Cuevas, Jomaylene Mae M.
2012043805
4CA4
As Communication Arts majors and as students of the Faculty of Arts and Letters, we are
continuously immersed in the field of humanities that does not only rely on the empirical approaches in
studying the natural world, but mostly explores the culture and behavior of Man, from everything about His
contributions to all of His complexities. It offers a clear understanding of humanity that does not solely base
on what can be measured, but actually documents the practical human experience, itself. We study a wide
variety of disciplines from literature to art appreciation, from philosophy to religion, and even history. The
body of written works in literature enable us to relive the culture, language and people in a particular period
of time. In the same way, art appreciation makes us understand how crafts of human beings are molded by
their everyday lives. Philosophy likewise broadens our exploration on the questions regarding existences that
makes us understand the teachings of our religion better. More importantly, the study of the past in history
makes us recreate lives before and live with it again once more to realize its contributions to the present,
whether it be positive or negative, for a better understanding of our humanity. These branches of knowledge
provide the foundation for gaining critical-thinking skills that would be used in the generation of insights about
the world that we are currently living in, and also about the realities to come in the future. Humanities is at
the heart of our liberal arts education that connects the past to understand the present, and also to realize
what is yet to come.
In the mission of our faculty to understand the total person or the Universal Man in the context of
Philippine society, a vital part of it goes to studying the spirit of nationalism that united all Filipino men
belonging to different ethnic affiliations with diverse beliefs. History makes us understand the Man of the
Philippine Islands who identifies himself, despite cultural differences, with his fellowmen who live in the same
territory. Tracing the roots that sprouted this fruit of nationalism through the study of humanities will make us
understand the foundation of the democratic society that we are currently living in, and at the same time
realize what is yet to come in our nation based from the connection of our history to the current era.
The planting of the seeds of nationalism goes back to the stories of ill-fated Filipinos who suffered
in the hands of foreign invaders. Accounts of what happened before are explored through various disciplines
in our liberal arts education, especially literature. The written works of Filipinos and foreigners living in the
colonial period served as the basis for the knowledge being taught in history. From the principles of political
independence embodied in newspapers and books by the propagandists and by the katipuneros, loyalty and
devotion that Filipinos must have to their own nation were established. A major contributor of stirring this
spirit of nationalism is our national hero, Dr. Jose P. Rizal. He expressed his opinions and beliefs on civil
liberties in the form of writing where he gave an emphasis on the societal ills that were present during the
Spanish colonial period. His two novels, Noli Me Tangere and El Filibusterismo, are alluding to Spanish
colonial officers and church leaders who are the primary causes of the cancer in the society back then.
Reading his works makes us relive the unjust treatment of the Spaniards to the indigenous Filipinos they
consider as Indios that also, in turn, makes us realize that the sufferings of our countrymen in the past served
as the foundation of the democratic society that we are currently living in where civil liberties are of primary
importance.
However, understanding the total person or the Universal Man in the context of Philippine society
could also be done in theater and performance studies. Works of theatrical organizations which foster social
transformation exhibits culture and tradition that also documents practical human experience under the scope
of humanities. Works of literature like the Noli Me Tangere and El Filibusterismo of Rizal are adopted in
performances that gives a vivid revisit of the past. Such case is true with the recent theatrical play of Philippine
Educational Theater Association (PETA), entitled “Noli at Fili Dekada Dos Mil,” which is geared towards the
mission of the Faculty of Arts and Letters in the development and fulfillment of the total person in the field of
Humanities, and is also with accordance to the vision of the faculty in producing learned and wise individuals
who should become role models and leaders in society.
Noli at Fili Dekada Dos Mil gives a modern interpretation of the two novels of Rizal. It was
contextualized in the contemporary setting, with minor revisions on the characters and conflicts, but still
carries with it the same issue of political oppression. Directed by Soxie Topacio and written by Nicanor
Tiongson, the theatrical performance proves that the cancer of the society during the Spanish colonial period
is still present in the present government. More than a hundred years already passed since the two novels
of Rizal were published but it still poses the question of independence and the existence of civil liberties. The
oppression of Spanish invaders may have already finished but the same societal ills are still present today,
which are worse since the oppressors are our own fellowmen. Thus, the brilliant adaptation proved that the
two novels are timeless since the ideologies of Rizal still apply to our current situation.
The first act of the play is devoted to the adaptation of Noli Me Tangere. It also depicts the same
cancer in the society during the Spanish colonial period that is not dared to be touched by the Filipinos. In
the original version, Crisostomo Ibarra returned from abroad to serve his people and to marry his childhood
sweetheart, Maria Clara. He eventually learned that his father, Don Rafael, was killed because of being
declared as heretic by the church. Since then, he regarded Padre Damaso, Padre Salvi and those that are
against his father as enemies. However, he still strived to serve his country by building a school that could
educate the locals. In the process, his efforts were barred by some officials and the Church. He was only
rescued by Elias, a man who believes in revolution. Maria Clara was not also able to marry Ibarra as she was
forced to become a nun, accepting the will of his real father, Padre Damaso. However, in the adapted version
of Philippine Educational Theater Association (PETA), there were some minor changes as it is contextualized
in the Philippine contemporary setting. Crisostomo Ibarra is in the persona of Ibarra Marasigan, who is the
new mayor of Maypajo, Quezon. He is depicted as a radical person who strongly believes that development
could be attained through his leadership. He is an advocate of total log ban in Sierra Madre for removing the
adverse effects of illegal logging, as what already happened with the floods and landslides that destroyed
many houses and also killed many residents of Maypajo. The childhood sweetheart of Ibarra, Maria Clara,
could be seen in the play through the persona of Clarissa who is already his fiancé. Ibarra already received
the approval of Clarissa’s father, Don Santiago Santos, who is also the governor of the province. Conflicts
started to arise when Salvi, who is already a colonel in this adaptation, blackmailed the bishop, Padre
Damaso that unless he would make Clarissa marry him, he would reveal that the bishop is her real father.
Damaso was forced to instruct Don Santiago in withholding his consent to the marriage of Ibarra and Clarissa,
which was obeyed by Tiago since he also has to give back to the logging companies that supported him in
his previous election campaign. With Ibarra gaining higher government officials and leaders of the church as
enemies, he was rescued by his childhood friend, Elias. Also, instead of becoming a nun in the original
version, Clarissa is forced to marry Colonel Salvi.
The adaptation of the play is based from the real experiences of Filipinos in Infanta, Quezon with
Typhoon Winnie in 2004. It highlights political oppression with the environmental problems that the country
is currently experiencing. It might have minor differences with the original version as it used the language of
modern times but the heart of the play is still the same with the ideals embodied in the two novels. It also
focuses on dirty politics, on higher government officials oppressing their fellow countrymen through
corruption; and also on Filipinos with good motives and good intention in serving the country but are
constantly losing because of more influential leaders in the society who abuse the power granted to them by
the people.
On the other hand, the second act of the play is devoted to the adaptation of El Filibusterismo. In the
original version, Crisostomo Ibarra hid his identity and returned as Simoun to seek for revenge. He is a good
friend of the Captain-General whom he influences to make decisions that would incite a revolution. He plotted
motives that would make the people revolt against the Spanish colonial government. Part of his mission,
however, is to rescue Maria Clara from the convent. When Basilio discovered the identity of Ibarra, he was
encouraged to join the revolution but he declined. In the end, Simoun failed in his mission and was shot by a
Guardia Civil for he was the leader of a failed revolution. He died in the hands of Father Florentino, uncle of
Isagani, after his confession. Also, in the adapted version of Philippine Educational Theater Association
(PETA), Ibarra Marasigan is depicted as a vengeful man but hid his identity and changed his name to Simoun.
He already believed in the revolution that his departed friend, Elias, was fighting for. Aside from taking
revenge against his enemies who overthrew him, a part of his mission is to see Clarissa again, and take him
away from Colonel Salvi. Basilio is portrayed in the play as someone who also does not believe in a revolution
even though his mother, Sisa, and brother, Crispin, died in the typhoon that devastated Maypajo. He still puts
his faith in the barrio cooperative that he established with Juli. Isagani was also given a new role as a
journalist, but is still in love with Paulita Gomez. Nonetheless, in the end, just like the original version, Simoun
failed in his mission. He was able to reunite with Clarissa but she died before he could take her away from
Colonel Salvi. Simoun, already revealing himself as Ibarra, also died in the hands of Father Florentino after
his confession.
Thus, from the theatrical adaptation of Philippine Educational Theater Association (PETA) of the two
novels of Dr. Jose P. Rizal, the issues in politics during the Spanish colonial period were relived through
connecting it to the current issues that the country is experiencing. The cancer of the society in Noli Me
Tangere that was dared not to be touched by the Filipinos during the Spanish colonial period, and the reign
of greed depicted in El Filibusterismo were still showed in this theatrical adaptation, in light of the
contemporary situation of the Philippine society in the 21st century.
However, in the process of staging a theatrical presentation, the reality that it must have an audience
must be recognized. A play would never be a performance without spectators. It would never be successful
without those people to whom it is made for. Audiences are held to be an important element of any theatrical
presentation. Hence, this is where the promotion of positive publicity for influencing public opinion comes into
the picture. Concisely, there is a need to employ public relations. Whether it be a propaganda, an idea, or a
performance, any form of message that has an intention to persuade a group of people must consider the
principles of the said discipline. Although there is a stereotype that public relations only serve corporations,
the truth is that any organization that needs to produce widespread opinion and to incite action could utilize
an effective communication plan for developing a message that would serve the interest of both the
organization and the public. In this case of Philippine Educational Theater Association, there is a need for
reputation management to enable the target audiences understand the production of Noli at Fili Dekada Dos
Mil that would serve the interest of the organization in gathering audiences, and the mutual interest of both
the organization and the public for social transformation. This intention to generate behavior changes on the
part of Philippine Educational Theater Association could include the practice of media relations to seek for
publicity in various platforms of communication; and could also utilize promotions to gather support from the
public in watching the said theatrical presentation.
Philippine Educational Theater Association (PETA) recognized this need. In using the discipline of
public relations, it sought the practice of media relations and promotions to encourage the people in
supporting Noli at Fili Dekada Dos Mil.
The said theatrical presentation was set to be staged on the weekend of September 10 until
September 13 at the PETA Theater Center; and on September 18 to September 27 at Springs Production
Studios in New Manila. However, as early as the month of August, the Philippine Educational Theater
Association was already promoting it in its official Facebook account. It provided updates on Noli at Fili
Dekada Dos Mil, and already encouraged the use of the official hashtags #PetaNoliFili, and #PetaNFD2000.
This shows that with the goal of the organization in gaining audiences for the theatrical play, it understood
the need for positive publicity through utilizing various platforms of communication for promotions. In the
process, it employed both the news media and social media. Philippine Educational Theater Association
continuously updated its official social media accounts, and websites to generate awareness among the
target audiences. It presented an overview of the play and recognized its director Soxie Topacio and its writer,
the acclaimed Nicanor Tiongson. Sufficient contact details for those who are interested in watching the play
were also provided. On August 17, 2015, the organization launched a trailer of their play in its official Youtube
account, which is entitled “Ang Pagbabalik ng Noli at Fili Dekada Dos Mil.” This makes the target audiences
aware that the play was already performed in 2008 with over 50 performances all over the nation, and was
only reopened in the current year. This strikes interest among Filipinos that the messages of Rizal’s novels
still resonate in the current situation of the Philippine society. Moreover, as early as July 31, 2015, Philippine
Daily Inquirer already wrote an article regarding the restaging of the modern classic. Manila Standard Today
and other newspapers also gave space for promoting the said play. CNN Philippines likewise did an interview
with Ian Segarra who played Basilio to further invite the Filipinos in watching it. GMA Network also featured
the play in the entertainment segment of its news program while ABS-CBN provided a positive review. Most
importantly, positive publicity was gained from Lucho Ayala and Kris Bernal who are famous television actors.
This added the interest of the public in watching it.
Hence, the parameters established by public relations – audience awareness, understanding,
attitude and response – were recognized to make the theatrical performance successful.
Audience awareness was generated through news articles that were released and also through the
posts of Philippine Educational Theater Association in the social media. It established the knowledge and
understanding of the target audiences regarding the staging of Noli at Fili Dekada Dos Mil, which the
organization strives to promote. For in the goal of inciting action to watch the said play, the first step is the
generation of awareness.
After audience awareness and understanding, attitude as a parameter that determines the result of
public relations was also recognized. This already refers to the interest of the public regarding the said
theatrical presentation. Audience awareness could then be gauged according to the favorable or unfavorable
feelings and opinions of the public on the information that was initially presented to them. Philippine
Educational Theater Association was able to measure this through the official hashtags, #PetaNoliFili, and
#PetaNFD2000, which it promoted. Monitoring the number of posts and tweets regarding Noli at Fili Dekada
Dos Mil would almost be tantamount to the number of the target audiences who are interested on the play.
Moreover, positive or negative attitudes towards it would not already be hard to evaluate for it is already
evident on the posts of the audiences.
Lastly, evaluating public relations through responses refers to the specific action that the organization
wants to incite from the audiences. In this case, the action that Philippine Educational Theater Association
wants to receive from its target audiences is watching Noli at Fili Dekada Dos Mil. In this intention, the
organization aptly provided sufficient details of purchasing the tickets to watch the play on its press releases
and on its social media posts.
Nonetheless, with all things considered, the most important matter that must be highlighted in this
theatrical presentation of Philippine Educational Theater Association is the indubitable relationship between
philosophy and public relations. The central philosophical issues of freedom, justice and propaganda were
highlighted and the discipline of public relations played an important role.
The philosophy on freedom is evident. The theatrical modern adaptation of Noli Me Tangere and El
Filibusterismo poses the question of whether or not liberty already exists in the country. The Filipinos may
have already been declared politically independent from Spaniards, Americans, Japanese, and other foreign
invaders who unreasonably took the resources of the nation for their own greedy personal interests. However,
the play stressed the inconvenient truth that the Filipinos of today could not still be considered as free. They
are still chained and oppressed by influential leaders who abuse their power. The even sadder truth is that
the chains were locked by fellow countrymen. There is still colonialism but it’s not Filipinos against foreign
invaders. It is Filipinos against themselves. Being politically independent does not still assure freedom, and
Filipinos are blinded by the idea that civil liberties already exist because of democracy. The question still
persists – Are Filipinos really free? More importantly, is there an assurance in democracy that sovereignty
resides in the people and political authority emanates from them?”
The existentialist question on justice is also implicitly presented. Men who have pure intentions and
good motives in serving the country are also the ones who are usually defeated in the end, as could be seen
in the persona of Ibarra Marasigan. The oppressors always triumph, and the radicals fall into the abyss of
forgetfulness. The right advocacies are not remembered, and the false ones gain recognition. Environmental
issue is not of priority while attaining modernity through a prosperous economy is always of greatest
importance. The country always strives to be rich but the “progress” attained is in disguise of regress as
natural resources are sacrificed up to the extent that it already becomes dangerous to the human race. Where
is fairness when the idea of “justice,” itself, is oppressed?
Above all, the philosophy of propaganda is called. The question of change is challenged. It is always
debated in form, whether it should be in pen or in sword, but the real issue lies on the actual reforms that
should be made. Filipinos are always hopeful in the attainment of development and positive change. As could
be seen in the persona of Ibarra Marasigan, he had positive hopes that the environmental issue of illegal
logging could be solved. Also, in the persona of Elias, he is certain that a revolution could change the status
quo. However, they were both depicted as defeated by the change that they want to achieve. It seems that
the reforms of removing oppression is not enough. What is the change that Filipinos must advocate for? Does
it lie on the wrongs of others or on the wrongs of their very own selves?
Noli at Fili Dekada Dos Mil, in its philosophical issues, was guided by the principles of public relations
to achieve its ultimate objective of gaining social transformation. At first, it could be seen that they aim to gain
audiences to gain spectators on their play but what is of paramount importance here is to ignite the spark of
revolution among the said audiences. Here, it is not a question of pen or of sword. It is of the propaganda,
itself. In this process, public relations practitioners of the said theatrical presentation did not merely persuade
the people to accept the play as a commodity. More importantly, it aimed to incite actions among Filipinos.
Thus, this shows that in the practice of public relations, a practitioner also has a duty to his society, which
must be of greatest importance above commercial interests, above anything else.