Zarzuela (Spanish pronunciation: [θarˈθwela]) is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular song, as well as dance. The etymology of the name is uncertain, but some propose it may derive from the name of a Royal hunting lodge, the Palacio de la Zarzuela near Madrid, where, allegedly, this type of entertainment was first presented to the court.[1] The palace was named after the place called "La Zarzuela" because of the profusion of brambles (zarzas) that grew there, and so the festivities held within the walls became known as "Zarzuelas". There are two main forms of zarzuela: Baroque zarzuela (c.1630–1750), the earliest style, and Romantic zarzuela (c.1850–1950), which can be further divided into two. Main sub-genres are género grande and género chico, although other sub-divisions exist. Zarzuela spread to the Spanish colonies, and many Hispanic countries – notably Cuba – developed their own traditions. There is also a strong tradition in the Philippines where it is also known as sarswela/sarsuela.[2] Other regional and linguistic variants in Spain include the Basque zartzuela and the Catalan sarsuela. A masque-like musical theatre had existed in Spain since the time of Juan del Encina. The zarzuela genre was innovative in giving a dramatic function to the musical numbers, which were integrated into the argument of the work. Dances and choruses were incorporated as well as solo and ensemble numbers, all to orchestral accompaniment.
A PLAY that empowers the appreciation of Filipino culture and values, and is packaged in a comical and musical style are what define the zarzuela. The zarzuela is a beautiful art form of lyric theater drama incorporated with singing, dancing and dialogue. It is comical in nature. What is great about a zarzuela is that it is a komedya or a comedy, meaning it portrays typical Filipino stories and realities in domestic and social relations, such as marriage and family, elections and feasts, vices and values, which the viewers can relate much in their lives. The Filipino culture and values are uniquely formed by cross-cultures. Surprisingly, the zarzuela is of Spanish origin that was later considered as a Filipino stage play. The zarzuela is one of the art forms of another country. It was transformed and became a part of our own culture. According to Rachel Penn Adams, an American historian, the zarzuela emerged from Spain’s long tradition of musical drama and dance. The roots of the zarzuela can be found in the 12th century when religious dramas, known as autos, first combined poetry with instrumental music in Spain. These autos—written in the vernacular instead of Latin as earlier medieval liturgical dramas—had been the first indication that Spanish musical theater was moving in the direction of lyric drama that was representative of the people. The name of zarzuela was known to the people of Spain in the 17th century. In 1895, zarzuelas were clearly the dominant entertainment form of choice.
Based on the seventh volume of the Cultural Center of the Philippines Encyclopedia of Philippine Art, the zarzuela was brought to Manila in 1879 with a performance of Jugar con fuego (Play with Fire) by the troupe of Dario de Cespedes; and the El barberillo de Lavapies (The Little Barber of Lavapies). The complete Filipinization of the form came when the zarzuela unfolded topics that concern the Filipinos and written in the Filipino languages. Among the first zarzuelas that were recorded are: Budhing Nagpahamak, 1890; Ang Pagtabang ni San Miguel, 1899 by Norberto Romualdez, a Waray zarzuela; Ing Managpe, 1900 by Mariano Processo; Say Limanag Naketket, Pampinsionan, 1901 written in Pangasinan; and Maputiug Maitum, 1902 by Vicente Sotto, which was written in Cebuano. Among the major zarzuelas of the Philippines, the most famous was Severino Reyes’ Walang Sugat, 1902. It is about lovers separated by the cruelty of friars and the revolution against Spain. Several zarzuelas were staged at the 19th century of the peak of its popularity. Its popularity gave birth to the Arts Council of Cebu Foundation Inc. in August 1960. The council promotes and develops artistic and cultural endeavours in the Cebuano community by providing programs and scholarships in arts, culture and theater, which generates awareness and concern for the preservation of our cultural heritage. Caridad D. Balicasan, Saint Theresa’s College (STC) museum’s person-in-charge, said that the zarzuelas that were produced in Cebu were mostly school-based. STC is a school known to produce several zarzuelas. Among these were Hagit, 1900, directed by Al Santos; Mini, 1970; Kagahapon, 1974, performed by the STC and University of San Carlos (USC) Seminarian; Terana, 1975, directed by Delia Aliño-Villacastin and was also performed by the STC and USC Seminarian; Ang Bukid, 1977, also directed by Delia Villacastin; Juan Tamban, 1980; Walang Sugat, 1989, by Severino Reyes in Cebuano adaptation by Fulgencio Tolentino, and many others. A zarzuela does not only introduce Filipino values to the young, but it also offers entertainment that is creatively presented. It can be appreciated by both the young and the old. However, the popularity of zarzuelas has declined over the years. Nonetheless, Filipino zarzuelas are still around. Dalagang Bukid was staged in STC from Aug. 28-31 to celebrate Buwan ng Wika in August as well mark the school’s 80th anniversary. The stage play was directed by Delia Aliño-Villacastin, a renowned director in Cebu. The Cebuano-spoken zarzuela has been the core of a value-filled entertainment in Cebu. Watching such plays opens the heart of the youth to appreciate the Filipino culture—and to love the Cebuano tongue. ―One has to watch a zarzuela play to see the true beauty of the zarzuela,‖ Villacastin said. Christell Marie B. Rosales
Long before the coming of cinema in the Philippines, theater originated in the culture of the country's early societies. Their theatron was on the ground within the community. The ritual practitioners in their dancedramas used imitative dances to propitiate the supernatural powers tjat were believed to control forces to regulate the seasons and elements; to ensure the earth's fertility; and to grant the tribe success in hunting and warfare. At the turn of the 19th century, the zarzuela, a traditional Spanish one-act comic opera with satirical theme; and the vaudeville, a stage show consisting of various acts, such as singing, dancing, and comedy, became famous and prominent among the Filipinos. These were shown and performed at town fiestas where Filipino viewers go eagerly from different parts of the province so as not to miss the stage plays. The Spanish Operetta or musical comedy introduced by a political deportee from Spain, Don Narciso de Escosura, at Teatro de Binondo or Castellano in 1848, was given impetus by Don Alejandro Cubero, the faher of Spanish zarzuela in the Philippines, at Teatro Filipino on Calle Echague.
The Tagalog zarzuela found a home at Teatro Zorilla, the only surviving 19th century theater located at the corner of Calle San Pedro (now Evangelista) and abbreviated the Iris which formed part of Calle Azcarraga (now Recto). It provided ready material for the nascent Filipino silent motion picture. The zarzuela usually involves love and political issues.
Vic Omila and Aga Villagomeza sing "Mga Manok Ay Himasin" from "Ana Maria", a Filipino zarzuela written by Severino Reyes and composed by Antonio Molina. Piano accompaniment by Nhick Ramiro Pacis. Performed on March 31, 2012 in Tampa, FLorida, "Ana Maria" is a musical play about the saga of a Filipina woman and her husband who is addicted to gambling and cockfighting. Directed by Nhick Ramiro Pacis.
Severino Reyes From Wikipedia, the free encyclopedia
Severino Reyes
Born
February 11, 1861 Santa Cruz, Manila
Died
September 15, 1942 (aged 81)
Pen name
Lola Basyang
Occupation
Writer
Language
Tagalog, Spanish, English
Nationality
Filipino
Citizenship
Filipino
Alma mater
Colegio de San Juan de Letran,University of Santo Tomas
Genres
Plays
Notable
Walang Sugat (literally "No Wounds", meaning "not
work(s)
wounded", with the concept of being "unscathed")
Children
Jose Reyes and Torcuato Reyes
Literature portal
Severino Reyes (February 11, 1861 – September 15, 1942) was a Filipino writer, playwright, and director of plays. He used the pen name Lola Basyang.[1][2] He was nicknamed "Don Binoy". Reyes is known as the "Father of Tagalog Plays" and as the "Father of the Tagalog Zarzuela".[3]
Biography[edit] Reyes is one of the children of Andrea Rivera and Rufino Reyes. He was born in Sta. Cruz, Manila. He studied at the Colegio de San Juan de Letran. He started writing plays when he stopped studying at the University of Santo Tomas after the death of his father. He translated Spanish-language plays into the Tagalog language, until he was able to create his own original works. Reyes is one of the followers of plays performed at the Teatro Zorrilla, where he witnessed both the period of popularity and then the abandonment of the said theater house.
Walang Sugat From Wikipedia, the free encyclopedia
Walang Sugat (literally, "no wound" or "unwounded")[1] is an 1898 Tagalog-language zarzuela (a Spanish lyric-dramatic genre that includes music, singing, and poetry) written byFilipino playwright Severino Reyes. The music for the original version of the play was written by Filipino composer Fulgencio Tolentino.[2] Walang Sugat was written when the zarzuela became a "potent means" of expressing Filipino nationalism during the American Occupation of the Philippines that followed three centuries of Spanish rule.[3]
Description[edit] Set in the Philippine Revolution of 1896, Walang Sugat was first published in 1898, and first performed in 1902 at the Teatro Libertad.[3] The play is about the injustices Filipinos suffered under Spanish colonial rule,[2] including the oppression of Filipino prisoners by Spanish friars [4] for expressing their patriotism.[1] Although Walang Sugat is one of the major and more popular zarzuelas in the Philippines,[1] it was one of the plays considered "too subversive" by the American colonial authorities, and its author Reyes was imprisoned.[3] A typical and traditional Filipino sarsuwela[2] or sarswela,[4] it portrays the dilemmas of domestic life through dialogue, song, and dance. In addition, the sarsuwela is laden with romance, humour, and
conflict.[2] Reyes, also known as the "Father of the Tagalog Zarzuela" and under the nom de plume"Lola Basyang", wrote Walang Sugat as his "statement against imperialism."[1]
Plot[edit] Apart from the political themes, Walang Sugat is also a love story.[4] Towards the end of the Philippine Revolution, Tenyong leaves Julia to become a member of the Katipunan. In his absence, Julia is continuously pressured by her mother to marry the rich Miguel; she succumbs when she stopped receiving news from Tenyong. As Julia and Miguel are being wed, Tenyong arrives to interrupt the service, and is dying of injuries sustained in combat. Tenyong mentions his dying wish to Julia, but the play[2] features an "unexpected twist" that shows how Tenyong is able to outwit the persons separating him from his beloved Julia.[1]
SINAKULO or SENAKULO also spelled senakulo sinakulo: a play depicting the life and sufferings of Jesus Christ
derived from the Spanish cenáculo, meaning "cenacle," which is the place where Jesus Christ celebrated the Last Supper with his disciples
Sinakulo is a Lenten play that is a dramatic presentation of the Passion of Jesus Christ -- his trial, suffering and death. The senakulo is performed during Holy Week in the Philippines. It takes eight nights -- from Palm Sunday to Easter -- to present the entire sinakulo.
