THE EMERGENCE OF MODERN DRAMA IN THE PHILIPPINES(1898-1912) AND ITS SOCIAL,POLITICAL,CULTURAL,DRAMATIC AND THEATRICAL BACKGROUND - A Dissertation Submitted to the Graduate Division of the University of Hawaii

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The social, political, cultural, dramatic, and theatrical forces behind the emergence of modern Filipino drama trace to the late nineteenth century. Their greatest impact came during the Revolution against Spain in 1896 and the subsequent American occupation beginning in 1898, by which modern Filipino drama had emerged and was established by 1912. Before the Revolution, mass appeal was dominated by the kumedya or moro-moro, an acculturated Spanish dramatic form. Later, Spanish zarzuela forms introduced to Manila and nationalist writings shaped anti-colonial and vernacular plays, replacing the kumedya’s romantic and religious conflicts.

LanguageEnglish

CategoryResearch & Report

FormatPDF

Pages214

Reading Time8 h 59 min

AccessFree to download

Abstract

Historical background and emergence

Pre-Revolution popular forms (kumedya/moro-moro)

Influence of Spanish theatre and Manila bourgeois audiences

Nationalism, Revolution, and early anti-colonial drama

Thematic contrasts and dramaturgical traits

INFORMATION TO USERS This material was produced from a microfilm copy of the original document.Whilethe most advanced technological means to photograph and reproduce this documenthave been used,the quality is heavily dependent upon the quality of the originalsubmitted. The following explanation of techniques is provided to help you understandmarkings or patterns which may appear on this reproduction. 1.The sign or "target"for pass apparently iacking from the documentphotographed is"Missing Page{s)".If it was possible to obtain the missingpage(s)or section,they are spliced into the film along with adjacent pages.This may have necessitated cutting thru an image and duplicating adjacentpages to insure you complete continuity. 2.When an image on the film is obliterated with a large round black mark,itis an indication that the photographer suspected that the copy may havemoved during exposure and thus cause a blurred image.You will find agood image of the page in the adjacent frame. 3.When a map,drawing or chart,etc.,was part of the material beingphotographed the photographer followed a definite method in"sectioning"the material.It is customary to begin photoing at the upperleft hand corner of a large sheet and to continue photoing from left toright in equal sections with a small overlap.If necessary,sectioning iscontinued again -beginning below the first row and continuing on untilcomplete. 4.The majority of users indicate that the textual content is of greatest value,however,a somewhat higher quality reproduction could be made from"photographs"f essential to the understanding of the dissertation.Silverprints of"photographs"may be ordered at additional charge by writingthe Order Department,giving the catalog number,title,author andspecific pages you wish reproduced. 5.PLEASE NOTE:Some pages may·have indistinct print.Filmed asreceived. 75-25,161 HERNANDEZ,Tomas Capatan,1946-THE EMERGENCE OF MODERN DRAMA IN THE PHTLIPPINES(1898-1912)AND ITS SOCIAL,POLITICAL,CULTURAL,DRAMATIC AND THEATRICALBACKGROUND. University of Hawaii,Ph.D.,1975Theater Xerox University Microfllms,Ann Arbor,Michigan 48108 1975 TOMAS CAPATAN HERNANDEZ ALL RIGHTS RESERVED THE EMERGENCE OF MODERN DRAMA IN THE PHILIPPINES(1898-1912)AND ITS sOCIAL,POLITICAL,CULTURAL,DRAMATICAND THEATRICAL BACKGROUND A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THEUNIVERSITY OF HAWAII IN PARTIAL FULFILLMENTOF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN DRAMA AND THEATRE MAY 1975 By Tomas Capatan Hernande z Dissertation Committee: Bernard F.Dukore,ChairmanJames R.BrandonTruong Buu LamEdward A.LanghansTeresita v.Ramos # ABSTRACT The social,political,cultural,dramatic and theatrical factorswhich contributed to the emergence of modern Filipino drama dateback to the latter half of the nineteenth century. They achievedtheir maximal impact during the Revolution against Spain in 1896 andthe subsequent American occupation of the Philippines in 1898.By1898,modern Filipino drama had been born,and by 1912,it wasestablished. Before the Revolution,one major form of native dramawhich appealed exclusively to the masses flourished. This was thekumedya or moro-moro,an acculturated form of the Spanish comedia,metrical romance,and danza de moros y cristianos which the Spaniardsintroduced as early as 1565. A vernacular play in verse,the kumedyaor moro-moro dramatized the conflict between Christians and Muslimswhich,as the kumedya's theatrical highlight,was expressed inchoreographed stage battles. Around this conflict revolved a romanticplot which featured exotic characters entangled in fantastic situations. In the latter half of the nineteenth century,Spanish theatricalartists introduced then-current dramatic forms,notably the Spanishzarzuela,to the bourgeois theatre in Manila,whose audience includedthe nascent middle class. The desire of this native bourgeoisie toattain urbanity in the Spanish manner led them to look down upo

FAQs

What historical period does the dissertation link to the emergence of modern Filipino drama?

It points to the latter half of the nineteenth century, with maximal impact during the Revolution against Spain in 1896 and the American occupation from 1898 onward, leading to establishment by 1912.

How does the kumedya (moro-moro) relate to the earlier dramatic tradition?

The kumedya/moro-moro is described as an acculturated Spanish comedia-like form that dramatized Christian–Muslim conflict through choreographed stage battles and also featured romantic plot complications.

Why did zarzuela become a more favored native dramatic form?

Nationalistic impulses led native playwrights to adopt zarzuela as a better native drama than the kumedya, viewing the latter as reflecting intellectual repression under Spanish colonial rule; zarzuela also enabled vernacular prestige.

Aug 28, 2026

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