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The Decision (play) Don Juan (Brecht) Downfall of the Egotist Johann Fatzer; Downfall of the Egotist Johann Fatzer (American premiere) Driving Out a Devil; Drums in the Night; The Duchess of Malfi (Brecht)
The Manila Metropolitan Theater (Filipino: Tanghalang Metropolitan), also known as the Metropolitan Theater, abbreviated as the MET, is a historic Philippine Art Deco building located in Plaza Lawton in Ermita, Manila. It is recognized as the forefront of the Art Deco architectural style in the Philippines. [3]
The Philippines has hosted the Philippine International Pyromusical Competition, the world's largest pyrotechnic competition (previously known as the World Pyro Olympics) since 2010. [197] Lacquerware is a less-common art form. Filipino researchers are studying the possibility of turning coconut oil into lacquer.
It is a covered proscenium amphitheater owned by the Cultural Center of the Philippines that was a popular venue for concerts during the 1980s and 1990s. [2] [3] The theater, named after Filipino poet Francisco Balagtas, has a seating capacity of 8,458 in 10 sections and features a broad fascia with a single column-to-column span of 80 meters ...
The Tanghalan is a primary example of the architect's signature style known as the floating volume, a trait can be seen in structures indigenous to the Philippines such as the nipa hut. It houses three performing arts venues, one theater for film screenings, galleries, a museum and the center's library and archives.
Pages in category "Philippine plays" The following 11 pages are in this category, out of 11 total. ... A Portrait of the Artist as Filipino; T. Tic-tac-toe (play) W.
One of Brecht's most-important aesthetic innovations prioritised function over the sterile dichotomous opposition between form and content. [6] Epic theatre and its many forms is a response to Richard Wagner's idea of "Gesamtkunstwerk", or "total artwork", which intends each piece of art to be composed of other art forms.
Today, Paul Dessau's composition of the songs from 1947 to 1948, also authorized by Brecht, is the better-known version. The play is an example of Brecht's "non-Aristotelian drama", a dramatic form intended to be staged with the methods of epic theatre. The play is a parable set in the Chinese "city of Sichuan". [4]