๐—˜-๐—บ๐—ฒ๐—ฟ๐—ด๐—ฒ๐—ป(๐˜)๐—ฐ๐˜† ๐—ง๐—ต๐—ฒ๐—ฎ๐˜๐—ฟ๐—ฒ ๐—ฎ๐—ป๐—ฑ ๐—ฃ๐—ฒ๐—ฟ๐—ณ๐—ผ๐—ฟ๐—บ๐—ฎ๐—ป๐—ฐ๐—ฒ

For the first time in the history of UP Diliman, the university is implementing remote learning. Faculty members have been working tirelessly to prepare course packs for students with or without access to the internet. Preparing course packs is a challenge for both faculty and student because of the limited resources (e.g. gadget, internet connection). The College of Arts and Lettersโ€™ BAHAGINAN through the Department of Speech Communication and Theatre Arts (DSCTA) and the UPD Office for Initiatives in Culture and the Arts (UPD-OICA) is responding to this call through brown bag sessions entitled ๐—˜-๐—บ๐—ฒ๐—ฟ๐—ด๐—ฒ๐—ป(๐˜)๐—ฐ๐˜† ๐—ง๐—ต๐—ฒ๐—ฎ๐˜๐—ฟ๐—ฒ ๐—ฎ๐—ป๐—ฑ ๐—ฃ๐—ฒ๐—ฟ๐—ณ๐—ผ๐—ฟ๐—บ๐—ฎ๐—ป๐—ฐ๐—ฒ from 9 October to 25 November. The sessions will focus on possibilities and problems of theatre and performance in the time of the pandemic with the following themes:

โ€ข new and emergent performance forms (multi-media/digital performance, online festival);

โ€ข the state of artist welfare during the global health crisis; โ€ข urgent and emerging roles in performance-making (actors as dramaturgs, playwrights as online content-makers, stage/production managers as OBS software managers);

โ€ข digital modalities of learning and teaching theatre and performance.

Speakers include: Mara Agleham, Soc Amon, JK Anicoche, Layeta P. Bucoy, Pia Ysobel Cruz, Joyce Sahagun Garcia, Camilo P. De Guzman, Robert Arlo De Guzman, Eric V. Dela Cruz, Karlo Erfe, Neomi Gonzales, J-mee Katanyag, Maria Stella Rossa M. Lopez, Guelan Luarca, Juan Ysmael C. Mendoza, Olivia Kristine D. Nieto, John Carlo V. Pagunaling, Maria Kristine Chynna Roxas, and Nikki Garde-Torres

Links to sessions via the UPD CALโ€™s official YouTube page:

๐—–๐—ฟ๐—ถ๐˜๐—ถ๐—ฐ๐—ฎ๐—น ๐—ฃ๐—น๐—ฎ๐—ป๐—ป๐—ถ๐—ป๐—ด ๐—ฎ๐—ป๐—ฑ ๐——๐—ฒ๐—ฐ๐—ถ๐˜€๐—ถ๐—ผ๐—ป-๐— ๐—ฎ๐—ธ๐—ถ๐—ป๐—ด ๐—ณ๐—ผ๐—ฟ ๐—ฎ ๐—ฆ๐—ฎ๐—ณ๐—ฒ ๐—ฃ๐—ฎ๐—ป๐—ฑ๐—ฒ๐—บ๐—ถ๐—ฐ ๐—ฅ๐—ฒ๐˜€๐—ฝ๐—ผ๐—ป๐˜€๐—ฒ ๐—ณ๐—ผ๐—ฟ ๐—ง๐—ต๐—ฒ๐—ฎ๐˜๐—ฒ๐—ฟ

๐—™๐—ฒ๐˜€๐˜๐—ถ๐˜ƒ๐—ฎ๐—น ๐— ๐—ฎ๐—ป๐—ฎ๐—ด๐—ฒ๐—บ๐—ฒ๐—ป๐˜ ๐—ฎ๐—ป๐—ฑ ๐˜๐—ต๐—ฒ ๐—ช๐—ผ๐—ฟ๐—ธ ๐—ผ๐—ณ ๐˜๐—ต๐—ฒ ๐—ฃ๐—  ๐—ถ๐—ป ๐˜๐—ต๐—ฒ ๐—ฉ๐—Ÿ๐—™

๐—˜-๐—ป๐˜๐—ฎ๐—ฏ๐—น๐—ฎ๐—ฑ๐—ผ

Co-creating Infrastructures of Care and Support

Collaborative Process and Migration to the Digital Platform: Mongoloida’s Casa De Pun

Stage Manager: From Practicing to Pro

Touring Productions Overseas (Himala) and Locally (Zsazsa Zaturnnah)

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