“To see all of you together in one roof, one goal and one guild is historic. It actually gave me goose bumps. I guess the best part of it is that theater actors act in unity and for one common goal — to be heard! I will help in the best way I can. Let’s all break a leg.”
Those were the words I posted on TAG’s Facebook group’s wall minutes after the meeting was adjourned.
On Oct. 10, some 100 theater actors, freelancers and those coming from various theater companies in the Philippines, gathered for the first time at the PETA Theater Center for the first general assembly of the Philippine Theater Actors Guild (TAG).
The venue was packed with actors, among them were Robert Seña, Andoy Ranay, Bituin Escalante, John “Sweet” Lapuz, Vince de Jesus, Joel Saracho, Cris Villonco, Gabe Mercado, Che Ramos and many others.
I sat and set aside watching them.
I was more interested in monitoring their responses and reactions about why the guild was formed and what would they benefit from it since some of them are already members of their respective theater group.
For so many years, there was no organization that unites all the actors from different theater groups.
In film, TV and music industry, there is KAPTT (Katipunan ng mga Artistang Pilipino sa Pelikula at Telebisyon), DGPI (Director’s Guild of the Philippines) and FILSCAP (Filipino Society of Composers, Authors and Publishers) where I am also a member who gets and receives resources and guidance.
The meeting started with a keynote speech from award-winning director Joey Javier Reyes. In his speech, he said and I quote, “This gathering is important. It is not only an expression of camaraderie, a renewal of friendship or a sharing of common interests. Tonight is a vital first step. This gathering is a statement. We want change.” I echoed my fellow director’s view but I would like to add, “and that is change for the better.”
I saw the reactions. Most of them smiled with integrity.
My fellow director was right. Theater actors must unite not only to develop camaraderie among themselves but to move forward and join hands for one common goal.
I thought this is something else, something extraordinary.
They are finally organizing themselves to strengthen their ranks as well as assert their space in the arts community.
In the middle of the meeting, an announcement was made. The host thanked Skyflakes for giving them crackers.
Everybody laughed and started to react.
I found myself thinking of the remark made by one of my fellow indie directors, Rafa Santos, in his interview on ANC.
Santos said and I quote, “Personally, I find theater actors are better to work with because they don’t complain. You can feed them Skyflakes three meals a day and pay them in cat food basically, and they are never late, and they cry when you want them to cry.”
With my latest talk with one of the elected officers of TAG, she said that most theater actors do not want to read or talk about Skyflakes and cat-food topics anymore, but want to focus on the issue Santos has brought to light.
In fact, that night Skyflakes was among the sponsors who provided snacks for the actors, “Skyflakes is the limit.” I have a different perspective as a film director.
At some point, I agree with what Santos said on TV, I have noticed that working with theater actors makes the director’s job easy because they are generally the best.
They work professionally and they can act very well.
As an independent director, one of my many concerns is to effectively spend the limited budget given to me.
To do that, I have to look for “a shot in the dark.”
In theater, they use deus ex machina or god out of the machine, as a way to solve dramatic problems that are too complex and cannot be worked out by normal means.
Being a director myself, I consider theater actors the same way as deus ex machina. They are my saviors and my angels because they are one of a kind.
They provide credibility in my film. They are a big help to other performers, especially the ones who are neophyte movie and TV stars.
True to form, it is not how the food tastes but how it was prepared.
Like theater actors, it is not how they act but how they sacrifice to get the job done.
Indeed, actors can be someone else onstage, they actually run the show.
Unfortunately, they are not Superman or Darna or ZsaZsa Zaturnnah who can make things happen by a snap of their fingers.
TAG started in May 2010 when founder and guild’s president Kalila Aguilos posted a Facebook status.
On her Facebook wall she wrote and I quote, “Does someone have to die before a law curtailing shooting/taping hours is passed?” Aguilos at that time was driving home from a shooting and fell asleep at the wheel.
The FB status sparked a long discussion regarding the urgent need for a union, and other theater concerns.
The discussion was picked up by Elmar Beltran who invited Aguilos to a dialogue at the Commission for Culture and the Arts (NCCA) on the influx of foreign acts in the Philippines.
The event was well-attended by groups such as OPM, Philstage, AMP, KAPPT, AWF, among others.
Aguilos then realized that there was no group in existence to represent Theater Actors as a whole.
She conferred with some members of the theater community, and with their help TAG was formed.
Filipinos are known for organizing groups and within groups there are sub-groups, The kanya kanya system or syndrome which divides members of the group in general, tend to shut down a common goal.
TAG’s main purpose is to unite the members of the group to perform an act of unselfishness.
It will provide its members not only in terms of upgrading their crafts but for providing social services, such as Philhealth, SSS, etc. which we all need to protect ourselves.
TAG wants to be a platform for Actors’ Development through additional education and training.
TAG is a non-stock, non-profit organization for theater actors protecting basic rights on artistic engagements and assisting their basic needs such as health, security and taxes.
Not all actors were born with a silver spoon. They are not well-compensated. They must work hard outside of their own turf to earn a living.
In theater, they perform not for money, not to earn huge amount but to express their kind of art.
They work for the arts and for their craft. The guild will serve as a platform to identify their basic needs as artists.
When I was offered the role of a member of the board of trustees/adviser along with distinguished names from different sectors such as Celeste Legaspi, Jett Pangan, Tony Moncupa, Mayor Guia Gomez, Ronald Pineda of Folded & Hung and Repertory Philippines’ Menchu Lauchengco-Yulo.
I began to realize how important it was to go outside my comfort zone, engage and extend a helping hand to those unserved in the art’s industry. As a Filipino who seeks change, joining TAG is an opportunity I will not regret.
As a TV journalist and filmmaker, it has been my mandate to get as many voices heard so that we all can understand what’s going on around us and to benefit from that information and understanding and knowledge.
For TAG members, this is their opportunity to get to act their best onstage, in return, the audience gets to see the best of the best.
So for now, you’ve been TAGged.
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