Dulaang Sibol
Himig Heswita
About Dulaang Sibol
As a repertory theatre group, Dulaang Sibol grew out of the Ateneo High School Dramatics Society. Among its earliest performances were three one-act plays presented in 1956 at the St. Paul High School Auditorium on Herran Street. It started catching public attention with a series of Shakespearean plays, performed in a grand scale at the High School Covered Courts. Among these were Macbeth, Julius Caesar and Hamlet. In 1966, the group presented at the Ateneo Law School Auditorium in Padre Faura in public performances its first Filipino plays, two one-act plays: Julian Balmaceda’s “Sino ba Kayo?” and Soc Rodrigo’s “Paa ng Kuwago.” With its presentation of its first Filipino plays, the group gave itself a Filipino name: Dulaang Sibol. Sibol is a root word that catches the spectrum of young images with the addition of affixes. Sibol suggests a spring, a brave burst of crystal clear water; or a sprout, a sprig, green with promise and optimism; or the season of springtime itself. A root word, rather than a finished word was chosen to connote a beginning, a start, an introduction to theatre. In an article for an Australian magazine, Fr. Miguel Bernad, SJ, translates Dulaang Sibol into “A Theatre Forever Young” with a measure of accuracy; for indeed, much as the group dates back to 1956, the members are always high school students in their mid-teens with the vigor and idealism of the young. By 1972, Dulaang Sibol evolved into a repertory theatre group. Every movement, if it is to succeed, must have a dedicated core group that can be depended upon to pour out selflessly of its time and talent to spearhead the movement. In a theatre movement, a core group is needed to do big jobs and small. To organize the various projects and finance them. To write plays and light them. To act in the plays and advertise them. To order tickets and sell them. To make posters and post them. To welcome audiences and usher them. To open doors and lock them. To complete theatre facilities and clean them. They are the playwrights and the lights men, the lyricists and the composers, the carpenters and the directors, the actors and ushers, the financiers and the janitors. A core group is needed to serve the whole school in its theatre movement. “Men for others” are necessary in theatre.
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