Ito ay isinulat ng makatang si Pedro Bukaneg na isininop at pinag-aaralan pa rin hanggang sa kasalukuyan. Page unnumbered PREFACE The authors object in.We’re at the turn of a new decade, and, as Time describes in their report on the 2020 Pantone Color of the Year, this period is marked by many things: fear, hope, and change, in particular.Kilala sa mga Iloko ang epikong Biag ni Lam-ang o (Buhay ni Lam-ang). Nang sinabi ng kaniyang ina na umalis ang kaniyang ama upang labanan ang mga Igorot, nag-ayos si Lam-ang at pumunta sa lugar ng mga Igorot kahit hindi pumayag ang kaniyang ina.At gayon din nainan ang niqnga dating nasa Qui ay dapat hanapin sa Ni: at ang dati sa U ay lhaiapin sa W. Itinanong ni Lam-ang kung nasaan ang kaniyang ama. Pambihirang bat&224 si Lam-ang dahil k&225 ya na niyang magsalita at may taglay siy&225 ng kakaibang lakas.
6, the musical is based on and inspired by the Ilocano ethno-epic “Biag ni Lam-ang,” with a few contemporary tweaks. Biag ni Lam-ang (Ilocos)Opened Dec. Narito ang ilan sa mga kilalang halimbawa ng epiko ng Pilipinas. 15 April the Khaya Lam Land Reform project delivered property ownership to.Kadalasang umiikot sa bayani, kasama ang kanyang mga sagupaan sa mga mahihiwagang nilalang, anting-anting, at ang kanyang paghahanap sa kanyang minamahal o magulang ito rin ay maaaring tungkol sa panliligaw o pag-aasawa.
One of the musical’s directors and set and prop designers, Marco Viaña, describes their treatment as such: “ Kapag sinundan mo kasi ’yong epic version na tinuturo sa mga eskwelahan, pinapakilala si Lam-ang bilang someone na mayroon nang kapangyarihan, at ’yong journey niya ay punong-puno ng magic. It takes the story of the mighty, almost god-like warrior and humanizes it. Ano ang karapatan o kapangyarihan ng mga putang-inang bobong traydor.“Lam-ang” is a different retelling of the epic many of us may have encountered (but unfortunately no longer remember) in our school books.
They used the in-depth study of the Tingguian and Itneg people published in “The Tinguian: Social, Religious, and Economic Life of a Philippine Tribe” by Fay-Cooper Cole as the play’s Bible, also influencing and informing the costumes, stage design, and props created for the show.Aside from the costumes—the entire cast donning bahag, or more specifically balikes (woven belt), and ba-al (clout) for men, and dingwa (narrow skirt with colored border) for women—the set also takes influences from the traditions of Northern Luzon. Ultimately, each character’s actions and statements add a layer of reality to the epic.But what truly sets this staging apart is its faithfulness to the source—not just with the story, which has been orally transmitted for generations, but with the representation of the heritage and culture of Ilocos.Representing these cultural traditions proves to be a tricky thing (and it continues to be a challenge especially now, along with the surge in interest in the local and indigenous), but what Tanghalang Pilipino did right is keeping their references close. Scenes are placed to show Lam-ang’s humanity: a man that deals with doubts, one that, despite having strength, determination (and political will, if you must), is also flawed and perhaps misunderstood, as seen when his desire to occupy neighboring tribes’ lands is seen as him being prideful and greedy, when, at least for Lam-ang, it is but for the benefit of their own tribe.
Nag -research kasi kami sa Ifugao, nagkaroon kami ng opportunity pumunta ng Ifugao at naka -meet ng mga chanters at merong mga kinuwento samin dun na pag nagtatanghal sila, naglalatag lang sila ng banig tapos merong chanter , tapos binubuhay ng members ng community yung chant ng kanilang babaylan. Naging inspiration ko yun para gumawa ng set design na nagta- transform on stage. So ang challenge ay paano mo magagamit ’yong space para maikuwento ang kaniyang journey,” Viaña says.“ May chapter (in the Tinguian) about ano ’yong landscape ng Ilocos even before tawagin siyang Ilocos. Here he holds a golok, a sword from Cordillera used for the sole purpose of chopping off heads and limbs during executions or tribal wars.“ ’Yong epic kasi ni Lam-ang, mula siya sa Nalbuan, nag -travel siya sa mga lambak, bundok, pumunta siya sa Kalanutian, seaside… nagta -travel siya sa different locations.
Anna Luna’s portrayal of the feisty and headstrong Kannoyan meanwhile adds brightness to each scene she’s in. But the musical’s most powerful moments are in the haunting chants of Baglan (Tex Ordoñez-De Leon), echoed by the ensemble cast.JC Santos also gives a noteworthy performance as Lam-ang in his return to the stage. They also look similar to looms used by traditional weavers.The music (written by Jen Darlene Torres, with musical direction and sound design by TJ Ramos) also keeps its Ilocano influences, with some songs more markedly injected with pop elements that ultimately make it more engaging for the contemporary viewer. The other half is composed of three raised level stages, acting as the main landscape. Half the stage is akin to a large banig, similar to what a babaylan would sit on as they chant tales, with the community around them.
0 kommentar(er)
