Philippine Educational Theater Association

HISTORY AND BACKGROUND

SOURCES

Laura Samson, Brenda V. Fajardo, et al. A Continuing Narrative On Philippine Theater: The Story of PETA. Philippine Educational Theater Association. 2008.

Eric Villanueva Dela Cruz. Personal Interview. 9 November 2012.

Joy Bernal. Re: Research Questions. Email. 22 August 2012.

PETA. Experience Theater, Experience PETA. Web.

"Throughout the land, there is an audience waiting for the theater and a vast reservoir of young talents wanting to be fulfilled in the theater. But where is the theater - a theater that will represent the people and be conducted for them?" ~Cecile Guidote - Alvarez

OBSERVATION AND INSIGHTS

The Philippine Educational Theater Association or PETA sees to it that they not only produce and man shows promoting artistic excellence but they also make sure that every production can be very profitable to the social and moral development of every viewer.

BATANG RIZAL & LOLA BASYANG

O A O FRAMEWORK

Some theater companies there only create shows that will be surely lucrative even though it has no substance at all that can help the viewers by them benefitting from it. I get that in the business world, money is the anthem of success. That’s the way this world really goes but I still and as we all should also be thankful that there are still organizations out there like PETA that is surely getting nearer to the mission and vision that they have concocted since day one by the help of the driven people around them together with the Filipino audience that never fails to support and improve this country’s cultural strengths and weaknesses.

ARTISTIC

ORIENTATIONAL

To raise the level of social consciousness among the Filipino youth and young cultural workers through a cultural program fit to their levels and needs.

To provide its member-high school theater

groups with the necessary skills, techniques, and methodologies to produce creative and dynamic theater pieces; and to mount plays that reflect and promote a critical artistic, and people-based national theater.

Founded in 1967 by Cecile Alvarez

An organization of creative and critical artist-teacher-cultural workers

Theater that is distinctly Filipino as a tool for social change and development

ORGANIZATIONAL

To form and sustain a league of high school theater groups based in Metropolitan Manila.

This theater company has also stated before that they always try to insert some Filipino elements to their shows as much as possible. The reason behind this is because PETA aims for the development of our country’s national welfare that, through the years, has already seemed tarnished and replaced by specifically the Western culture.

METROPOLITAN TEEN THEATER LEAGUE

THE MEKONG PARTNERSHIP

The MTTL is PETA's youth arm

In order to survive in the theater industry, PETA needs to make connections and they have to build strong allies and expand their support system.

The objective of the Mekong Partnership is to build a multicultural/cross-cultural community of artists impassioned by a belief in art for social transformation.

MTTL's political awareness was expressed through their productions, workshops and study series.

Expanded its repertoire by exploring realism and musical theater.

Core group members promoted MTTL programs by

reaching out to different high school students in

Metro Manila.

MTTL has always believed in the youth's creative

capacities and enthusiasm.

WOMEN'S THEATER NARRATIVE

CHILDREN'S THEATER PROGRAM

The development of PETA's women's theater program traces its roots to the mid-80s from the initial efforts by a number of PETA women artists.

The growing consciousness about women's concerns both outside and within the company inspired the PETA women artists to organize themselves.

WILLIAM, BONA, D'WONDER TWINS

PETA'S 45TH SEASON LINE UP OF PLAYS

Aims to help the children engage in improvisation

with others.

Children are encouraged to be vreative in any medium they choose - painting, dancing or acting.

Confidence building and creative self-expression are

the desired outcome of this program.

1. William

2. Bona

3. Batang Rizal

4. D’ Wonder Twins

5. Lola Basyang

PETA also has special performances

1. Agnes Locsin’s Puno

2. Tuloy Ang Biyahe

3. Take 1

4. Himala (The Concert)

5. Cinemalaya Retrospective

KALINANGAN

ENSEMBLE

WHAT MAKES PETA DIFFERENT FROM OTHER THEATER ORGS?

SCHOOL OF PEOPLE'S THEATER

PETA's partnership with the academe is what makes them distinct

PETA has training programs for acting and the technical and managerial aspects of production. They also have a Playwright Development Program, this is a series of workshops provide intensive support in developing new plays and shows.

Training arm of PETA

Responsible for initiating, coordinating, systematizing and institutionalizing PETA's efforts in developing a national theater.

HOW ARE THE EMPLOYEES CONTROLLED?

Kalinangan Ensemble serves as a mirror of the Filipino life so that the audience may gain knowledge, understanding and insight of our own culture, traditions and history.

There is a code of conduct

The Program of SPT ranges from

faculty and curriculum development,

annual PETA summer workshop, outreach workshops, and the partnership program.

Consequences include being taken out of the production

Can also be taken out as a PETA member

FLAGSHIP PRODUCTION

CARE DIVAS

FIRST 10 PRODUCTIONS

PERSONNEL

PETA has 2 types of personnel

KALINANGAN ENSEMBLE

1. Members - are artist-teachers who undergo a rigorous and multi year process. They are not salaried and only gain compensation if contracted in a specific project or production.

PETA's most celebrrated repertory company

BENEFITS OF REGULAR EMPLOYEES

REQUIREMENTS

PETA's biggest divison with some 70 active members and 30 members on call

2. Staff/Employees – they may or may not be members. They are hired and contracted on a project or regular basis. They are salaried, protected by a contract and enjoy typical benefits for employees under Philippine Law and they are required to perform their duties as per contract.

* Experience and practice the craft of teaching/facilitating workshops.

* Attend General Assembly meetings

* Pay an annual fee

* Successfully pass the annual evaluation of members conducted by the Membership Committee and the General Assembly.

1. Recognition of the rights and privileges under Philippine Law

2. Regular Salaries, 13th month pay, bonuses (when available)

3. Training & Travel perks for advancement

4. Participation in company outings & integration

5. Complimentary Tickets to shows

6. Tuition fee discounts for trainings

7. Security of tenure

Its primary commitment is to stage plays that is expressive of the Philippine culture.

REQUIREMENTS

HR DEPARTMENT

WHAT CAN BE IMPROVED?

The accepted applicants will undergo a multi year process depending on their entry level. To advance to another year level the individual concerned must successfully fulfill a specific number of productions, workshops or trainings attended and/or conducted:

* 1st year – as an Applicant

* 2nd year – as an Apprentice

* 3rd & 4th year – as a Junior Member (2nd year Juniors having voting rights)

* 5th year – as a Senior Member (w/ voting rights)

* Fulfill at least 2 artistic productions in the Major Theater Season (from July – March) and/or a number of PETA performances/productions outside the Major Theater Season.

* Attend artistic ad educational training sessions prepared by the organization.

There is an HR Dept for the staff/employees led by the HR Officer/Manager, but there is no HR Dept for the creative group (referred to in PETA as the body composed of artist-teachers-members. There is however a Membership Committee for this.

Hayop Man Ay Dapat Mahalin , 1967, written by Swanbeck Alexander, translated by Lino Brocka, directed by Cecile Guidote

Canao, 1967, written by Alberto Florentino and Pierre Salas

Cavort with Angels, 1967, written by Alberto Florentino

Greater understanding and continuous evolution (learning/adapting) for Human Resource Management officers concerned with artists and various individuals working in a cultural institution whose strength lies in its ability to be efficient, dedicated, flexible, innovative and creative.

MEMBERSHIP COMMITTEE

Handles the membership process. This committee is different from HR because the committee is purely composed of PETA members.

AWARDS AND RECOGNITIONS

MEMBERSHIP

MEMBERSHIP PROCESS

By Invitation – Periodically (with no fixed timetable), members and officers of the company or artists-teachers recommend a list of individuals to be invited to the General Assembly of the Membership. These individuals are recognized for their dedication, artistic /theatrical experience and record and their potential to be a positive addition to the organization.

• Arts and Culture Award from the City of Manila, 1989

•Gawad CCP for Best Featured Videos (1st, 2nd and 3rd), 1989

•Best Performing Arts Group – First Asean Awards 1987

•National Book Awards for Documentary – Manila Critics Circle 1984/1986

•Best Design in Children’s Theater – Prague Quadrienalle Czechoslovakia 1984

•Presidential Recognition of Merit, 1980

•Best Dramatic Anthology – CAT Awards 1968 – 1972

By Application – Periodically, the organization announces the opening of application for membership to the public and/or the theater community. Written application, interviews and auditions are required.

• Outstanding Play Production (Saan Tayo Ihahatid ng Disyembre?), Gawad Buhay Awards 2010

• Outstanding Ensemble Performance in a Musical (Ismail at Isabel/ Si Juan Tamad , Ang Diyablo at ang Limang Milyong Boto), Gawad Buhay Awards 2010

• Outstanding Musical Production (Skin Deep), Gawad Buhay Awards 2009

• Lifetime Achievement Awards – Aliw Awards 2007

• Benigno S. Aquino Jr. Award for Social Artistry – Philippine Federation of Catholic Schools Alumni/ae Association, 2007

• Gawad Tanglaw ng Lahi – Ateneo de Manila, 2007

• Japan Foundation Special Awards for Culture, 2005

• Best Production, Non-Musical – Aliw Awards 2004

• Best Theater Production, Children’s Category (Mga Kuwentong Asyano) – National Commission for Culture and the Arts (NCCA) Gawad Alab ng Haraya, 2002

• Best Television Drama – Star Awards 1996

• Best Telemovie – Bahaghari Awards 1996

• Best Drama Anthology – Star Awards 1993

• Gawad Cultural Center of the Philippines (CCP) for Art (Theater), 1991

• Silver Prize (Best Play) – Filipino Critics Circle, 1991

• Gold Prize (Best Play) – Young Critics Circle, 1991

• Gawad CCP for Television, 1990

By Advancement or Integration – PETA has a youth arm – the Metropolitan Teen Theater League (MTTL). High school and college students can enter this organization where they are introduced to the vision, mission and goals of PETA as well as the organizations processes and methods.

AFFILLIATIONS

Philippine Legitimate Stage Artists Group, Inc. (PHILSTAGE)

Consortium of Asian Foundations and Organizations (CAFO)

International Association of Theater for Children and Young People

International Drama/Theater and Education Association (IDEA)

ORGANIZATIONAL PROFILE

SENIOR MEMBERS

Vicki H. Aldaba

Jose Mari L. Chan

Xavier P. Loinaz

Soxie H. Topacio

Tony P. Tuviera

Ma. Gloriosa Santos-Cabangon

Philippine Educational

Theater Associaton

ORGANIZATIONAL PROFILE

BOARD OF TRUSTEES

Management Committee

Management Committee

Ma. Gloriosa Santos-Cabangon Executive Director

Melvin E. Lee Chief Operations Officer

Ma. Isabel A. Legarda Artistic Director

Brenda V. Fajardo Curriculum Director

Wilson U. Billones School of People’s Theater Director

Julie Anne G. Bautista Marketing and Public Relations Director

Fe G. Canta Finance and Administration Director

Marichu Belarmino Arts Zone Project Program Director

Kalinangan

Ensemble

School of

People's

Theater

Children's

Theater

Program

PETA-BISYON

Woman's Theater Narrative

The Mekong Partnership

FLOATING

Metropolitan

Teen Theater League

DULAANG RAJAH SULAYMAN

MISSION AND VISION

Dulaang Rajah Sulayman Floor Plan

The Philippine Educational Theater Association (PETA) is an educational theater organization composed of members who are dedicated to the pursuit of excellent theater aesthetics and pedagogy towards the empowerment of people and society.

DULAANG RAJAH SULAYMAN

Covar, Enriquez, Pasco, Quiat, Quizon

Dulaang Rajah Sulayman (Fort Santiago)

From 1967 to 2005, PETA staged their

production at the Dulaang Rajah Sulayman

Theater.

Has two seasons - wet and dry.

During the dry season, they would stage

plays, but during the wet season, they would not and when it rains, plays would

be postponed.

Before, it was used as a prison house and

artillery room to the Spanish and colonial

rulers.

ORGANIZATIONAL PROFILE

Cecile Guidote - Alvarez

Started with a thesis on national theater

Board of Directors

Marlon N. Rivera, Chairperson

Abby Jimenez, Vice Chairperson

Cecilia B. Garrucho, President

Atty. Fulgencio S. Factoran, Jr., Secretary

Noel Kintanar Treasurer

A Prospectus For The National Theater of the Philippines

FIRST 10 PRODUCTIONS

1960s theater was mostly in english, Cecile Alvarez felt the need to root the Filipinos into our own culture instead of always looking toward the West.

Longer Than Mourning, 1967, written by Jesus Peralta, directed by Anthony Morli

The Machine, 1967, written by Jesus Peralta, directed by Guidote, Cecile

Higit sa Pagluluksa (Longer Than Mourning) written by Jesus Peralta, translated by Joey Gosiengfao, directed by Joey Gosiengfao

The Bald Soprano, 1967, written by Eugene Ionesco, directed by Cecile Guidote

The Forest Prince, written by the Children's Theater of Bacolod City, directed by Luisa Medel Reyes

Tabak at Sampaguita, 1967

The Swamp Dwellers, 1967, wirtten by Soyinka Wole, translated by Behn Cervantes, directed by Behn Cervantes.

HISTORY AND BACKGROUND

First took residence in Dulaang Rajah Sulayman at Fort Santiago

PETA has written, translated, adapted, published, and performed more than 400 plays and has facilitated thousands of workshops

HISTORY AND BACKGROUND

PETA was established in 1967 as a "national non-sectarian, non-profit organization, formed to promote and guide the growth and development of theater arts in the Philippines