The Tanghalang Pambansa (English: National Theater ), formerly Theater of Performing Arts , is a theater located in the Cultural Center of the Philippines Complex in Manila , Philippines.
60-511: It is the flagship venue and principal offices of the Cultural Center of the Philippines . Designed by National Artist for Architecture Leandro Locsin , its design was based and expanded upon the unconstructed Philippine-American Friendship Center. 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
120-494: A feeding program for underprivileged youth. Every year since 2005, the center organizes its open house festival, Pasinaya (English: To Show. Literally, Debut or Inauguration ) during February, designated as the National Arts Month in the Philippines. The Pasinaya festival features performing arts group from all over the country, led by the center's resident companies, in a one-day showcase of local talent entirely held in
180-421: A government subsidy amounting to the equivalent of 5% of the collected Amusement Tax annually. The proposed piece of legislation was met with strong opposition and was never passed. However, with the declaration of Martial Law on September 23, 1972, Congress was effectively dissolved; and President Marcos signed Proclamation No. 15, essentially a modified version of the proposed bill. The proclamation also expanded
240-837: A museum, and the center's library and archives. Also located in the CCP Complex is the Tanghalang Francisco Balagtas (Folk Arts Theater), an open-air auditorium. The Cultural Center of the Philippines administers the National Arts Center, a 13.5-hectare (33-acre) complex at the Makiling Forest Reservation in Los Baños, Laguna . The complex hosts the Philippine High School for the Arts. Its flagship venue
300-477: A writer before he taught himself the visual arts. During his career as a writer, he was one of the organizers of Veronicans, a young group of progressive and prolific writers. He worked in various periodicals such as Taliba newspaper and Manila Sunday Chronicle magazine. He also worked as a scriptwriter and director for television, and produced and directed for the Filipino Players Guild. His works as
360-533: A writer includes "Don’t Cry, Don’t Fret" in poetry; "Ikalawang Pagdalaw," "Unang Pamumulaklak," "Rice and Bullets," and "Bakia" in fiction; and "Buntot Page," a screenplay written with Mario David. His major works in the visual arts include Ina ng Balon, Calvary, Slum Dwellers, Nude with Candle and Flower, Man and Carabao, Angel's Kiss, Palayok at Kalan, Ancestors, Isda at Mangga, The Resurrection, Fifty-three "Q," Back drop, Fiesta, Mother and Child, Easter Sunday , and his most acknowledged work Genesis , which served as
420-549: Is located on the campus of Assumption Antipolo . It was envisioned to be a major cultural seat in eastern Metro Manila and serve as a venue for cultural education and development of the school and adjoining communities in Rizal . The theater accommodates 2,001 guests in a three-level seating arrangement. The stage area is equipped with 17 manual fly battens, a manual curtain system, and an orchestra pit. Hernando R. Ocampo Hernando Ruiz Ocampo (April 28, 1911 – December 28, 1978)
480-472: Is patterned after the painting Genesis , a work of National Artist Hernando Ocampo . A variable acoustics hall designed by Bolt, Beranek and Newman , the Main Theater was planned for flexibility. It was built to accommodate sound requirements of various types of presentations, and can typically hold opera and orchestra performances without further amplification. New York Times critic Howard Taubman praised
540-522: Is the Tanghalang Maria Makiling, an open-air auditorium that can seat up to 1,800 people. The theater, which was also designed by Leandro V. Locsin, sits on a square plan dominated by a soaring pyramidal roof clad in clay tiles, a more literal interpretation of indigenous Filipino architecture when compared to the architect's previous works for the CCP. In response to the need to widen its audience for
600-754: Is vice president and artistic director. The board of trustees is chaired by Jaime C. Laya . The other board members are: Presidents of the CCP The Cultural Center owns and operates several performance venues in the Cultural Center of the Philippines Complex located in the reclaimed area shared between Pasay and Manila known as Bay City . Its flagship venue is the Tanghalang Pambansa (National Theater) which also houses its principal offices. The building contains three performing arts venues, one theater for film screenings, galleries,
660-863: The Bolshoi Ballet , the Kirov Ballet , the Royal Ballet , the Royal Danish Ballet , the New York Philharmonic , and the Cleveland Symphony Orchestra among many others. From 1972, the CCP administered the Order of the National Artists , which is the highest recognition the government of the Philippines gives to individuals who made significant contributions to the development of arts in
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#1732855564327720-600: The Museo ng Kalinangang Pilipino , also called the CCP Museum, is an integrated humanities museum that studies, collects and preserves Filipino artistic traditions. It has two permanent exhibitions: one on Filipino tradition, art and aesthetics; and the other showcasing the CCP's collection of traditional Asian musical instruments. The museum also presents special changing exhibitions, provides curatorial assistance, and organizes workshops on indigenous art forms. Cultural Center of
780-677: The Philippine Ballet Theatre , the Ramon Obusan Folkloric Group and Tanghalang Pilipino . As part of its outreach and research programs, the CCP produced a number of notable publications, including: Ani (English: Harvest) (1987), an arts journal; the Tuklas Sining (English: Discover Arts) (1989) series of monographs and videos on Philippine arts and the landmark 10-volume CCP Encyclopedia of Philippine Art (1994). Despite its attempt at reforms, some people still see
840-540: The Philippine government , it receives an annual subsidy and is placed under the National Commission for Culture and the Arts for purposes of policy coordination. The CCP is headed by an 11-member Board of Trustees , currently headed by Chairperson Margarita Moran-Floirendo. Its current president is Arsenio Lizaso. The CCP provides performance and exhibition venues for various local and international productions at
900-516: The 1970s, the center was in the red mainly due to the costs of constructing the Theater of Performing Arts. In 1972, the board of the CCP asked Members of Congress to pass House Bill 4454, which would convert the center to become a non-municipal public corporation and allow it to use the principal of the CCP Trust Fund to pay off some of its debt. The bill would also continually support the center through
960-569: The 62-hectare (150-acre) Cultural Center of the Philippines Complex located in the cities of Pasay and Manila . Its artistic programs include the production of performances, festivals, exhibitions, cultural research, outreach, preservation, and publication of materials on Philippine art and culture. It holds its headquarters at the Tanghalang Pambansa (English: National Theater ), a structure designed by National Artist for Architecture, Leandro V. Locsin . Locsin would later design many of
1020-463: The CCP Museum. When unfolded, the curtain acts as a natural sound reverberation medium. The Tanghalang Pambansa has a lone black box theater named Tanghalang Huseng Batute or the Studio Theater, after the pseudonym of Filipino poet José Corazón de Jesús . Depending on the size of the stage or acting area, it can seat up to 240 people in two levels. The 100-seat Tanghalang Manuel Conde or
1080-493: The CCP board took a US$ 7 million loan through the National Investment Development Corporation to finance the remaining amount, a move that was heavily criticized by government opposition. Senator Ninoy Aquino strongly objected to the use of public funds for the center without congressional appropriation and branded it as an institution for the elite. Unfazed with the criticism, Marcos went ahead with
1140-527: The CCP in 1986 when the Experimental Cinema of the Philippines was dissolved. Straying from the brutalist style typical of the buildings in the CCP is the Coconut Palace , a showcase on the versatility of coconut as an export product and construction material, designed by Francisco Mañosa . The financial and human costs of constructing these buildings, in a time of widespread poverty and corruption,
1200-582: The Center formulates guidelines for setting-up local arts councils in local government units and establishes the CCP Exchange Artist Program to provide opportunities for regional groups to showcase their talents across the country. For the first time in her presidency, Aquino visited the center on January 11, 1987, to confer the National Artist Award to Atang de la Rama , marking the first time
1260-597: The Dream Theater, a joint project of the CCP and Dream Broadcasting , is used as a venue for film screenings and lectures; and has the capability to receive and show films directly through satellite. The Tanghalang Pambansa has three exhibit halls and another three hallways that can be used for displaying artwork. The largest exhibition space is the Bulwagang Juan Luna , which serves as the Main Gallery. Located on
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#17328555643271320-641: The Filipino arm of the Philippine-American Cultural Foundation. This was, however, insufficient to cover the projected cost of PH₱ 15 million needed to construct the theater. Much of the theater's funding came from a war damage fund for education authorized by the US Congress during President Marcos's state visit to the United States. In the end, the theater would receive US$ 3.5 million from
1380-637: The Marcos Presidency, the CCP Complex played host to major local and international events under the guise of the Bagong Lipunan (New Society), which would mark the start of a series of major construction projects in the area. When Filipino Margie Moran won the 1973 Miss Universe Pageant , the Philippine Government agreed to stage the succeeding year's contest , and plans for an amphitheater commenced. Weeks of planning and discussions resulted in
1440-559: The Philippine-American Cultural Foundation started to raise funds for a new theater. The structure, designed by Leandro Locsin, was to be built on a 10-hectare (25-acre) lot in Quezon City. In the meantime in 1965 , Imelda Marcos at a proclamation rally in Cebu for her husband's bid for the Presidency, expressed her desire to build a national theater. Marcos would win his election bid and work on
1500-610: The Philippines The Cultural Center of the Philippines Foundation, Inc. ( Filipino : Sentrong Pangkultura ng Pilipinas , or CCP ) is a government-owned and controlled corporation established to preserve, develop and promote arts and culture in the Philippines . The CCP was established through Executive Order No. 30 s. 1966 by President Ferdinand Marcos . Although an independent institution of
1560-572: The Philippines and appointing its board of directors. The board would elect Imelda as chairperson, giving her the legal mandate to negotiate and manage funds for the center. Prior to her husband's inaugural, Marcos already started fundraising for the Cultural Center; an initial half-a-million Pesos was made from the proceeds of the premiere of Flower Drum Song at the Philam Life Theater , and another ninety-thousand peso turned over from
1620-499: 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. Being a work of a National Artist, the brutalist structure is qualified to be an important cultural landmark as stipulated in Republic Act No. 10066. Construction began in 1966, with Alfredo Juinio serving as structural engineer and Filipino firm DM Consunji as
1680-505: The Tanghalang Pambansa is dominated by a two-storey travertine block suspended 12 meters (39 ft) high by deep concave cantilevers on three sides. The rest of the structure is clad in concrete, textured by crushed seashells originally found on the reclamation site. The building is built on a massive podium, and entry is through a vehicular ramp in front of the raised lobby and a pedestrian side entry on its northwest side. In front of
1740-554: The Tanghalang Pambansa's numerous venues. Two years after the first festival, it was visited by 10,000 people; growing to more than 84,000 by 2019. The CCP also provides institutional support to the Cinemalaya Philippine Independent Film Festival and the Philippine High School for the Arts . The president and chief operating officer is Maria Margarita Moran Floirendo, while Dennis Marasigan
1800-636: The arts and to bring its programs closer to the people, the CCP has established a programmatic partnership with the Assumption Antipolo and De La Salle Santiago Zobel School in Alabang , Muntinlupa . As CCP's Satellite Venues in the East and the South, these institutions commit to benefiting from the exchange of goodwill and assistance through move-over productions, performances, and artistic training workshops. Eventually,
1860-432: The audience into the main theater. From the pedestrian entrance, Arturo Luz 's Black and White is displayed as spectators enter the little theater or ascend to the main lobby through a massive carpeted spiral staircase. Most of the interior is lit artificially, as there are few windows, most of which are located along the sides of the main lobby. Large areas on the upper floors are open to the ground floor lobby, emphasizing
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1920-475: The awards were conferred through a process of democratic selection in addition to rigid criteria. Aquino would later confer the same award to Leandro Locsin in 1990, in recognition of his contribution to the field of architecture in the Philippines and in spite of his many contributions to the Marcos regime's architectural projects. Also in 1987, three groups joined the roster of the Cultural Center's resident companies:
1980-443: The back wall and 38.8 meters (127 ft) from the left wall to the right. The proscenium opening has a height of 9 meters (30 ft) and width of 18 meters (59 ft). A 5.6-meter (18 ft 4 in) deep orchestra pit contains two elevators that can accommodate up to 62 musicians. The stage floor, unwaxed and painted matte-black (originally not stained), is made from a species of Philippine Mahogany . The main stage curtain
2040-458: The basis for his works. His art is described to be "abstract compositions of biological forms that seemed to oscillate , quiver, inflame and multiply" like mutations. Ocampo was born in Santa Cruz, Manila, but later transferred to #61 Dimasalang St., Caloocan. His parents were Emilio Ocampo y Saltiero and Delfina Ruiz y Santo. He originally studied law, commerce and creative writing, and worked as
2100-600: The basis of curtain design in the Cultural Center of the Philippines Main Theater. His works were exhibited in Washington, New York, London, and Tokyo, among others. His work was also part of the painting event in the art competition at the 1948 Summer Olympics . Awards received include: Republic Cultural Award in 1965; Patnubay ng Sd in 1969; Diwa ng Lahi Award in 1976; and Gawad CCP para sa Sining Award in 1979. Famous for his work "We or They" Ocampo died at
2160-542: The builder. Originally called the Theater of Performing Arts, it was completed and inaugurated in 1969. Its first major renovation occurred in 2005 for the opening and closing ceremonies of the 112th General Assembly of the Inter-Parliamentary Union held in Manila. Included in the renovation were cleaning and replacement of the marble trim, installation of a new air-conditioning system and new carpeting. The façade of
2220-431: The center for its promotion of elitist culture, Nicanor Tiongson , accepted the position to be the new artistic director. Together with its vice president, Florendo Garcia, the new leadership consulted with various stakeholders to formulate a new direction for the CCP and officially redefine its mission and objectives in pursuit of "a Filipino national culture evolving with and for the people." To set about decentralization,
2280-448: The center has undertaken steps to bring culture and arts more accessible to a larger segment of the Filipino society. Its Outreach Program conducts fora and art appreciation activities in various parts of the country, which includes the Sopas, Sining at Sorbetes Program (English: Food to Taste, Arts to Appreciate. Literally, Soup, Art and Ice Cream ), a unique appreciation activity coupled with
2340-577: The center hopes to establish another satellite venue in the Northern part of Metro Manila. The De La Salle Santiago Zobel School established the Angelo King Center for the Performing Arts in 2000 to support the holistic development of its students. The Center pushed the development of theatrical and musical talents on campus. The Assumpta Theater was constructed in 1999 and inaugurated in 2001 and
2400-529: The center in a less positive light. For instance, former president Gloria Macapagal Arroyo said that she finds the CCP to be "imposing, unapproachable, and elitist" for Filipino masses. The scope of activities the center engages in include architecture, film and broadcast arts, dance, literature, music, new media, theatre, and visual arts. Aside from its promotion of local and indigenous artists, it has played host to numerous prominent and international artists like Van Cliburn , Plácido Domingo , Marcel Marceau ,
2460-625: The center's role, from that of being a performance venue to an agency promoting and developing arts and culture throughout the country. Other notable developments during the year included the institution of the National Artist Awards and the foundation of the CCP Philharmonic Orchestra, the center's first resident company that would later become the Philippine Philharmonic Orchestra . During this period of
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2520-647: The commissioning of the Folk Arts Theater (Now the Tanghalang Francisco Balagtas ), an open-air but roofed structure that could seat up to 10,000 people. Construction of the new theater, which was also designed by Leandro Locsin, was completed in a record 77 days and was inaugurated in July 1972 with the grand parade, "Kasaysayan ng Lahi" ("History of the Race"). Right after the inauguration of Folk Arts, ground
2580-598: The country. In Manila, the Manila Grand Opera House , constructed in the mid-19th Century, served as the primary venue for many stage plays, operas and zarzuelas and other events of national significance. Conditions improve with the construction of the Metropolitan Theater in 1931 and smaller but adequately equipped auditoriums in institutions like Meralco , Philam Life , Insular Life , Ateneo de Manila University and Far Eastern University . In 1961,
2640-586: The country. The Order was established in 1972 after the death of renowned painter Fernando Amorsolo , through the auspices of Proclamation No. 1001. A year later, the Board of Trustees of the center was designated as the National Artists Award Committee. Today, the CCP administers the Order in conjunction with the National Commission for Culture and the Arts . Since its reform for democratization in 1986,
2700-464: The façade and below the ramp, there is an octagonal reflecting pool with fountains and underwater lights. On the main lobby, three large Capiz-shell chandeliers hang from the third floor ceiling, each symbolizing the three main geographical divisions of the Philippines: Luzon , Visayas and Mindanao . At the orchestra entrance, a brass sculpture, The Seven Arts by Vicente Manansala welcomes
2760-464: The fund. To make up for the rest of the construction costs, Imelda approached prominent families and businesses to donate to her cause. Carpets, draperies, marble, artworks to decorate the interior of the theater, and even cement were all donated. Despite the success of the First Lady's fundraising, the project cost ballooned to almost ₱50 million, or 35 million over the projected budget by 1969. Imelda and
2820-503: The harsh realities of his country after the Second World War. However, many of his works depicted lush sceneries and the beautiful Philippine landscapes through his skillful use of fierce and bold colors. H. R. Ocampo was credited for inventing a new mode of abstraction that exemplifies Philippine flora and fauna , and portrays sunshine, stars and rain. Using movement and bold colors, Ocampo utilized fantasy and science fiction as
2880-483: The large chandeliers and fluid interior spaces on northeast side of the building. Galleries and other rooms surround these open areas, occupying the space created by the huge cantilevered block. Whenever possible, the walls surrounding these rooms are used as additional venues for displaying art works. Much of the criticism of the building's architecture is directed towards its vehicular ramp. Since there are usually no valet services or parking areas directly accessible from
2940-406: The lobby entrance, the ramp's use is ideal only for audience members who are chauffeur-driven; at the expense of pedestrians, who may enter through the side entrance or a narrow (and potentially hazardous) pathway on the ramp. In defense of the design, Andy Locsin (a partner of his father's firm) explained that the decision of raising the whole structure on the podium (and consequently, the addition of
3000-512: The main curtain line to the back wall, the stage measures 13.6 meters (45 ft) with a proscenium width of 13.9192 meters (45 ft 8 in) and features the same Mahogany flooring as the larger Main Theater. A covered orchestra pit extends into the apron gives additional performance space, similar to a thrust stage . The stage curtain is a tapestry woven in Kyoto , Japan , based on a painting of Roberto Chabet , visual artist and former director of
3060-488: The other buildings in the CCP Complex. On the first year, I'll cover the soil. On the second year, I'll drive the pile. On the third year, the building will rise. On the fourth year, the curtain will rise Imelda Marcos to John Rockefeller III in 1966. You do not develop culture by putting up a 50-million building on the bay... Ninoy Aquino Before the turn of the 20th century, artistic performances were primarily held in plazas and other public places around
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#17328555643273120-597: The project and the Theater of Performing Arts (Now the Tanghalang Pambansa ) of the Cultural Center of the Philippines was opened on September 8, 1969, three days before the President's 52nd birthday, with a three-month-long inaugural festival opened by Lamberto Avellana's musical Golden Salakot: Isang Dularawan , an epic portrayal of Panay Island . Among those who attended the inaugural night were California Governor Ronald Reagan and his wife, Nancy , both representing United States President Richard Nixon . Early into
3180-423: The ramp) was in response to the high sea levels on the reclaimed land, and was not intended to promote an elitist view of art and culture. The Tanghalang Nicanor Abelardo or the Main Theater is the largest performance venue inside the Tanghalang Pambansa . It can accommodate up to 1,815 people in four levels: orchestra, boxes, and two balconies. The stage is 25 meters (82 ft) from the main curtain line to
3240-462: The structure was built on a strict critical path schedule requiring 4,000 workers working in 3 shifts across 24 hours. An accident occurred on November 17, 1981, when scaffolding collapsed and sent construction workers into quick-drying cement. Despite this, construction proceeded and finished some 15 minutes before opening night of the Film Festival. The building's ownership would be transferred to
3300-404: The theater started with the issuance of Presidential Proclamation No. 20 on March 12, 1966. Imelda, now the First Lady, persuaded the Philippine-American Cultural Foundation to relocate and expand plans for the still-born theater to a new reclaimed location along Roxas Boulevard in Manila. To formalize the project, President Marcos issued Executive Order No. 30, establishing the Cultural Center of
3360-584: The theater's acoustical flexibility in his review of the center's opening night, writing that the architect and his team seem to have built a venue "that will be equally congenial for drama, instrumental and vocal music and dance." The Tanghalang Aurelio Tolentino or the Little Theater, inaugurated a few years after the opening of the main theater, is a conventional proscenium stage, designed for drama, chamber music, solo recitals, lectures, and film screenings. It seats 413 people in one orchestra section. From
3420-598: The third floor, it has a floor area of 440 square meters (4,700 sq ft). Two smaller galleries are named after Filipino painters Fernando Amorsolo and Carlos Francisco . The latter is usually used for large scale installations and is located at the lobby of the Little Theater. Hallways lining the Main Theater on the upper three storeys are also used for display and measure 2.4 meters (7 ft 10 in) high by 30.2 meters (99 ft) wide each. These spaces are named after visual artists Victorio Edades , Guillermo Tolentino and Vicente Manansala . Established in 1988
3480-619: Was a Filipino National Artist in the visual arts. He was also a fictionist , playwright and editor . Hernando Ruiz Ocampo was a leading radical modernist artist in the Philippines . He was a member of the Saturday Group of artists (also known as the Taza de Oro Group), and was one of the pre-war Thirteen Moderns, a group of modernist artists founded by Victorio C. Edades in 1938. Famously known for his triumvirate with neo-realists Vicente S. Manansala and Cesar Legaspi , his works reflected
3540-463: Was broken for the Philippine International Convention Center and the Philippine Plaza Hotel, both for the country's hosting of the IMF - World Bank Annual Meeting in 1976. Although not owned by the Cultural Center, these buildings were nevertheless built at the complex and designed by Locsin. One of the more infamous additions to the center was the Manila Film Center , built in 1981 for the Manila International Film Festival. Designed by Froilan Hong,
3600-438: Was seen as symptomatic of the First Lady's edifice complex , a charge Imelda has nevertheless welcomed in her later years. The Marcos regime ended in 1986 through the peaceful People Power Revolution . Consequently, the CCP underwent a period of reform and "Filipinization." President Corazon Aquino appointed Maria Teresa Escoda-Roxas as the first president of the Cultural Center in the post-Marcos era; and once critic of
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