title: THE REVIVAL OF THE PHILIPPINE NATIONAL THEATER — KOMEDYA
metadata.name: dc.contributor.author
metadata.value: Zabelina, Daria
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2022-03-15T12:24:32Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2022-03-15T12:24:32Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2021-12
metadata.lang: -
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/11701/9785288062049.39
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/35742
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Komedya, or moro-moro, is a genre of the Philippine national theater that
  was flourishing from the second half of the 17th century until the second half of the 19th
  century. The genre formation was a part of catholic missioners propaganda activities.
  In time, komedya became the most popular dramatic genre in colonial Philippines. The
  common features of komedya are: 1) the central theme of komedya is fight between
  Christians and Muslims, where Christians always win; 2) actions described in komedya
  never take place in the Philippines, but in an exotic country, for instance in Turkey or
  in Armenia; 3) Spanish missioners played an important role in the formation of the
  genre; 4) komedya is the national theater; 5) komedya is a secular genre as adventures
  dominate over the religious motives. In the middle of the 19th century komedya was criticized by the most progressive Filipinos for being extravagant, lacking logic and not
  touching upon current Philippine problems. By the beginning of the 20th century komedya
  was not staged anymore almost everywhere in the Philippines. Its place was taken
  by the other genres. A number of actions to bring komedya back to its former popularity
  have been undertaken from the 1970s with the great support of the cultural center
  of the Philippines and University of the Philippines. It is important to mention that the
  genre is being changed in order to correspond the needs of the modern Philippine
  society. For example, the Muslim conflict is not the main topic of the modern Philippine
  national play as it contradicts the national policy of the Philippines.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Proceedings of the 9th International Conference "Issues of Far Eastern Literatures (IFEL 2021)";Volume 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: komedya
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: theater
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: drama
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Philippine literature
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Philippines
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: THE REVIVAL OF THE PHILIPPINE NATIONAL THEATER — KOMEDYA
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 546-559.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/35742/1/546-559.pdf
resources.format: Adobe PDF
resources.size: 680,91 kB