THEATER as a channel for unchaining the human potential. Theater as a key to forging cultural identity. Theater as a tool for education, social change, and development. Theater as a vehicle for cooperation and international understanding. A grand dream come true.

The PETA story

It all began with a dream of Cecile Guidote back in the 60’s. PETA is the story of how a small core of theater enthusiasts grew into a large, motley but tight cast of characters with a shared artistic, aesthetic, ideological vision and mission: theater in the service of the common good. PETA was a collective endeavor, a joint effort. (Funnily, “peta” is Spanish for “joint.”). PETA is the Philippine Educational Theater Association.

Its purpose was clear: perform and educate. Develop a theater that was at once indigenous and alternative, performing plays in Filipino. But beyond language, alternative meant non-conventional, innovative, experimental in form and technique. It also meant mirroring society, telling truths, challenging norms. It meant exposing a host of under-addressed or controversial social and political issues in venues ranging from traditional arenas to street rallies. Alternative meant elevating, enlightening, empowering. PETA was and is a spearhead of that alternative-culture movement that has used theater as a means to generate social change.

A solid track record of more than 300 plays has shaped the company’s and indeed the country’s theater history, contributing to the establishment and evolution of a People’s Theater Aesthetic in the language, outlook, and spirit of the Filipino.

Today, PETA’s repertory theater program, embodied in the Kalinangan Ensemble, is complemented by a closely-knit battery of programs and services. The School of People’s Theater, PETA’s main training arm for amateurs, professionals, and communities alike, offers a wide range of courses in theater arts and related subjects. The Metropolitan Teen Theater League Program and the Children’s Theater Program combine performances with training modules for young people, their caregivers and educators. The Women’s Theater Program addresses female problems like reproductive rights and domestic violence. Gender and sexual health issues, AIDS included, are also pet topics of the PETA-Mekong Partnership Program, a special project aimed at building capabilities and fostering collaboration in the Greater Mekong Sub-Region. Continuous link-up with national and international artistic, educational, cultural, and development organizations has allowed PETA to share its experience and expertise in theater and education. PETA is all about outreach and networking.

The old home: The Rajah Sulayman Theater

In the beginning, PETA was homeless. It didn’t even have a stage of its own. All Cecile Guidote knew was that she didn’t want a traditional theater. A series of circumstances, coincidences, and connections got the ball rolling and everything just fell into place. The clincher was an indirect link to Teodoro Valencia, then at the prow of Imelda Marcos’ National Parks Development Committee. The ruins of Fort Santiago, in Intramuros, were at the hub of the committee’s plans for a re-embellished and culturally re-vitalized Manila, and when Cecile in her mind’s eye saw a part of the ghostly structures resuscitate as the theater of her Vision, Doroy Valencia obliged. Thereafter, until Martial Law was declared and she went on self-exile, Cecile had free rein in the gestation of her project.

So it was that Architect Leandro V. Locsin turned part of the ruins of the National Park and Shrine of Fort Santiago into a beautiful, lyrical, E- or T-shaped outdoor theatre nestled within walls of red brick and piedra china, with an organically shifting and multi-level stage structure that embraced and engaged the swivel-chaired audience.

In 1967, the Rajah Sulayman became the main stage for PETA productions. However, with the passage of time, Rajah Sulayman posed limitations to PETA. Use of this open-air place was limited to the months of December to April. Even in the dry season, the constant threat of rain characteristic of our tropics caused many a costly delay and cancellation. Use of the premises was also limited to nighttime. To top it all was the ever worsening traffic that was no less a damper on catching a show in a far and dark corner of old Manila, especially when it poured and flooded. During the rainy season, PETA resorted to renting auditoriums, halls, and other performing arts venues. Through the over three decades that the Rajah Sulayman was PETA’s main site for shows, performance workshops, and events.