Fiesta – Paranaque’s Moro-Moro - 4

The moro-moro is one of the main features of the fiesta. Nowhere do the Filipinos shows their synergic spirit more than in their fiesta preparations. There, they are united in the task. The most complicated part of the fiesta program is the comedia production. It entails selecting a script, try-outs, casting, training in Filipino fencing, teaching the stylized moro-moro utterance and movements, musicians, stage hands, promoters, directors, costumes, make up and props that include papier-mâché giant. These have to be prepared six months in advance. People involved are not professionals, but working people, so all activities have to be done after working hours.

The performance is a Pirandellian experience. Some participants arrive in full costume. Others do their costumes and apply their make-ups in full public view. They do not stay backstage. They are part of the audience. When does their role begin? Does their part cease when they are with the audience? On stage, you see the protagonists fighting. In the audience, you see them chatting and laughing like the best of friends. People in the audience shout suggestions to the participants. The participants not only oblige, but ask, “Was that O.K.. with you?”. On stage, some actors are watching the audience. In the auditorium, when the dialogue gets boring, the spectators group together and chat. People circulate around. Children ran about and rush near the stage each time they hear batalya music. Not even Pirandello could improve on the interaction between audience and actors.