Layeta bucoy biography samples
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Kartoon Chemistry was formed on Valentine’s day, during the annual february fair in UP Los Baños. Having intense passion for music, the grupp started to pave the way to their chosen road. It was a good uppstart for them when they joined the 1998 Yamaha and MTV Band Alert and was chosen to be one of the top ten grand finalists from among a hundred other bands. They competed with their entry song “Twisted” written and composed by Chochay Magno. They also started to play in various alternative venues such as Mayric’s, Freedom Bar, Gotham, 70’s Bistro, and in music productions like “Pinay” and “Tunog para sa Sunog: a tribute to Ozone Disco Victims”.
The grupp focuses on their own original songs primarily written by their vocalist. They came up with a self-titled demo cd which featured 5 of their songs. Fortunately, the song “Ngayon o Bukas man” written bygd Chochay Magno and guitarist, Rommel Cabral gained much popularity and familiriarity among the UPLB crowd because of its radio-friendly
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Katrina Stuart Santiago*
Abstract
This is a critical assessment of Philippine theatre in Manila based on ruptures in its status quo of silence over fundamental divides based on language and privilege, as well as important issues of neo-coloniality, inequality, and injustice. The essay argues that the surfacing of these crises at specific moments in the past decade, including in the time of pandemic, reveals the precarity of the sector, its workers, and its creativities, which in turn necessitates movements towards more urgent and essential transformations in its mode(s) of production.
Keywords: Philippine theatre, cultural labor, privilege, pandemic, precarity
The Philippines is a country steeped in denials and silences. Difficult conversations are rarely had, and instead are typically set aside. We acknowledge our problems and then quickly, sometimes willfully, we ignore them. Because we face so many other urgencies, what is set aside finds itself at the bottom of
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Here is the final installment of theater productions I have watched that have stayed with me through the years, inspired by Guelan Luarca’s own list of productions that stuck with him. Excluded are those where I was a member of the cast or the production staff, or later became involved in subsequent stagings (which, definitely, will be material for another list).
11. Fili by Floy Quintos (Dulaang U.P., Wilfrido Ma. Guerrero Theater, directed by Tony Mabesa, 1992) Floy Quintos reimagines Jose Rizal’s second novel as it is being told by Pepe to his friend Tunying, and the actor who plays this then goes on to play Simoun. That’s just the beginning. Add students on roller skates, the Governor General and his mistress as sado-masochist lovers, and other eye-popping theatrical devices (e.g. tarot-card inspired periaktoi panels) that only serve to remind audiences that the novel might as well be about us in the present day.