mas malayo....

so, yum

am

hIs

moss

Juice

!

!!

!!!

!!!!

!!!!!

UP POLIS at Multiply

http://uppolis.multiply.com
...the times are a'changing...

"There's a time for this song, there's a time for this song.."

Grey Street (*the song is in my Dave Matthews album)

Oh look at how she listens
She says nothing of what she thinks
She just goes stumbling through her memories
Staring out on to Grey Street

She thinks, hey, 
How did I come to this?
I dream myself a thousand times around the world,
But I can’t get out of this place

There’s a loneliness inside her
And she’d do anything to fill it in
But all the colors mix together - to grey
And it breaks her heart

How she wishes it was different
She prays to God most every night
And though she swears it doesn’t listen
There’s still a hope in her it might

She says, I pray
But they fall on deaf ears,
Am I supposed to take it on myself?
To get out of this place

There’s an emptiness inside her
And she’d do anything to fill it in
And though it’s red blood bleeding from her now
It feels like cold blue ice in her heart
When all the colors mix together - to grey
And it breaks her heart

There’s a stranger speaks outside her door
Says take what you can from your dreams
Make them as real as anything
It’d take the work out of the courage

But she says, please
There’s a crazy man that’s creeping outside my door,
I live on the corner of Grey Street 
And the end of the world

There’s an emptiness inside her
And she’d do anything to fill it in
And though it’s red blood bleeding from her now
It’s more like cold blue ice in her heart
She feels like kicking out all the windows 
And setting fire to this life
She could change everything about her
Using colors bold and bright 
But all the colors mix together - to grey
And it breaks her heart
It breaks her heart
To grey

How do you convince yourself of otherwise? There are depths which we avoid to explore, and we choose to live with terror that it's just behind the curve, and there's a tiny tiny chance that keeps us from falling...and while we're at it, we still have to look at eyes, ours and of others, thinking, thinking what they could be thinking, searching, and again, how do you convince yourself of otherwise? 

first, one should attempt to classify. hehe.

Woman, anyone?

A few paragraphs from The Second Sex (Intro: Woman as Other) by Simon de Beauvoir

FOR a long time I have hesitated to write a book on woman. The subject is irritating, especially to women; and it is not new. Enough ink has been spilled in quarrelling over feminism, and perhaps we should say no more about it. It is still talked about, however, for the voluminous nonsense uttered during the last century seems to have done little to illuminate the problem. After all, is there a problem? And if so, what is it? Are there women, really? Most assuredly the theory of the eternal feminine still has its adherents who will whisper in your ear: ‘Even in Russia women still are women’; and other erudite persons – sometimes the very same – say with a sigh: ‘Woman is losing her way, woman is lost.’ One wonders if women still exist, if they will always exist, whether or not it is desirable that they should, what place they occupy in this world, what their place should be. ‘What has become of women?’ was asked recently in an ephemeral magazine.

But first we must ask: what is a woman? ‘Tota mulier in utero’, says one, ‘woman is a womb’. But in speaking of certain women, connoisseurs declare that they are not women, although they are equipped with a uterus like the rest. All agree in recognising the fact that females exist in the human species; today as always they make up about one half of humanity. And yet we are told that femininity is in danger; we are exhorted to be women, remain women, become women. It would appear, then, that every female human being is not necessarily a woman; to be so considered she must share in that mysterious and threatened reality known as femininity. Is this attribute something secreted by the ovaries? Or is it a Platonic essence, a product of the philosophic imagination? Is a rustling petticoat enough to bring it down to earth? Although some women try zealously to incarnate this essence, it is hardly patentable. It is frequently described in vague and dazzling terms that seem to have been borrowed from the vocabulary of the seers, and indeed in the times of St Thomas it was considered an essence as certainly defined as the somniferous virtue of the poppy

But conceptualism has lost ground. The biological and social sciences no longer admit the existence of unchangeably fixed entities that determine given characteristics, such as those ascribed to woman, the Jew, or the Negro. Science regards any characteristic as a reaction dependent in part upon a situation. If today femininity no longer exists, then it never existed. But does the word woman, then, have no specific content? This is stoutly affirmed by those who hold to the philosophy of the enlightenment, of rationalism, of nominalism; women, to them, are merely the human beings arbitrarily designated by the word woman. Many American women particularly are prepared to think that there is no longer any place for woman as such; if a backward individual still takes herself for a woman, her friends advise her to be psychoanalysed and thus get rid of this obsession. In regard to a work, Modern Woman: The Lost Sex, which in other respects has its irritating features, Dorothy Parker has written: ‘I cannot be just to books which treat of woman as woman ... My idea is that all of us, men as well as women, should be regarded as human beings.’ But nominalism is a rather inadequate doctrine, and the antifeminists have had no trouble in showing that women simply are not men. Surely woman is, like man, a human being; but such a declaration is abstract. The fact is that every concrete human being is always a singular, separate individual. To decline to accept such notions as the eternal feminine, the black soul, the Jewish character, is not to deny that Jews, Negroes, women exist today – this denial does not represent a liberation for those concerned, but rather a flight from reality. Some years ago a well-known woman writer refused to permit her portrait to appear in a series of photographs especially devoted to women writers; she wished to be counted among the men. But in order to gain this privilege she made use of her husband’s influence! Women who assert that they are men lay claim none the less to masculine consideration and respect. I recall also a young Trotskyite standing on a platform at a boisterous meeting and getting ready to use her fists, in spite of her evident fragility. She was denying her feminine weakness; but it was for love of a militant male whose equal she wished to be. The attitude of defiance of many American women proves that they are haunted by a sense of their femininity. In truth, to go for a walk with one’s eyes open is enough to demonstrate that humanity is divided into two classes of individuals whose clothes, faces, bodies, smiles, gaits, interests, and occupations are manifestly different. Perhaps these differences are superficial, perhaps they are destined to disappear. What is certain is that they do most obviously exist.

If her functioning as a female is not enough to define woman, if we decline also to explain her through ‘the eternal feminine’, and if nevertheless we admit, provisionally, that women do exist, then we must face the question “what is a woman”?

To state the question is, to me, to suggest, at once, a preliminary answer. The fact that I ask it is in itself significant. A man would never set out to write a book on the peculiar situation of the human male. But if I wish to define myself, I must first of all say: ‘I am a woman’; on this truth must be based all further discussion. A man never begins by presenting himself as an individual of a certain sex; it goes without saying that he is a man. The terms masculine and feminine are used symmetrically only as a matter of form, as on legal papers. In actuality the relation of the two sexes is not quite like that of two electrical poles, for man represents both the positive and the neutral, as is indicated by the common use of man to designate human beings in general; whereas woman represents only the negative, defined by limiting criteria, without reciprocity. In the midst of an abstract discussion it is vexing to hear a man say: ‘You think thus and so because you are a woman’; but I know that my only defence is to reply: ‘I think thus and so because it is true,’ thereby removing my subjective self from the argument. It would be out of the question to reply: ‘And you think the contrary because you are a man’, for it is understood that the fact of being a man is no peculiarity. A man is in the right in being a man; it is the woman who is in the wrong. It amounts to this: just as for the ancients there was an absolute vertical with reference to which the oblique was defined, so there is an absolute human type, the masculine. Woman has ovaries, a uterus: these peculiarities imprison her in her subjectivity, circumscribe her within the limits of her own nature. It is often said that she thinks with her glands. Man superbly ignores the fact that his anatomy also includes glands, such as the testicles, and that they secrete hormones. He thinks of his body as a direct and normal connection with the world, which he believes he apprehends objectively, whereas he regards the body of woman as a hindrance, a prison, weighed down by everything peculiar to it. ‘The female is a female by virtue of a certain lack of qualities,’ said Aristotle; ‘we should regard the female nature as afflicted with a natural defectiveness.’ And St Thomas for his part pronounced woman to be an ‘imperfect man’, an ‘incidental’ being. This is symbolised in Genesis where Eve is depicted as made from what Bossuet called ‘a supernumerary bone’ of Adam.

Thus humanity is male and man defines woman not in herself but as relative to him; she is not regarded as an autonomous being. Michelet writes: ‘Woman, the relative being ...’ And Benda is most positive in his Rapport d’Uriel: ‘The body of man makes sense in itself quite apart from that of woman, whereas the latter seems wanting in significance by itself ... Man can think of himself without woman. She cannot think of herself without man.’ And she is simply what man decrees; thus she is called ‘the sex’, by which is meant that she appears essentially to the male as a sexual being. For him she is sex – absolute sex, no less. She is defined and differentiated with reference to man and not he with reference to her; she is the incidental, the inessential as opposed to the essential. He is the Subject, he is the Absolute – she is the Other.’

The Feminist eZine - 1001 Feminist Links and Other Interesting Topics

http://www.lilithgallery.com/feminist/
Aztig to, check nyo! =)

*from curioser.multiply.com

Gravedigger by Dave Matthews Band

I also uploaded the song; listen to it! =)
Thanks to my sister for the photos!

LYRICS:

Cyrus Jones 1810 to 1913
Made his great granchildren believe
You could live to a hundred and three
A hundred and three is forever when you're just a little kid
So Cyrus Jones lived forever



Gravedigger
When you dig my grave
Could you make it shallow
So that I can feel the rain
Gravedigger

Muriel Stonewall
1903 to 1954
She lost both of her babies in the second great war
Now you should never have to watch
Your only children lowered in the ground
I mean you should never have to bury your own babies

Gravedigger
When you dig my grave
Could you make it shallow
So that I can feel the rain
Gravedigger

Ring around the rosey
Pocket full of posey
Ashes to ashes
We all fall down

Gravedigger
When you dig my grave
Could you make it shallow
So that I can feel the rain
Gravedigger

Little Mikey Carson 67 to 75
He rode his
Bike like the devil until the day he died
When he grows up he wants to be Mr. Vertigo on the flying trapeze
Ohhh, 1940 to 1992

Gravedigger
When you dig my grave
Could you make it shallow
So that I can feel the rain

Gravedigger
When you dig my grave
Could you make it shallow
So that I can feel the rain
Feel the rain
I can feel the rain
Gravedigger

La Revolucion Filipina

Play Dates :

September 15, 2008 - September 21, 2008 (pm and evening shows)


Location :

Tanghalang Nicanor Abelardo (CCP Main Theater)

Ryan Cayabyab / Agnes Locsin(Ballet Philippines)
Agnes Locsin’s creative genius delves into the thoughts of Mabini which inspired the fierce daring of the “Katipuneros” and ignited the Philippine Revolution.
An innovative perspective of Philippine History dramatically expressed in the language of modern dance.

I saw a scene of this show in the Truth Festival and it was enchanting!! =))

You can call 5510221 (Ballet Philippines) for ticket prices or check out www.ticketworld.com.ph

Eiga Sai 2008

Eiga Sai na!!
This link gives you the primer:
http://www.jfmo.org.ph/events_eigasai08.htm

This link is for the schedule:
http://www.jfmo.org.ph/events_schedule.htm

Go and download the film synopses! =)

Katorse Shorts at Indie Sine

On June 11-17, KATORSE SHORTS will showcase 7 short films with themes ranging from the romantic to the absurd to the tragic - a program that is meant to bring to the consciousness of Filipino audiences the short film as a form that can hold its own.

Katorse shorts line-up:

Ang Kapalaran ni Virgin Mario by Ogi Sugatan
Ambulancia by Richard Legaspi
Manyika by John Wong
Puwang by Anna Isabelle Matutina
Dead Letter by Grace Orbon
Lababo by Seymour Barros-Sanchez
Walong Linggo by Anna Isabelle Matutina

http://annaisabelle .wordpress. com/

 

*from the Philippine Cinema yahoogroups

Six will Fix!

http://sixwillfix.wordpress.com/
Spread the word!

World Pyro Olympics 2008

(from cocoyandpopoy.multiply.com) =)

DATES

The World Olympics III (2008) will be held on the following dates:

May 3, 2008 -China 
                    Germany

May 10,2008 - Canada 
                      France

May 17, 2008 - Italy 
                       Venezuela

May 24, 2008 - Korea
                       Australia

May 31, 2008 - Fellowship of Fire - Collaboration of all countries with the Philippines

La Mancha Pyro Productions  representing the Philippines - Pyromusical show exihibition

The World Pyro Olympics offers three kinds of tickets:

1.) General Admission – US$4.00  (PhP150)

The General Viewing area is a free seating area, much more like a picnic area where families usually just bring mats, relax and watch the show as they please. The General Viewing Area provides a good view of the fireworks. There will be several concessionaires around who will provide various kinds of food and drinks.

2) Special Viewing Area (No dinner) – US$24.00  (PhP1,000)

The special viewing area (no dinner) is a free seating area where you can buy food and drinks inside and enjoy a prime view of the fireworks. There will be various food concessionaires in this area. Seats are available on a first come first serve basis.

3) Special Viewing Area (With dinner) - US$36.00  (PhP1,500)

This Special Viewing Area (with dinner) is an area with guaranteed free seating, where dinner is served. Guests can feast on a scrumptious dinner and can enjoy the best  and central view of the fireworks as this is the area right next to the seawall of Manila Bay. There are 10 persons to a table. One can reserve a table by purchasing 10 tickets in advance which is what most people did last year. This guaranteed free seating area is the perfect place to have memorable family, class or corporate gatherings. Some have already purchased seats in advance for client gifts, employee bonuses, etc. Don't miss the chance to share this world-class occasion with your loved ones!

 

FOR TICKET INQUIRIES AND PURCHASES:

CALL 817-3073 (LOC 102)

TICKETS WILL ALSO BE AVAILABLE IN ALL OUTLETS ON APRIL 19, 2008 - CALL 911 - 5555

Meet: My Idols. haha. =)

'Our relationship was the greatest achievement of my life'

But did Simone de Beauvoir's scandalous open 'marriage' to Sartre make her happy, asks Lisa Appignanesi

'Women, you owe her everything!" So read the headline announcing Simone de Beauvoir's death in April 1986. It was a phrase repeated over and over at her funeral, where some 5,000 mourners gathered to pay tribute to the writer many consider the greatest French woman of the 20th century, author of The Second Sex, mother of the modern women's movement. De Beauvoir's ashes duly found their place next to those of Jean-Paul Sartre, her partner in life, though never in marriage. He had died six years almost to the hour before her, and her last book, Farewell to Sartre, was the only one he had never read prior to publication.

De Beauvoir had declared that whatever her many books and literary prizes, whatever her role in the women's movement or as an intellectual ambassador championing causes such as Algerian independence, her greatest achievement in life was her relationship with Sartre - philosopher, playwright, philanderer, born 100 years ago this month.

There is something mysterious in De Beauvoir's insistence. Given Sartre's other liaisons, and that this was the height of the women's movement, it seems to fly in the face of common sense. Yet the Simone who had flouted convention in the 20s by entering into an open liaison with an ugly, charismatic young unknown was not about to conform to expectations.

Whether we agree with her own startling assessment or not, it's clear that De Beauvoir was neither lying nor, as some misogynist commentators have argued, simply writing herself into a life more important than her own. After all, for 51 years, whether they were living close to one another or apart, she edited and, as Sartre himself put it, "filtered" his work, which he dedicated to her (some have ventured that, on occasion, she wrote it too). For 51 years, the conversations between them created ideas, books, and a bond which other passions enraged or enriched, but never altogether ruptured. It was, for De Beauvoir, an experiment in loving of which "existentialism" was the child.

When I was growing up in the 60s, Simone de Beauvoir and Jean-Paul Sartre were a model couple, already legendary creatures, rebels with a great many causes, and leaders of what could be called the first postwar youth movement: existentialism - a philosophy that rejected all absolutes and talked of freedom, authenticity, and difficult choices. It had its own music and garb of sophisticated black which looked wonderful against a cafe backdrop. Sartre and De Beauvoir were its Bogart and Bacall, partners in a gloriously modern love affair lived out between jazz club, cafe and writing desk, with forays on to the platforms and streets of protest. Despite being indissolubly united and bound by ideas, they remained unmarried and free to engage openly in any number of relationships. This radical departure from convention seemed breathtaking at the time.

De Beauvoir wrote about this in the autobiography she began to publish in the late 50s, after the scandalous success of her exposé of being female, The Second Sex, and her Goncourt prize-winning novel, The Mandarins, where she chronicles, among much else, her postwar affair with the American novelist Nelson Algren, whom she left in order to return to Sartre, abandoning passion for public responsibility.

De Beauvoir and Sartre met in 1929 when they were both studying for the aggregation in philosophy, the elite French graduate degree. De Beauvoir came second to Sartre's first, though the examiners agreed she was strictly the better philosopher and at the age of 21 the youngest person ever to have sat the exam. But Sartre, the future author of Being and Nothingness, was bold, ingenious, exuberant in his youthful excess, the satirical rebel who shouted, "Thus pissed Zarathustra" as he hurled water bombs out of classroom windows.

Sartre was the pampered son of a widowed mother. Educated in French and German by his pedagogue grandfather, the young Sartre, diminutive, wall-eyed, was corresponding in alexandrines by the age of 10 and something of an outcast at his provincial school. By the time he returned to Paris, he had learned to make up for his physical lacks by the sheer force of his personality. De Beauvoir was captivated by the intensity with which he also listened.

The young Sartre already saw himself as a Don Juan, a seducer who ruptured outworn convention, and whose presence revealed things in their fundamental light. Seduction and writing, he believed, had their source in the same intellectual process.

Late in life, he admitted that he had fantasised a succession of women for himself, each one meaning everything for a given moment. De Beauvoir had astonished him by agreeing to the experiment he had outlined. She accepted the freedom he insisted on and became its custodian.

"What we have," he said early on to De Beauvoir, "is an essential love; but it is a good idea for us also to experience contingent love affairs." Recording Sartre's proposal, De Beauvoir writes: "We were two of a kind, and our relationship would endure as long as we did: but it could not make up entirely for the fleeting riches to be had from encounters with different people."

It is difficult to underestimate the sheer adventurousness of this pact forged in 1929. Particularly on De Beauvoir's side, the break from accepted norms was monumental, as was the social stigma. For De Beauvoir, Sartre seemed only to be repeating what, from her father's example and bourgeois practice, she understood as a male prerogative. What was different about their relationships was that she, the woman, would be equally free to engage in other affairs. Then, too, there was Sartre's important dictum of "transparency" - the vow that they would never lie to each other the way married couples did. They would tell each other everything, share feelings, work, projects.

Yet in this lifelong relationship of supposed equals, he, it turned out, was far more equal than she was. It was he who engaged in countless affairs, to which she responded on only a few occasions with longer-lasting passions of her own. Between the lines of her fiction and what are in effect six volumes of autobiography, it is also evident that De Beauvoir suffered deeply from jealousy. She wanted to keep the image of a model life intact. There were no children. They never shared a house and their sexual relations were more or less over by the end of the war, though for much of their life and certainly at the last, they saw each other daily.

With the posthumous publication in 1988 of her letters to Sartre, a good proportion of them written during the war years when he was at the front and then a prisoner, gaps that were left out of the autobiography are filled in. What the letters express is not only De Beauvoir's overarching love for a man who is never sexually faithful to her, a man she addresses as her "dear little being" and whose work she loyally edits. They also underline the mundanity of De Beauvoir's early accommodation to his wishes, her acceptance of what many women would reject as demeaning, her dependence.

But this dependence is hardly simple or passive. It is a shared attachment from which power also comes - as De Beauvoir, in The Second Sex, shows it does for all women. From early on, Notre-Dame-de-Sartre, as the wits dubbed her, organises the comings and goings of Sartre's "contingent" women; she encourages, consoles, manipulates, and continues to do so until the very end for that loose grouping of friends and exes they called their "family". With a few exceptions, she performs whatever Sartre at the Front asks of her, including finding money for him, or having an affair.

The voyeuristic narration of the details of sexual passion for the other's entertainment, the ups and downs and seamy manoeuvres of these relationships give Sartre and De Beauvoir the aura of a latter-day Valmont and Merteuil, planning and reporting on their dangerous liaisons, analysing assaults and retreats, and deliberating over the propaganda which is to surround them. On top of all this are De Beauvoir's lesbian pursuits and her sharing of Sartre's partners. Bluestocking she might have been, but De Beauvoir was never averse to taking hers off, and then letting Sartre know.

It would be easy to condemn Sartre and De Beauvoir, to dismiss their sex lives as squalid and find therein reason to undermine their intellectual or political projects. This would be to miss the great edifice that De Beauvoir constructed out of their mutual experiment in living; the often gruelling honesty they both brought to bear on each other; and the ways in which the living and changing organism that was their partnership shaped both their philosophical writings and their fiction. It was clear to De Beauvoir that Sartre was a great thinker: thought needed tending. Happiness, that state she claimed she had a talent for, was not the point.

Then, too, there may be another very good reason why De Beauvoir thought her relationship was her greatest achievement. The Second Sex is her encyclopaedic and shocking account of woman's condition as "other" in a world where the norm, with all its overarching and defining power, was male. The book analyses how women have been made over in a world of male descriptions, the contortions performed in order to draw something from the secondary role, the mutilation, the pain. In the experiment of her relationship with Sartre, De Beauvoir took over the power of description. She writes him in and through her life. Maybe that was partly what she meant by her greatest achievement - alongside a generous love, respect and abiding loyalty.

http://www.guardian.co.uk/world/2005/jun/10/gender.politicsphilosophyandsociety

Donsol and Kadin

Donsol w/d Kadin for UP Film Institute’s ongoing summer special

Watch both titles in the grandeur of 35mm film finish in an unmatched showcase of twin exemplars of Pinoy independent cinema

 

UP Film Institute holds a back-to-back special engagement for a pair of Adolfo Alix Jr.’s acclaimed films. Forming part of UP Film Institute’s ongoing summer special, Donsol and Kadin are to screen daily (except Sundays) from May 1 (Thursday) to May 15 (also a Thursday) at 5 and 7 p.m. in 35mm film finish.     

 

Donsol and Kadin are Cinemalaya prize-winning entries (2006 and 2007 respectively) that went on to garner further plaudits overseas. Grab the rare chance of seeing the double feature in a truly distinct presentation that constitutes an unmatched showcase of twin exemplars of Pinoy independent cinema.

 

Donsol

A Bicycle Pictures Production

A lonesome whaleshark guide is drawn to a mysterious woman burdened like him by a past heartache.

Official Philippine Submission to the Oscars for Best Foreign-Language Film—2008 Academy Awards; Winner of Spirit of Independent Award—2006 Fort Lauderdale International Film Festival; Special Jury Prize—2006 Asian Marine Film Festival, Japan; Best Cinematography, Best Actress for Angel Aquino—2006 Cinemalaya Philippine Independent Film Festival among more awards and distinctions

Direction and Screenplay: Adolfo Alix Jr. Cast: Angel Aquino, Sid Lucero, Cherie Gil, Jaclyn Jose, Bembol Roco, Mark Gil, Simon Ibarra

2006 103 minutes 35mm color with English subtitles

 

Kadin

(The Goat)

A Bicycle Pictures Production

Finding out that the family’s milking goat is missing, a boy together with his kid sister embarks on a search across the isle only to stumble on what could be life’s myriad, rarefied and at times contradictory meanings.

Official Selection for Here and Elsewhere—2007 Locarno IFF; Official Selection—2007 Amiens IFF; Best Cinematography, Best Musical Score—2007 Cinemalaya Philippine Independent Film Festival

Direction and Screenplay: Adolfo Alix Jr. Cast: Rico Mark Cardona, Monica Joy Camarillas

2007 88 minutes 35mm color Isabtangen with English subtitles

 

To always get screening alerts, join UP Film Institute e-group: upfilminstitute@ yahoogroups. com

 

Always watch UP Film Institute screenings and be kept informed of all UP Film Institute’s forthcoming attractions. Be especially alert of added screenings day by day. Unless indicated otherwise, screenings are held at the Cine Adarna’s 800-seat main cinema. Program is subject to change without prior notice.

 

Anne Marie G. de Guzman
Director
University of the Philippines Film Institute
agdeguzman@up. edu.ph

The Story of Stuff with Annie Leonard

http://storyofstuff.org
Enjoy. Act. Live.

National Earth Month Celebration

(from Cineaste_guild2006)

The Sustainable Energy Development Program (SEDP) will be celebrating National Earth Month with a series of activities from April 15-22, 2008 in partnership with  Robinsons Movieworld, Robinsons Galleria and Center for Environmental Awareness and Education (CEAE) and a joint project with the United States Agency for International Development(USAID) and the United Sates Department of Energy(USDOE).

You are also invited to CEAE’s  Environmental Documentary Film Showing on Cinema 3 from April 16-22. CEAE, lead organizer of the Moonrise Film Festival will showcase the  winning documentaries about the environment.

 These are: LAWA NG BAE(LAKE OF BAE)by Donie Sacueza, MOVING MOUNTAINS and NO MORE DEAD SEASON by Boyette Rimban, CHILDREN OF THE MOUNTAIN AND ENDENGARED TALES by Apocalypse point production.

One of the highlights of the celebration is the staging of short plays entitled  “Fuels for Life”, “Ecodefenders vs. Global Warming” and “Hari ng Kalsada”.  All three plays were initially launched as cinema ads, storybooks and comics  as part of SEDP’s information, education and communication (IEC) projects promoting biofuels and tips to reduce global warming.

 

We are inviting you to join us in our celebration and watch these short plays which will be performed by US Ambassador Kristie Kenney, USAID officials and “Youth Talents for the Environment” from Clean Cities Makati Coalition and Marikina Coalition for Clean Cities on April 15, 9AM, Cinema 2, Robinsons Movieworld, Robinsons Galleria, Pasig City.

 

SEDP will also have a weeklong exhibit at the Cinema Lobby of Robinsons Galleria. This Earth Day Exhibit  will showcase the IEC activities under the Philippine Clean Cities Program and its public and private partners supporting IEC projects for the environment. The exhibitors will include Department of Energy,  Council of Philippine Clean Cities Coalitions (CPCCC), Center for Environment and Education (CEAE), Miss Earth Foundation, Coca-Cola Foundation, Junior Inquirer, E-Artistshop Global Inc., San Miguel Brewery Inc. and  many more.

In between the Film Showing, SEDP’s Biofuels Cinema Ads and Ecodefenders Cinema Ad will be shown as well.

 

Thank you very much!

 

Sincerely,
 

DHEE PAREDES
IEC Specialist

April 15 - 22, 2008  10 AM – 10 PM

• Earth Day Exhibit at the Cinema Lobby
• San Miguel Art Contest
• Launching of Junior Inquirer Club

 

April 16 - 22, 2008 12 PM – 10 PM

• CEAE Film Showing

 

April 19, Saturday

• Earth Day Exhibit at the Cinema Lobby 10 AM– 10 PM
• Philippine Daily Inquirer Read Along Program 10 AM– 1130 AM
• San Miguel Art Contest  (Awarding of Prizes)
• Sign up for Junior Inquirer Club

The Blu Rum

The Blu Rum In Digital (from Cinemalaya_Philippines)

The University of the Philippines Dulaang Laboratoryo under the
Department of Speech Communication and Theater Arts serves as a
training ground for Theater Students enrolled in their thesis subject
presents The Blu Rm, a special project presentation. It is a play in
ten intimate acts that evokes a new perspective on love, sexuality,
lust and desire.

The play is adapted in Filipino by the cast members (Chic San Agustin
and Pat Valera) under the direction of Missy Maramara.

Set in a contemporary world, The Blu Rm, allocates all the characters
of the play to only two actors with the search for truth in every
encounter. This is also one of the few that takes on an unconventional
style of the theater known as the Digital Theater.

The Blu Rm will run from April 14-16, 2008 at 7pm at the Faculty
Center, Teatro Hermogenes Ylagan, UP Diliman, Quezon City. (The entry in clickthecity says there's a 3pm play on April 16; just confirm this with the organizers if you prefer the sched)

For any queries please contact the Production Manager @
0916-7387254/ 258-1986 or email at raymondie_2@ yahoo.com.

ADMISSION IS FREE! (You just have to tell them when you'd be watching and how many you are)

This play is an adaptation of this:
http://en.wikipedia.org/wiki/The_Blue_Room, which is an adaptation of this:
http://en.wikipedia.org/wiki/Reigen_%28play%29

Cheers!

From now on..

Dahil hindi talaga ko blogger, I thought of something that might make this feature useful.
From now on, I'l just post here stuff that might be of interest to the myriad of people who are in multiply - plays, booksales, book launches, auditions, events, campaigns, etcetera etcetera. (In short, stuff from my social network. hehe)

So there. =)

Canyon Cove, Nasugbu Batangas - Digital Photographer Philippines

http://digitalphotographer.com.ph/forum/showthread.php?t=10074
this is where we're having the company outing. take a look before i spoil it with photos of my own, hahaha. =)