The Philippine Educational Theatre Association (PETA) continues to empower its audiences while educating them through entertainment
In the 1960s, the Philippine theatre scene was heavily influenced by western standards. All stage plays were performed in English—even those written by Filipinos—and performances that used the Filipino language were unheard of. Cecile Guidote-Alvarez, who had prior experience in directing and producing television shows, questioned this. She knew that countries like Japan and France used their own language for the performing arts, and none of them felt the need for an English translation. She thought that a theatre that spoke in its local language had a better way of connecting with its audiences. “You have to draw meaning and power from the lives of the people,” Guidote-Alvarez said. “It was really supposed to provide the country a mirror for who we are as a nation.” With this, Guidote-Alvarez set out to create a blueprint for a theatre company that did just that.
She decided to pursue further studies in the State University of New York in Albany, but eventually moved to the Dallas Theatre Centre. Her time in Texas exposed her to a company that had a similar framework to what she had in mind for the Philippines, and inspired her to cultivate the idea of a national theatre—one that was deeply anchored in celebrating the Filipino culture, while serving the Filipino people. Bright eyed and determined, she took it upon herself to bring this vision to life. The masteral thesis Guidote-Alvarez created was a blueprint of her plans, and upon her return to the Philippines in 1967, she founded the Philippine Educational Theatre Association (PETA).