Orosman at Zafira is a story of the struggle for power of three kingdoms: Marueccos, Tedenst and Duquela. It is a komedya written by Francisco "Balagtas" Baltazar, a prominent Filipino poet known for his Florante at Laura and widely considered as the Tagalog counterpart of William Shakespeare for his impact on Filipino literature. Not to be mistaken as comedy, a Komedya is taken from the Spanish “comedia†a generic term of drama. It was brought over by colonizers as an evangelizing tool. It usually had plots about saints or warring kindgoms, and used staging conventions like structured choreographed entrances and exits. The story begins with Zelima, daughter of Ben-asar, Right Vizier of Boulasem, the Pacha of the Kingdom of Tedenst. She sings about Mahamud, Sultan of the entire realm and Pacha of the Kingdom of Marruecos, and his call for a feast. All the Pachas of the realm have been invited, including Boulasem and Zelim, the Pacha of the Kingdom of Duquela. Boulasem suspects that Mahamud secretly plans to kill all the Pachas to gain absolute power. His paranaoia leads him to order the murder of Mahamud during the feast. This results in a cycle of war, murder and treachery. Gulnara, courtesan of Sultan Mahamud, and Zafira, orphaned daughter of the Sultan, begin the first war. Lust for power causes the war to drag on. Boulasem's son, Abdalap, murders his own father to inherit the throne. He also threatens to put his brother Orosman to death so that he will be free to marry Orosman's lover Zafira. Many more lives are sacrificed all because of the greed for power. Will it ever end?
THE PRODUCTION
This contemporary adaptation of Balagtas’ work by the Dulaang UP – university-based theater company that serves as the key venue of University of the Philippines’ theater students’ exposure to the performing arts and related disciplines such as scenery design, technical management and stage and theater management – celebrates the uniqueness of Philippine culture through original neo-ethnic world music by Carol Bello and dance choreographies that integrate various regional dances as well as modern movements by Dexter Santos. While about 90% of the material remains Balagtas, it has been made accessible to today’s audiences by making the underlying message and attitudes fit modern sensibilities. Dramaturgs have given the material a more feminist twist. “Orosman at Zafira” had its world premiere in 2008 and a restaging in 2010 to sold-out, standing-room-only performances. Both stagings had extended runs due to insistent public demand.
THE KOMEDYA
This particular theater form, not to be mistaken as comedy (the Tagalog term “komedya” is derived from “comedia,” a generic Spanish term for drama), was brought over by Spanish colonizers as an evangelizing tool. It usually had plots about saints or warring kindgoms, and used staging conventions like structured, choreographed entrances and exits. Orosman at Zafira was one of the “komedyas” written for the Teatro de Tondo between year 1857-1860, while Balagtas was in prison. However, this play strays from standard “komedya” beliefs: there is no Moro-Christian conflict, and heroes as well as villains are such because of character rather than religion. The dramaturgs edited the original text, changed Baltazar’s original Turkish kingdoms to Filipino tribes, and created a narrator to help audiences along. While the music of a traditional komedya was performed by a brass band, Bello’s neo-ethnic music was rendered by a live orchestra using indigenous instruments such as djembe drums, kulintang (gong chime) and kubing (Jew’s harp), together with electric guitars and keyboards. Santos replaced the traditional marches with movement vocabularies inspired by the country’s regional dances. He marked the narrative with three impressive battle scenes that showcased a heady amalgamation of fight stances and dance. The cast charged, pounced and attacked as they twisted,glided and leapt.
PLAYDATES (UPDATED 1/5/11):
Feb 4, 5, 11, 12, 18, 19, 25, and 26 at 8:00 p.m.
(Gala Shows - Reserved Seating)
Orchestra Center - P1,000 / Orchestra Side - P800
Balcony Center - P600 / Balcony Side - P400
Feb 5, 12, and 19 at 10:00 a.m.
Feb 5, 12, 19, and 26 at 3:00 p.m.
(Matinee Shows - Free Seating)
All Sections - P350
OROSMAN AT ZAFIRA, one of the best-written works of Francisco Baltazar, the “King of Tagalog Poets,” is the story of the struggle for power of three kingdoms: Marueccos, Tedenst, and Duquela. Amid hatred and war where two individuals find love, this contemporary adaptation of Baltazar's text highlights the strength of the Filipina and celebrates the uniqueness of Philippine culture through original music and dance.
OROSMAN AT ZAFIRA’s Playdates are Feb 4, 5, 6, 11, 12, 13, 18, 19, 20, 25 and 26, 2011 at the SM Mall of Asia Centerstage Theater. OROSMAN AT ZAFIRA’s Friday and Saturday Gala Shows will be at 8:00 p.m. and the Saturday Morning and Matinee Shows will be at 10:00 a.m. and 3:00 p.m., respectively. OROSMAN AT ZAFIRA tickets are now available at all SM Cinema Ticket Booths nationwide and all TicketWorld outlets in major National Bookstore branches, Robinsons Department Stores, and at Greenbelt 1, Glorietta 5 and Trinoma Cinema ticket booths. Call SM Tickets at (02) 470.2222 or TicketWorld at (02) 891.9999.
For more information, call or text (0949) 434.5239 / (0917) 842.7346 or (0922) 842.7346 or log on to www.orosmanatzafira.com or like the official OROSMAN AT ZAFIRA Fan Page on Facebook.
Video
Dexter Santos on Orosman at Zafira 2010 Video by: Aiess Alonso
