working out. My body hurt like hell the moment I lied down on my bed). Haha, this is not to complain or anything. I actually was very, very glad that I now finally have the reason to exercise — again. Haha.
Next, was when Mr. Soliman Cruz asked us to form a big circle, taught us about the word “Philosophy”; which is in simple terms mean ‘ask questions’. Then proceeded in asking us our names (unfortunately, he didn’t ask mine), because he started the following question on me – “why am I in that room or in that workshop’.
After all our answers were gathered, Direk Sol made us play a game of “catch that ball” which aims to test how good we are in following instructions and focusing on the subject. Funny thing though, when Sir Sol went out of the room to take a phone call, we were doing so great – practicing. But once he’s back inside, we find it so hard to complete that 10counts without dropping the ball. Hahaha. After the workshop, we went straight to Araullo St. and watched, UFO Sightings: Cinema Knights.
Looking forward to another fun Saturday.
YOU.Speak