When was Bodabil introduced in the Philippines?

What is Komedya in Philippine theater?

The komedya otherwise known as moro-moro or pretending to be Moors, is a traditional Filipino play in the vernacular adapted from the Spanish comedia de capa y espada. It was used by Spanish colonizers in the Philippines, circa 1766 to evangelize and strengthen the faith of Indios or Filipino natives to Christianity.

What is the role of the music in the bodabil performance?

Songs play an important role in the Sarsuela. Songs function as a part of a dialogue among the characters. It ushers in the emotional state of the characters. Most importantly, it provides fun and entertainment.

What are the 2 types of Komedya?

Answer: The two types of Komedya are Secular and Religious, these types are mostly used by the Spanish to further promote the religion of Christianity to the Filipino people back then. … Christianity was presented to us by the Spaniards back when our country was still within their grasps.

What are the 7 theatrical forms?

In addition to the standard narrative dialogue style of plays, theater takes such forms as plays, musicals, opera, ballet, illusion, mime, classical Indian dance, kabuki, mummers’ plays, improvisational theatre, comedy, pantomime, and non-conventional or contemporary forms like postmodern theatre, postdramatic theatre, …

What life skills can we learn from the Philippine theater groups?

25 Special Advantages the Theatre Major Has – (and may not even know!)

  • Oral Communication Skills. …
  • Creative Problem Solving Abilities. …
  • More than “get it done” …
  • Motivation and Commitment. …
  • Willingness to Work Cooperatively. …
  • The Ability to Work Independently. …
  • Time-budgeting Skills. …
  • Initiative.

Who are the bodabil stars?

Among the popularly known bodabil stars were Togo and Pugo, Bayani Casimiro, Dely Atay-Atayan, Chichay, Dolphy, Rogelio de la Rosa, Leopoldo Salcedo, and singers Katy de la Cruz and Atang de la Rama.

Why music is important in festival?

Because humans desire to belong and music functions in the capacity as a global language, music festivals are not just mega events. Rather, they are best understood as vehicles for forming communities and nations that have the capacity for creating those ingredients that are a critical part of identity formation.

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