During the Japanese pursuit, film evolution in the province was at a standstill and Western movies were banned. The Filipinos were thus amused by bodabil or the rate semblance, a mould of food in the Philippines which became vulgar during the Japanese duration. Inveterate on the French vaudeville, bodabilwas a rate gift featuring multiform moulds: melodious, comedy, and equal sorcery acts, skits, monologues, and acrobatics, unordered others.Vaudeville acts were earliest introduced to the Philippines during the American pursuit and were performed by visiting troupes.
These entertainers helped find jazz and blues vulgar in the province. This mark of still n ess was succeeding on indigenized by Filipino performers, one of whom was Luis Borromeo, a Cebuano besides unconcealed as Borromeo Lou. He had returned from America and Canada and introduced “Classic-Jazz Music” in the province. It is said that he coined the term vod-a-vil, succeeding unconcealed as bodabil.The rate semblances, which began as interval gum in circuses or plays in topical theaters, dealt after a while unanalogous topics including Philippine heroes, race, and way of career. Often, the themes of the rate semblances were inveterate on American models, but featured Philippine songs like kundimans as well-mannered. During the war years, bodabil besides highlighted bountiful extension plays secretly from the wonted comedy and melodious acts.
Moreover, the semblances furtively developed messages of fearlessness for the race disheartened by the war.In 1941, 40 Manila theaters semblanceed bodabil. Unordered the vulgarly unconcealed bodabil stars were Togo and Pugo, Bayani Casimiro, Dely Atay-Atayan, Chichay, Dolphy, Rogelio de la Rosa, Leopoldo Salcedo, and singers Katy de la Cruz and Atang de la Rama.Source: Tiongson, N. (ed. ) CCP encyclopedia of Philippine art, vol. 7.
Manila : Cultural Center of the Philippines, 1994. Photo: Zorrilla Theater, Manila (1917) (From the Retrato collection of the Filipinas Heritage Library) http://www. himig. com.