Philippine theater began just like any other genre of literature—with precolonial indigenous drama. These constituted rituals, verbal jousts or games, and songs and dances praising their respective gods. Eventually, when the Spaniards came, these indigenous dramas were discarded and were changed into mainly two categories: the comedy or komedya and the zarzuela or sarswela. These were dramas used to capture the imaginations and hearts of the Filipinos, whom the Spaniards had just colonized. Aside from providing entertainment to the people from the pueblos (and also capturing their affection), these also served as teaching tools for the religion they brought with them, which was Christianity.
Before the stage plays began, though, there were also pre-dramatic forms present in Philippine theater. There were loas, declamaciones, and oraciones (or declamations and orations) that usually involved only one person and were not as dramatic as a stage play. They were usually performed during the arrival or installation of a holy relic in the country.
Eventually, the komedya developed into different kinds. One of the most popular was the moro-moro, which depicted the lives, loves, and wars of Moors and Christians. Two more kinds, indigenized by Filipinos, were the comedia de capa y espada or secular comedy and the comedia de santo or religious comedy. Some of these comedies are still performed in places such as Parañaque City and Iligan City.
The zarzuela is a type of theater that is musical in nature—it is both spoken and sung. The first zarzuela in the Philippines was staged in 1878 or 1879 and was written by Francisco Asenjo Barbieri in 1855, entitled Jugar Con Fuego (Play with Fire). Even José Rizal wrote his own zarzuela, entitled Junto al Pasig, which was staged in 1880. In 1893, because of its popularity, the Teatro Zorilla was inaugurated as the home of zarzuelas. Of course, Filipinos also indigenized the zarzuela and called it the sarswela. It became a mix of music, prose, dance, dialogue, and a discussion of contemporary subjects.
Nowadays, Philippine theater has changed significantly and incorporated many modern elements to keep it relevant to its growing audience. It still tackles contemporary issues and portrays the real lives of Filipinos both here and abroad. But it has also returned to some of its roots, such as music and dance. More recently, Liza Magtoto’s Rak of Aegis and its unprecedented success have shown that Filipinos still crave plays that feature not only contemporary and important issues but also fun, music, and dance.
The playwrights’ group called Writer’s Block has been actively inviting young playwrights to have their unpublished plays staged in a professional setting, namely, the Cultural Center of the Philippines (CCP). These playwrights have been annually staging the Virgin Labfest, an avenue for new playwrights to submit their plays and have them staged with professional directors, actors, and props. The event has also revolutionized modern Philippine theater because, not only does it open up the stage for braver and more current issues, but it also keeps Philippine theater alive and relevant. Now, every year, the Virgin Labfest attracts a diverse audience, and the plays that are part of it run to a sold-out crowd.
