Isang Panaginip na Fili: A Case Study of A Collaborative Directing Approach

A Thesis Presented to The Faculty of Speech and Theater Arts Unit Humanities Department College of Arts and Social Sciences

In Partial Fulfillment of the Requirements For Bachelors Degree in Secondary Education Major in Speech and Theater Arts (STA)

by Ela Lapso Joe Louie Lavaro Eldon John Mendez Lizzel Ericca Palisada October 2008

APPROVAL SHEET In partial fulfillment of the requirements for the degree of BACHELOR OF SECONDARY EDUCATION major in SPEECH AND THEATER ARTS, this thesis entitled Isang Panaginip na Fili: A Case Study of A Collaborative Directing Approach prepared and submitted by Ela Lapso, Joe Louie Lavaro, Eldon John Mendez, Lizzel Ericca Palisada is hereby recommended for the corresponding oral examination.

GINA O. GONONG, Ph.D. Adviser

Approved in partial fulfillment of the requirements for the degree of BACHELOR OF SECONDARY EDUCATION major in SPEECH AND THEATER ARTS by the Committee on Oral Examination.

ANITA M. NAVARRO, Ph.D. Chair

SHIRLEY N. CERBO, M.A. Ed. Member

LAYA A. ROMAN, B.A. Member

ii

ACKNOWLEDGEMENT

This study would not reach its completion without the infinite goodness and love of our God Almighty. To Him, and for His greater glory, this humble piece of work is offered. Numerous persons have helped tremendously in this endeavor. To them, the researchers are truly indebted. Dr. Gina O. Gonong, thesis adviser for the generous assistance, the insightful directions, and the unceasing motivation that pushed the researchers towards the accomplishment of this task. Also, for her passion for drama and theater that inspired the researchers to pursue the arts. Dr. Anita Navarro, Prof. Shirley Cerbo , Prof. Maebelene Aala and Prof Laya Roman, for their critiques and suggestions that greatly contributed to the enhancement of this work. Nikki Toress of the Cultural Center of the Philippines and directors Roobak Valle, Ana Valdez Lim, Rody Vera, and Dennis Marasigan for very informative lectures about directing. International directors, Anthony Abeson and Leon Rubin for answering the questions regarding directing through e-mails. Gibbs Cadiz for giving links to internet sources of information used in this research and giving good criticisms of the play. The Angeles University Foundation for the hospitality when the researchers watched and observed their presentation.

iii

De La Salle University Library and National Library for the hospitality during their research. Prof. Bryan Eli Sadorra of Adamson University for giving them an interview. Dr. Ricardo Abad, Professor-Director of Ateneo de Manila University and Prof. Sir Anril Tiatco of University of the Philippines for validating their checklist. The Dulaang U. P. administrators for the accord given to them to observe and participate in the production. The cast and crew of Isang Panaginip na Fili namely, Joel Molina, Eric dela Cruz, Only Torres, Meynard Penalosa, Allan Palileo, Jacques Borlaza, Anril Tiatco, JC Santos, JM de Guzman, Jay del Rosario, RJ Solis, Raymond Camangon, Delphine Buencamino, Mica Pineda, Shaddai Solidum, Greg de Leon, Ces Quesada, Emlyn Santos, Sheena Jamora, Charlene Magalit, Allen Diansuy, Paola Munoz, Stella Canete, Astarte Abraham, Mary Jane Alejo, Arkel Mendoza, Peter Serrano, Jeremy Barona, Sabina Santiago, Jhosilyn Capitan, Aya Carino, Yelena Duarte, Anne Elechi, Gian Carlo Alvarez, Aljury Panglinan, Jihad Mariano, Eric Ferrer, Martha Sta. Barbara, Karen Gaerlan, Christian Alvarado, Carlito Amalia, Jerson Guiwa, CJ Javier, Jason Quitane, Van Manalo, Tuxqs Rutaquio, Luther Gumia, Faust Peneyra, Jomari Jose, Winter David, Bryan Arda, Paulo Santillan, Meliton Roxas, Hazel Gutierrez, Angela Trinidad, Annde Margarette Picardal, Nikka Angeles, Miguel Panganiban, Jeffrey Hernandez, John Carlo Santos, Ava Olivia Santos, Maria Cathrina Aldeon, Zarfulla Masahud, Donna Rhyse Daceno, Lyza Mirabueno, Darzelly Jhoy Zapata, Maria Angela Lapid, Inno Martin, Apple Talaue, Carmina Tagulao, Jason Carl Rodriguez Bobier, Graziel Latiza, Christelle de Leon, Cammile Guevarra, Mark William Amarante, Vincent Pajara, Martin Goli-Cruz, Lara Unika Zapata, Mara Marasigan, Valerie Jean Galvez,

iv

Amanda Asistio, Ian de Ausen, and Monique Alvarez. Especially to Marili FernandezIlagan, Gelo Pascual, Carlo Cannu, Cholo Gino and Franco Laurel for letting the reasearchers have interviews. Jojit Lorenzo for his wonderful photos used in the production. Dr. Florentina A. Santos for proof reading this thesis. Their classmates, Sandra Aviso, Kathleen Mae Briones, Chazelline Caberos, Catherine Joy Caudilla, Maria Theresa Hernandez, Christian Mark Lorenzana, Cyrille Marie Mon, Mark Angeluz Padon and Lois Ruth Villavicencio for their support and understanding. Their parents, Loida and June Lavaro, susan and Glicerio Lapso Sr., Casiana Mendez, and Emelita and Alfred Palisada their siblings Lorraine and Jodie Lavaro, Paul and Cecil Palisada and Glicerio Lapso Jr., for the allowance, the prayers, the love, and the inspiration. To Yuky Tibunsay for letting them use her computers. To Jhunell Abalona for the support and for helping them transcribe the interviews. And of course to Antonio Tony Mabesa and Floy Quintos for sharing their time, insights, ideas, crafts, artistry, and love and for allowing the researchers to observe and participate in Isang Panaginip na Fili.

E.L.L. J.L.A.L. E.J.L.M L.E.P.P.

ABSTRACT

NAME: Ela Lapso Joe Louie Lavaro Eldon John Mendez Lizzel Ericca Palisada TITLE OF THESIS: Isang Panaginip na Fili: A Case Study of A Collaborative Directing Approach MAJORSHIP: Speech and Theater Arts THESIS ADVISER: Gina O. Gonong, Ph. D. DATE OF ORAL EXAMINATION: Objectives of the Study This study aimed to write a case study about the the collaborative directing approach in Floy Quintos Isang Panaginip na Fili. Specifically, it aimed to:

1. Identify the functions of the two directors. 2. Describe the work done by the two directors. 3. Describe the collaborative relationship of the two directors. 4. Explain the implications of a collaborative directing in a production.

vi

METHODOLOGY: A case study design was used by the researchers. Case study research may focus on individual subjects and go into great depth and detail in describing them. This design was utilized in this study to present the collaborative approach of Floy Quintos with Tony Mabesa as the artistic consultant in directing Isang Panaginip na Fili. This was done through a series of observation, checklist, interviews with the people involve, journals and video or audio documentation of the approach the said directors used. Planning Stage The researchers chose to observe Dulaang U.P.s Isang Panaginip na Fili as directed by the playwright Floy Quintos with U.P.s Professor Emeritus Tony Mabesa as the artistic consultant. The researchers prepared the checklists and questions in preparation for the observation. Information about directing approach, casting and rehearsing were also gathered from books, earlier theses and researches, journals and interviews of theater inclined people and directors, to help the researchers understand the approach on process the director underwent.

Observation Stage Observation was done through out the casting and rehearsing of the play. This included checklists and journals on how the play was directed. The researchers also interviewed the Directors, the artistic staff, the auditioners, the actors and other people concerned. Researchers also used Audio and Video recordings.

vii

Presentation Stage The data from the observations were organized systematically to provide a picture of the approach done by the directors. The Isang Panaginip na Fili: A Case Study of A Collaborative Directing Approach presented the collaboration between Floy Quintos as the playwright/director and Tony Mabesa as Artistic Consultant, as well as the implication of the collaborative directing approach in a production.

FINDINGS: The study yielded the following findings: 1. There were two directors in the production: The Playwright/Director and the Artistic Consultant. 2. The Artistic Consultant initially functioned as director before asking the Playwright to collaborate with him in directing the play. 3. The Artistic Consultant planned the aesthetic aspects of the production. 4. The Director executed the plans of the Artistic Consultant for the production. 5. The Director worked with the cast and artistic staff chosen by the Artistic Consultant. 6. The Artistic Consultant and the Playwright/Director worked together in auditions, line reading rehearsals and polishing rehearsals. 7. Consultations between the Artistic Consultant and Playwright/Director were made before decision-making which helped them avoid conflicts.

viii

CONCLUSIONS: After a comprehensive analysis of the data gathered and observed, the following conclusions were made: 1. One of the directors served as the Artistic Consultant who planned the production while the other one executed it and served as the Playwright/Director. 2. Both of the directors consulted each other in doing their duties. The Playwright/Director gave his suggestions to the Artistic Consultant in planning the production. On the other hand, the Artistic Consultant shared his ideas to the Playwright/Director in executing the play. 3. The two directors worked together and supplemented each other in planning and executing the play. 4. Collaborative directing requires good communication and frequent consultation between the directors. RECOMMENDATIONS After the analysis of facts and information, the following recommendations are given: 1. To theater organizations which are planning to mount a play may consider having an artistic consultant in their production. 2. To theater professors and instructors to clarify and define the roles and responsibilities of Directors and Artistic Consultants. 3. To future researchers to document the approach that will be done of other directors and artistic consultants.

ix

4. The future studies to consider the documentation of directing approach of other plays of other directors.

TABLE OF CONTENTS Title..i Approval Sheet....ii Acknowledgement..iii Abstract...vi I THE PROBLEM AND ITS SETTING A. Introduction.1 B. Objectives of the study2 C. Scope and Limitations of the Study3 D. Significance of the Study3 E. Theatrical Framework.6 F. Work Framework.7 G. Definition of Terms.8 II REVIEW OF RELATED LITERATURE AND STUDIES A. Conceptual Literature...10 B. Related Studies.15 III METHODOLOGY A. The Research Design...18 B. The Subject of the Study..18 C. The Phases of Study.19 D. Procedures19 E. Data Gathering Tools...20 F. Work Flow Chart.21 IV PRESENTATION, ANALYSIS AND DISCUSSION OF DATA...22 V SUMMARY AND RECOMMENDATIONS A. Summary...39 B. Summary of Findings40 C. Conclusion40 D. Recommendation..41 Bibliography..42 Appendices

xi