{"id":254465,"date":"2020-05-11T02:44:41","date_gmt":"2020-05-11T06:44:41","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=254465"},"modified":"2020-05-11T02:44:41","modified_gmt":"2020-05-11T06:44:41","slug":"live-performing-arts-switch-to-online-amidst-coronavirus-pandemic","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2020\/05\/11\/live-performing-arts-switch-to-online-amidst-coronavirus-pandemic\/","title":{"rendered":"Live performing arts switch to online amidst coronavirus pandemic"},"content":{"rendered":"<p><iframe loading=\"lazy\" style=\"border: none; overflow: hidden;\" src=\"https:\/\/www.facebook.com\/plugins\/post.php?href=https%3A%2F%2Fwww.facebook.com%2Ffullhousetheater%2Fphotos%2Fa.2592181817673651%2F3232481170310376%2F%3Ftype%3D3&amp;width=500\" width=\"500\" height=\"739\" frameborder=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>As the world continues to grapple with the effects of the coronavirus disease 2019 (COVID-19) pandemic, the industry of live performing arts has been greatly hit by the consequences of the strict measures and lockdowns that were implemented by the government in many parts of the world.<\/p>\n<p>While more people stay at home as a precaution against the threat of COVID-19, the arts world takes a big toll with canceled shows, closed venues, and the seats remain empty. But despite the curtains closed, local and international theaters say that the show must go on\u2014online.<\/p>\n<p>Performers and organizations have been trying to adapt to the circumstances, by following the government policies of avoiding mass gathering and encouraging people to stay at home by organizing \u201clive\u201d performances and interactions with fans through different social media platforms.<\/p>\n<p>Theater companies are also adjusting to the \u201cnew normal\u201d by transitioning to the digital landscape and holding online roundtables, workshops, readings, ballet shows and performances available for the wider public.<\/p>\n<p>In the past month, local theater companies such as Dulaang UP, Cultural Center of the Philippines (CCP), and other organizations have released shows on Youtube to be streamed online by viewers at the comfort of their homes for a limited time.<\/p>\n<p>Audiences can now watch \u201c<em>Ang Nawawalang Kapatid<\/em>\u201d, \u201c<em>Fathers and Sons<\/em>\u201d, \u201c<em>The Kundiman Party<\/em>\u201d, \u201c<em>Adarna<\/em>\u201d, and others in the official Youtube channel of Dulaang UP. The Virgin Labfest has also made available some of its shows to the public such as \u201c<em>Suor Clara<\/em>\u201d, \u201c<em>Kung Paano Ako Naging Leading Lady<\/em>\u201d up on Youtube only until Thursday, May 14, \u201c<em>Dalawang Gabi<\/em>\u201d, and \u201c<em>Daddy\u2019s Girl<\/em>\u201d. All shows from the VLF can be accessed through CCP\u2019s Youtube channel. The VLF also recently streamed Juan Miguel Severo\u2019s <em>\u201cHintayan ng Langit\u201d <\/em>(Heaven\u2019s Waiting) last April 28 and was only available for one week.<\/p>\n<p>The Philippine Ballet Theater has also released \u201cThe Merry Widow\u201d, \u201cFirebird and Other Ballets\u201d available for streaming until Tuesday, May 12, and \u201cDarangen ni Bantugen\u201d, to the public and is also available at CCP\u2019s Youtube channel.<\/p>\n<p>Recently, Full House Theater Company\u2019s \u201cAng Huling El Bimbo\u201d was made available online for 48 hours and has garnered 7 million views.<\/p>\n<p>\u201c<em>Maraming salamat sa lahat ng aming nakasama\u2014sa<\/em> 7 Million <em>na nanood, sa mga nagpuyat, nakitawa, naki-iyak, nag-<\/em>essay writing, <em>nag-like, nag-comment, nag-share,<\/em> <em>at higit sa lahat, nag<\/em>-donate!<em> Sana kahit paano ay nabigyan namin kayo ng ligaya sa panahong ito <\/em>(Thank you very much to the 7 million who watched, stayed up late, laughed, cried, wrote essays, liked, commented, shared, and those who donated! We hope that we were able to give you joy in this time),\u201d said the theater company in a statement.<\/p>\n<p>The musical was a fundraising campaign in partnership with ABS-CBN for the benefit of families affected by the COVID-19 pandemic.<\/p>\n<p>The international theater stage has also switched to the digital stage as they continue to adapt to the limiting measures caused by the worldwide pandemic. London\u2019s National Theater has launched its At Home program, encouraging the audience to \u201cenjoy world-class theater online while we\u2019re closed\u201d.<\/p>\n<p>The National Theater is currently streaming \u201cAntony and Cleopatra\u201d starring Ralph Fiennnes and Sophie Okenedo, available on Youtube until May 14, Thursday. \u201cFrankenstein\u201d starring Benedict Cumberbatch and Jonny Lee was also available to watch on their Youtube channel last May 8.<\/p>\n<p>Broadway HD is also an alternate streaming website for the theater hungry, with numerous dramas and musicals available such as \u201cMiss Saigon\u201d, \u201cCarousel\u201d, \u201cSweeney Todd\u201d, \u201cKinky Boots\u201d, and more for a one-week free trial subscription.<\/p>\n<p>The streets of Broadway and the West End may be empty for a while, but as shows are migrating online, theater enthusiasts can now enjoy binge-watching their favorite performances while still following social distancing.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As the world continues to grapple with the effects of the coronavirus disease 2019 (COVID-19) pandemic, the industry of live &hellip;<\/p>\n","protected":false},"author":33,"featured_media":254471,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,54365],"tags":[],"class_list":["post-254465","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","category-instagram","mauthors-kathleen-mae-guerrero","mauthors-philippine-canadian-inquirer"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/254465","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/33"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=254465"}],"version-history":[{"count":3,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/254465\/revisions"}],"predecessor-version":[{"id":254472,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/254465\/revisions\/254472"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media\/254471"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=254465"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=254465"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=254465"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}