Atheista -

Watch the author literally have the worst time of his life. Can you even see me in this picture?

This must be Gibbs Cadiz and Karla Maquiling’s idea (of Pinoy Centric) of a joke. What started out as an invitation for one lazy afternoon at the theater rapidly evolved into an impromptu mini-workshop that nobody anticipated. Gibbs’ press release was that the handful of people who signed up for the event would be treated to a tour of PETA’s theater at New Manila prior to watching a matinee of Batang Rizal. Well, nobody told us that the tour would also comprise of a crash course through Northern Luzon ethnic musicology, basic theater, posing, improv and impromptu costume designing. I don’t really know if the fact that I only knew a few of the people in attendance (Coy, Jeff, Poyt and Joe).

Again, it sucked. I am not not cut out for theater and I was obviously going through the motions. Damn, I hate you Gibbs.

Aside from the torturing us *ehem* shy theater excursionistas, the people from PETA also showed off their theater building. Apart from their flexible and morphing stage and show space, the building also has nooks that can serve a multitude of purposes. The building also features a well-stocked library that contains plenty of theater material. If you feel like reading any of the books that PETA has in its possession, you are free to check it out during office hours at weekdays. There is also no shortage for rehearsal and lecture spaces. Almost every floor landing, room and corner can double as a meeting venue, practice nook or lecture hall. The building simply morphs into which ever purpose PETA chooses for every particular and occasion.

After really crying not to vomit while doing all the exercises and (kitang kita naman sa mga pictures na napipilitan lang ako) we were ushered into our seats for the Batang Rizal matinee. The play touches on the interactions between the children today and the Philippines’ National Hero in his younger days. It’s easy to assume that Rizal was used to the pomp and pageantry that comes with being a well-celebrated national figure, but in his teens, Rizal was just like the average boy. He was wide-eyed and idealistic. He had the boldness that seemingly suggested an aura of immortality and indestructibility. But despite this self-assuredness, he was humble enough to admit to himself that he has tons to learn.

In the play, the juxtaposition between the children of the the new millennium and the young Rizal of the 19th century was very telling. Rizal was clutching the very core of his being Filipino to the last few straws of nationalism and pride while the children of the present took their liberty in scoffing at just about everything pertaining to history. Rizal truly was ahead of his time and this was better emphasized with the way the children looked – really kiddie and carefree — as opposed to Rizal’s dignified, stiff and ahead of his time (both in years and maturity).

Of course, this could have been conveyed by a movie. Yes, granted, the movie would have been visually compelling as well. But there’s something about theater that makes the message more lasting and significant. The medium of theater and live acting is very ephemeral, once the moment is lost, it’s lost for good. The next performance will not necessarily be similar to the last one, nor will the cast remain the same for the next installment. Each run, each performance will be marked with its own flavor and that variable makes the message more likely to leave an impression – an imprint that the visitor would take after watching the show.

I guess that’s the value of theater. The medium is so organic – so real and palpable that you just can’t help but think (and perhaps overthink) about the underlying concepts and topics. Theater’s not for everyone, but for those who would like to challenge themselves into thinking and dissecting what a playwright is telling you, I highly recommend it.

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