Towards a Post-Covid19 Theatres

2022 Conference Archive

****About the archive COPY here****

About the Conference


One of the most affected institutions during the onslaught of COVID-19 is the theatre. To date, many performing artists and scholars still wonder whether the live events will return to its nature of being a community based on the relationship between the performance and audience members through a social act of immediacy and intimacy?

When the pandemic is over, will we ever return to the theaters? At the end of this global health crisis, will we ever go back to musical theatres, concerts, operas, plays, traditional forms such as kabuki, noh, bunraku, wayang kulit, wayang goleng, komedya, sarsuwela, sinakulo, kathakali, jingju, pansori, among other forms, and other live events? Will National Theaters from different cities reopen such as the National Theater of Korea in Seoul, the National Bunraku Theater in Osaka, the National Theater of Japan in Tokyo, the Cultural Center of the Philippines in Manila, Vietnam National Puppetry Theater in Hanoi, or the National Centre for the Performing Arts in Beijing?

Today, some theatre houses in Asia have opened, such as the case of Singapore, but maintained physical distancing and requiring the public to get vaccinated before entry as health protocols. Some Asian communities have returned to performances but outside the auditoriums and with limited audience members. Others continued online performances and strategically publicizing their works as part of the “new normal.” Ultimately, what kind of future are we seeing in Asian Theatre vis-à-vis this global health crisis?


For this 14th ATWG Meeting and Conference, we welcome abstract proposals and online performance concepts that will attempt to reflect the future of Asian Theatres in a Post-COVID-19 world. Below is a list of specific themes where interested participants may draw on in order to actively participate in the 2022 Conference:

• Health protocols in / and theatre practice
• Reimagining intimacy on the theatrical space
• Physical distancing on stage
• Audience as socially-distanced from the stage
• Reconfiguring the theatrical / performance space after the pandemic
• The digital turn in the performing arts
• Zoom, Google Meet and other conferencing apps: Recontextualizing live-ness
• Facebook, Instagram, Kumu as performance spaces
• Performing cultures, Covid-19, and digital technology
• Staging Online Festivals
• Management of virtual performances
• Social media and performance of “proof of life”
• Staging traditional theatre performances after Covid-19
• What is “blended” in the teaching of theatre and drama after Covid-19?
• Mediatized performances: renewal of absence and presence


Featured Performances


PJ Rebullida


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PJ is an accidental artist. He entered theater and dance after graduating from UP Diliman only for a sabbatical year which turned into 18 years in the industry. He began theater with Trumpets, Inc. and Repertory Philippines and continues to create work with 9 Works Theatrical and Repertory. For dance, he began as a scholar of Steps Dance Studio and moved to the CCP Dance School. He was promoted and later took on lead roles for Ballet Philippines and, eventually, danced for Ballet Lueneburg, Germany. PJ has received recognition and awards for his work in theater and dance.

PJ began Galaw.Co Dance Theater in 2019. They have produced two productions with original work. They are busy with Galaw Komunidad as a response to adults who want access to Dance and Theater and have recurring cycles for adults all on Zoom due to the pandemic. PJ recently created an original work for the Cultural Center of the Philippines and re-staged his work for Ballet Manila.

PJ Rebullida - Dance and Choreography
Jef Flores - Music


Maynor Madamesila & RJ Balledos

Kaleidoscope World


Youth Advocates Through Theatre Arts (YATTA)

Baling Mingawa

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The story of three lives of friends Angelica, Rosalinda and Jefrrey intertwined during a pandemic. A nurse and her struggles being in the front lines and contracting Covid-19, an artist turned food
delivery driver to make ends meet, and a struggling mother who lost her only job that keeps her family fed while her husband is stranded in Manila because of the lockdown. The three characters discover their own sense of humanity as they are confronted with a new reality wrapped in anxiety, isolation and

Circus-like, satirical treatment of the socio-political context of the Philippine during the pandemic, with the character of Papa Troll as a kind of joker interweaving with the lives of the three characters Rosalinda, Angelica, and Jeffrey.

Baling Mingawa (2020)
Written by Junsly Kitay
Directed by Hope Tinambacan

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Teatrong Mulat Pilipinas

Prinsipe Bahaghari

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The Rainbow Prince/Prinsipe Bahaghari is a Filipino adaptation of “The Little Prince” by
Antoine de Saint-Exupéry. The puppet play revolves around the journey of the Rainbow Prince
in search of a companion that would help him in caring for his flower and keeping it safe in his
home planet. His encounters with a number of extraordinary characters ultimately led to his
realizations of what his relationship with the flower meant to him.

Direction & Production design: Aina Ramolete
Adaptation and translation: Vladimeir Gonzales
Assistant direction: Amihan Bonifacio-Ramolete
Lights & Set design: Ohm David
Music: Arvy Dimaculangan & Jep Gabon

Convening Team

of the 14th Asian Theatre Working Group of the International Federation for Theatre Research
Online Meeting and Conference 


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Prof. Sir Anril P. Tiatco, PhD

Asst. Prof. Eric V. Dela Cruz



Asst. Prof. Davidson G. Oliveros

Mr. Jonas Gabriel M. Garcia


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Mr. John Carlo V. Pagunaling

Mr. David Esguerra



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Ms. Marielle Justine C. Sumilong

Ms. Christine Joy A. Magpayo

Asst. Prof. Junesse
Crisostomo- Pilario



Ms. Jeni Thereza Agu-Alvaniz

Ms. Dianne M. Canave



University of the Philippines
Speech Communication Association