THE seminarians of Sacred Heart Seminary, belonging to Teatro Lingganay are presenting two plays called “Tipik” (Two Stories, One Journey) at the John Paul II Cultural Center.
The first play is called “Hulot,” written by and directed by Fr. Roy Christian Gesulgan. It opened yesterday (Sept. 2).
This drama revolves around the life inside the seminary. Beyond the consciousness of the people outside its walls, the seminary serves as home to young men aspiring to become priests.
As the journey goes on, it is a reality that they encounter joys as well as demise, and blessings as well as trials. A play in four scenes, this play will try to envelope the whole of the seminary life with all that makes the journey a roller-coaster ride.
“Hulot” is set at night to heighten the idea of dealing with the silent life and having to live inside the box. It is the sacred space for seminarians to explore the question of who they are and the life they have chosen to embrace.
The second play is called “Godot,” an abridged version of Samuel Beckett’s existentialist play, “Waiting for Godot.” It will open today and tomorrow (Sept. 3 and 4) at 7 p.m.
According to wikipedia, “Waiting for Godot” is an absurdist play in which two characters—Vladimir and Estragon—wait endlessly and in vain for the arrival of someone named Godot.
Godot's absence, as well as numerous other aspects of the play, has led to many interpretations since the play's 1953 premiere. It was voted "the most significant English language play of the 20th century."
There are two main characters in the play, Vladimir and Estragon, who meet near a tree. They talk about diverse topics and apparently both are waiting there for someone called Godot. As they wait and talk, Pozzo and Lucky enter the scene. Pozzo is on his way to the market to sell his slave, Lucky. He pauses and converses with Vladimir and Estragon. Lucky entertains them by dancing and thinking, and finally Pozzo and Lucky leave.
A boy makes his entrance and tells Vladimir that he is a messenger from Godot and that he sends his regrets for not making the appointment, but that he will surely come tomorrow.
The following evening, Vladimir and Estragon once again meet near the tree for Godot’s arrival. Lucky and Pozzo likewise come into the scene, but this time, we see a blind Pozzo and Lucky has lost his speech. Pozzo does not recall meeting the two men the night before. So they go their way leaving Vladimir and Estragon to wait for Godot.
Shortly after, the boy enters and once again tells Vladimir that Godot will not be coming and he further insists that he did not speak to Vladimir the day before. After he leaves, Estragon and Vladimir decide to leave as the curtain falls.
In the last scene however, Godot finally enters.
Asking Fr. Roy of his impression on “Waiting for Godot,” he says: “The play is philosophical. It begs to ask the primary questions on human existence such as the meaning and purpose of life. It also explores the paradoxical and the absurd; the issue of constancy and change and the phases of the seasons and the challenges that accompany age. It is a great play to stir and force us to reconsider our own existence regardless of our being philosophers or simply being trumps.”
It should be interesting to watch the thespian capacities of our seminarians as well as contemplating on thought-provoking questions about life and most especially the life inside the seminary.