MULTI-AWARDED independent filmmaker Lav Diaz has been chosen as jury member for the Orizzonti (Horizon) section of the prestigious 67th International Venice Film Festival, organizers announced on Friday.
by Joma Sison on Saturday, September 4, 2010 at 4:37am
Nakikiramay kami sa pamilya at lahat ng kasama at kaibigan ni Kasamang Alex sa kanyang pagpanaw. Nagpupugay kami kay Ka Alex bilang makabayang aktibista, matatag na rebolusyonaryo, makata at mamamahayag.
Kahit na nasa malayong lugar kami, naging malapit kami kay Ka Alex dahil sa aming madalas na lihaman at kooperasyon sa paggawa ng mga interview, mga poetry reading at pagpapalaganap ng mga pahayag at artikulo. Nagkakaisa kami sa diwa, damdamin at pakikibaka para sa pambansang kalayaan at demokrasya.
Maigsi ang buhay ni Ka Alex subalit makahulugan at mabunga. Ang mga ambag niya sa pakikibabaka mananatili at lalago sa pagsulong ng bagong demokratikong rebolusyon ng sambayanang Pilipino. Tularan natin ang maningning na halimbawa ni Ka Alex at ipagpatuloy ang ating pakikibaka!
Si Mao Zedong ang paborito kong makata dahil sa kanyang rebolusyonaryong romantisismo at lirisismo. Mahusay ang paggamit niya ng mga kongkretong imahe, simpleng salita, ritmo at mga makabuluhang alusyon. Pinagsasanib niya ang malawak at malalimang pananaw ng isang rebolusyonaryong proletaryo at ang kagalingan sa sining ng paglikha ng tula.
Ilang pangunahing mga tagpo sa premyadong dulang "AWIT KAY ANA" (Digmaan!) ni Diosdado Sa. Anzures, sa direksyon ni Noel Estonilo Miralles.
Mga nagsiganap:
MARIFE NECESITO (Ebolusyon ng Isang Pamilyang Pilipino, Heremias II, international Swedish film "Mammoth") bilang ANA
AURA MIJARES (Himala, Ikaw na Sana, Till I Met You) bilang TINAY
DANTE BALOIS (Babae sa Breakwater, Ang Paglilitis kay Bonifacio) bilang HORACIO (ASIONG)
SIMON IBARRA (Heremias I, Toro, Bakal Boys) bilang TOMO
JERRI BARRIOS (Ben and Sam) bilang MARIO
MIGUI MORENO (All About Adam) at HIAH CASTRO bilang BERTING
EDWIN DOMINO (El Filibusterismo) bilang MAKAPILI.
Sa musika ni Emil Sanglay, areglo ni Rom Dongeto, at ilaw ni Jehiahbalm Castro
Nasa produksyon sina MURPHY SC RED, NEL GARBANZOS, RYAN CASTANEDA, JUDITH SORIAO, LYANNE SAN DIEGO, PAULO SANZ at iba pang mahuhusay na mga alagad ng teatro ng bayan.
Para sa shows at bookings, kontakin po ang mobile nos. +639062112058 at +639266301038.
“Awit Kay Ana” is an adaptation of a William Somerset Maugham short story set in France amidst the death and destruction brought about by World War II. “Awit Kay Ana”, the setting shifts to the Philippines wherein a family’s idyllic existence is disrupted when the country found itself caught in the war set off by Japanese occupation.
Originally entitled “Digmaan!” (War), the play won for its playwright, Diosdado Sa. Anzures, the prestigious Palanca Award in the 70s. In its original title, the play had been successfully staged in Metro Manila and key cities around the country, with more than 100 performances to date. Aside from the Filipinization of the characters, the playwright has added other scenes and characters to further enrich the local color and underline the actual Filipino experience in the Japan’s failed attempt for imperialist expansion all over Asia.
plays ANA in the award-winning play "Awit kay Ana"
“Awit Kay Ana” is an adaptation of a William Somerset Maugham short story set in France amidst the death and destruction brought about by World War II. “Awit Kay Ana”, the setting shifts to the Philippines wherein a family’s idyllic existence is disrupted when the country found itself caught in the war set off by Japanese occupation.
Originally entitled “Digmaan!” (War), the play won for its playwright, Diosdado Sa. Anzures, the prestigious Palanca Award in the 70s. In its original title, the play had been successfully staged in Metro Manila, with more than 100 performances to date. Aside from the Filipinization of the characters, the playwright has added other scenes and characters to further enrich the local color and underline the actual Filipino experience in the Japan’s failed attempt for imperialist expansion all over Asia.
Ana, the lead character, is raped by a drunken Japanese officer and consequently gets pregnant. The story takes a sudden turn when the Japanese officer finds himself falling in love with his victim and proposes to marry her. He woos her parents and eventually wins their consent. Nevertheless, Ana’s hatred of his attacker lingered and her conviction never to accept the man who caused her dishonor remained unyielding. The play ends at Ana’s exacting vengeance to her oppressor.
A sequence-long argument between Ana and the Japanese officer Tomo delves into the historical background why the Japanese, through its imperial army, had to invade the Philippines. Ana’s teenage brother Berting, an added character, very well represents the young Filipinos of the period who were suddenly and forcibly shoved to adulthood after having been castrated by Japanese soldiers.
Ana’s mother Tinay is a mirror image of Filipinos who have opted to collaborate with foreign invaders with an eye for personal gains, and so is Ana’s father Horacio who vacillates at first but eventually capitulates to the wishes of his alien masters for practical reasons.
The rape of Ana could be a metaphor to the pillaging of the Philippines during the Japanese invasion and, taking it to the personal level, Ana’s dilemma poses a greater question in that she is a teacher by profession. Would she keep the baby inside her womb? How would her townsfolk take it? How would her students react to it? How would she create self-reinvention vis-Ã -vis the moral and cultural background of the times?
Armed with nothing but hatred for an enemy, Ana had remained steadfast with her conviction, until she came across an idea of the most painful vengeance she can exact against her aggressor: killing the child. The thought put her in another juncture of painful decision, juxtaposed to social morality standards already ravaged by the horrors of war.
