WHEN the blue-blooded insulares, peninsulares and Spanish conquistadores lorded over these 7,100 islands christened as Filipinas (the name of this archipelago was in honor of King Philip II), the theater art form of the komedya boomed and blossomed. This play in verse dramatized events in the lives of kings and queens, princes and princesses, sultans and caliphs, from Europeto the Middle East, including the Holy Wars launched by the Crusades during the Middle Ages.

Most storylines focused on conflict between the Moors and Christians andalways ended with the Moors accepting defeat and embracing Christianity.

With its marches and choreographed fighting, the komedya was a popular source of entertainment of Filipinos during those times, its patronage so overwhelming that provinces such as Isabela, Pampanga, Batangas, Cebu, Leyte, and Catanduanes fashioned their own versions and conventions. The komedya became a must during fiestas and community celebrations and was regarded as a high point of merry-making.

Nowadays, little of the komedya remains and what young people know about it is what they probably learn in school…if at all. While the glory days of the komedya are gone, a group of concerned theater artists have gotten together to spread the word about the komedya and in the process trigger a cultural renaissance that will elevate the stature of this Filipino theater form.

Over a Cup of Coffee

Komedya Pilipinas Foundation, composed of komedyantes from San Dionisio, Parañaque where they strive to make the komedya thrive as a folk theater tradition, is aware the task ahead is grueling. :Local theatre scene is dominated by contemporary productions based on foreign classics, musicals, movie-inspired productions and even curriculum-oriented plays – tried, tested, with a guaranteed audience and may earn a critical review or two.

“This idea was born out of a cup of coffee and the most exciting of conversations,” says Eileen Guerrero, chairperson of the foundation. “We were having a nightcap with some well-meaning friends who have been part of the komedya here in Parañaque. Something dawned upon us during that night, that hey, we could bring komedya to a higher level. We are all from San Dionisio and we looked at each other and asked, ‘Can we do this?’”

They could, Eileen recounts. “We were in good company and it was something that we are very passionate about.”

So what is Komedya Pilipinas Foundation’s vision? “We want to propagate the komedya in such a way that it will be associated with the country. That when you say komedya, people will immediately think about the Philippines just like when you say kabuki, Japan flashes in your mind instantaneously and you know that it’s an art form. This is what we want our komedya to become. It is our own. Let us claim it. Be proud of it. Let the whole world know about it.”

Eileen recalls that when she worked with Gantimpala Theater Foundation, an independent theater established in 1978 by National Artist Lucresia Kasilag, Ray Albano and Tony Espejo, the latter asked her to turn Florante at Laura into a komedya.

“I told him that if we will make it into a 100 percent komedya, the lines must be in verse, it should be in dodecasyllabic and the quatrains must have an exact measurement.” This means that the komedya’s verses should be done in four lines with 12 syllables per line.

“He gave me five days to do it,” Eileen recalls. Which she did. “And now they use the full komedya version of Florante at Laura.”

At first, the audiences laughed because the form was alien to them, especially as the komedya was accompanied by dance-like movements like the marcha, the pasa-doble or kuratsa.

“However after the play, you will see, lahat sila gumaganun na,” adds Rodante Hernandez, KPF’s artistic director, as he demonstrated the arm movements of the choreography. The audience also began humming the march tune.

“Art should be like that,” he explains, “it should be simple yet contaminating.”

Perlita ng Silangan

Perlita ng Silangan is the Foundation’s first venture into what it will hope is the beginning of a far-reaching “contamination.”

It rests on the sterling talents of Len Ag Santos-Siasoco, one of the country’s finest character actresses, who directs the komedya and brings it to life.

“I accepted this project because I believe that the komedya we have is ours because it is done in Filipino,” she explains. “Shakespeare is done in verse and the komedya is done in that line. We have other theater forms but it does not have the conventions of the komedya. The conventions include the use of marches in entrances and exits. Another will be the using of dances in fight scenes, which are based in cultural community war dances. In that way, it is Pinoy.”

She says that the production will try to stick to the komedya’s intrinsic form. “There will be no new forms of dances and fights. We will start with trying to be pure as possible.”

So, what is so special about this komedya?

“I think the theme of Perlita ng Silangan is timeless and very universal. Evil does not triumph. Love does. The premise being, love conquers all then love conquers evil.”

In Perlitas, she adds, love takes many forms and crosses over into the metaphysical and the spiritual. “It can be love of God, of self, and of country…. What is exciting about the way love is used here is that it (presents itself in) the context of nationalism and idealism. We seem to be in a state of national stagnation. Naging doormat tayong lahat. We want this love and pride for country to grow in every Filipino who will watch the show.”

The ambitions of Perlitas are matched only by a formidable cast made of legitimate stage actors and traditional folk performers including Jojit Lorenzo (Tagapag-salaysay), Mikki Hernandez (Princesa Perlita), former teen idol Wowie De Guzman (Magiting), Alan Paule (Dakila), Marcus Madrigal (Bayani), Alexander Guerrero (Montenegro), Rodante Hernandez (Haring Silangan), Kimberly Diaz (Reyna Silangan), Dido dela Paz (Haring Itim), Chiqui Xerez Burgos (Kardenal/La Pietro), Arkin Da Silva (Prinsepe Leon), John Dekster Santos (Raha Al Ben Abu), and Nelia Aguado (Dama Juana).

Any apprehensions?

“There are so many hurdles and struggles to control but everyone involved in this project is fearless,” Len declares. “It is so noble a dream to make it a national identity so we will present to the people something that is good. It is not a second-rate derivative of the past. Our objectives are reachable. Komedya Pilipinas is a group whose commitment and passion to this project is 100 percent. At the rate we are going, I have no reason to fret or fear.”