Posts Tagged ‘Theater’

18 men, 2 beds, 3 beanbags, handcuffs, rope, and a swivel chair.


As his final output as a Creative Writing student, budding young playwright Riley Palanca offers “Delight/Delirium”, a festival of four one-act plays, under the supervision of multi-award-winning writer, Paolo Manalo. It runs from August 31 to September 2 at the Teatro Hermogenes Ylagan, Faculty Center, University of the Philippines, Diliman.


This festival of four one-act plays, under the direction of Arkel Mendoza, Chic San Augstin, J Victor Villareal, and Katte Sabate, looks into that triggering incident that shifts the dichotomy from the pains of delight into the logic of delirium. This is both a celebration and a lament of that psyche of an underground, masculine, and queer subculture, with each play layering deeper and deeper into the world of sex, drugs, rock ‘n’ roll, violence, rage, angst, war, power, and memories.



When five high school boys stumble into one of their friend’s basement to engage in their usual drug sessions, little did they know how it would be the night that would change them. As they get more and more inebriated, each boy zooms in on an incident in their group’s life, breaking down the barriers between individual and group, ultimately leading them to question why they became friends in the first place.



In a post-apocalyptic Philippines where the Clergy has taken control of the government and homosexuals are being massacred, Viper, a high-ranking rebel soldier, attempts to resurrect his murdered lover by kidnapping and interrogating an imperial priest about the whereabouts of a specific body part — only to find out that its discovery comes at a price of its own.



One night that could have been typical for two people: the first throwing himself into the world in search for himself; the second, willing to oblige — for a price. Both callboy and client are trapped in an endless negotiation about boundaries and fetishes. When the games begin, their whole philosophies on love, sex, and relationships (the big three) might get either reaffirmed or shattered beyond thought.



Who owns a memory? Who steals a memory? Is a memory a fragmentation of truth or the weaving of a lie? What are these men, are they men, are they characters, are they caricatures, or are they ultimately ideals? One man questions his present by rooting through his past, clawing through the shards that make him whole. A confession with no penance.


For inquiries, please contact Riley at +639159705508 or e-mail him at palanca.riley@gmail.com. Please follow our Facebook fan page (http://www.facebook.com/delightdelirium2012) for more updates.


Poster by Sigmund Pecho

Poster by Joanna Malinis



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The first week of classes is just over and we already have homework. Any other degree program would roll their eyes and scoff, ‘Homework, tss.’ But not as Theater students. Both my classes in Acting and Oral Interpretation are demanding a monologue this week. Thankfully, it’s just diagnostic, so pressure’s a little bit off, but then again we should always strive to be the best that we are, shouldn’t we? 🙂

Delivering a monologue is so much more different than just memorizing every single word in the piece. As performers, it has to be a concious effort to know which words to stress, where the appropriate pauses should be and how strong the emotions are. It’s really much more difficult than what you deem it to be. 

For Theater 131, under the great Professor Jose Estrella, I’m doing ‘Maureen’s Performance’ from Rent. It’s funky, it’s crazy and it’s ultra-chic. It’s pretty long, but just under the required three-minute monologue. The greatest challenge here is to just be Maureen, a character totally different than who I am – but then again, that’s why we’re called actors, right?

Idina Menzel doing Maureen's Performance in Rent.


For Oral Interpretation, it’s a little bit trickier as the instructor, Professor Melanie Leano, has assigned the diagnostic monologue herself. All us boys get to perform the same piece – Queen by Ronald Baytan. It’s a poem chronicling the unacceptance of a mother towards her gay son. It’s really long, composing five stanzas, but the wording is pretty easy and I’m pretty sure I’m down with it. Between the two, I’m more interested in performing this one and not in a stereotypically gay manner.

Ladlad 2, where the poem was taken from

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