Lights dim. The curtains rise here at the PETA Theater Center. This isn’t just another theater. It’s a hub of Philippine arts and culture.
The Philippine Educational Theater Association or PETA was founded on April 7 1967. Cecile Guidote-Alvarez had a vision. She wanted Philippine theater to help develop people and society.
In 1971 PETA became the UNESCO-ITI Center in the Philippines. That same year PETA organized the first Third World Theater Festival. It coincided with Manila’s 400th anniversary.
During Martial Law in 1972 PETA’s founder went into political exile. But PETA’s new leaders kept the company going. They steered it toward a People’s Theater. This theater was committed to social change.
Martial Law shaped PETA’s people-based theater style. PETA used theater to empower disadvantaged groups. They created plays for development.
PETA took a radical step. It created and performed plays in Filipino. Most early plays were staged at Dulaang Rajah Sulayman. National Artist Leandro V. Locsin designed this open-air theater.
By the 90s PETA had a solid record. It boasted about 300 plays. These plays were written translated adapted and performed. They enriched Philippine theater history. They used forms and techniques to express local national and universal themes.
In 2005 PETA achieved a long-term goal. It moved to a permanent home. That is where we are right now. The PETA Theater Center. The center shows PETA’s creativity ingenuity and resilience. It serves as a base for all PETA activities. These include performances workshops and community programs.
Settled here PETA continued to mount cutting-edge productions. These productions engaged urban audiences. They mainstreamed relevant issues. PETA adapted world classics. “Haring Lear” and “Arbol de Fuego” are examples. PETA also staged children’s theater. “Mga Kuwento ni Lola Basyang” and “Batang Rizal” became iconic. Recently PETA has used modern pop music. It maintains connections with its audience. “Rak of Aegis” became a phenomenal hit musical.
PETA relentlessly seeks new audiences. It partners with schools parishes and communities nationwide. It shares educational performances with as many Filipinos as possible. The company embarked on many tours.
PETA has mastered artistic excellence relevance and viability. It remains true to its vision. It uses theater as a tool for education social change and development.
PETA’s achievement is its survival through Martial Law. It creatively presented what was not allowed free expression. Creative solutions were found in the theater. They used history folklore fable symbolism and expressionism.
PETA is committed to artistic development. It wants to move and enlighten people through plays. PETA also focuses on theater in education. It enhances education through the arts. It works with youth to produce a new generation of Filipinos.
PETA pursues a people’s development agenda. It builds creative capacities for marginalized people. They can assert their rights and participate in matters that affect them.
PETA remains inspired by ideals of nationhood global understanding and respect. It promotes democracy and greater participation in theater culture and social development.
PETA is a non-stock non-profit and non-governmental organization. It is an association of artist-teachers. They use theater for social change and justice.
PETA has received many awards and recognition. These include the Ramon Magsaysay Award in 2017.
The PETA Theater Center stands as a beacon. It shines for those who believe in the power of theater. It inspires change and empowers communities. PETA’s legacy continues to grow. Its impact resonates far beyond these walls.