The Project Gutenberg EBook of Cinematografo, by Jose Maria Rivera

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Title: Cinematografo

Author: Jose Maria Rivera

Release Date: July 16, 2005 [EBook #16311]

Language: Tagalog

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK CINEMATOGRAFO ***




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Pilar Somoza and PG Distributed Proofreaders from page
scans provided by University of Michigan.

¡¡¡CINEMATOGRAFO...!!!

DULANG TAGALOG

na may

Isang Yugto, at Dalawang Kuwadro.

Tugma ni

JOSÉ MARIA RIVERA

Tugtugin ni

Mtro. GAVINO CARLUEN.

MAYNILA
1920

Imp. ILAGAN y Cia,. 775 J. Luna, Tondo. Tel 8336

TALAAN NG NILALAMAN

UNANG KUWADRO. ¡¡SUKAT NA ANG CINE....!!

IKALAWANG KUWADRO. ¡TAYO NA SA CINE....!

MGA KUROKURO

MGA TAO NG DULANG ITO.

PANAHONG PINANGYARIHAN: Kasalukuyan.

Ang dulang ito ay itinanghal ñg kaunaunahan sa Dulaang Rizal ñg Gran Compania de Zarzuela Tagala ñg dramaturgong Severino Reyes, noong ika 1.o ñg Hunyo ñg 1918, at nagkamit ñg di kakaunting papuri.

UNANG KUWADRO.

¡¡SUKAT NA ANG CINE....!!

BUGTONG NA YUGTO

Kabuoan ng isang bahay na may mainam na mga palamuti. Pinto sa gitna ng kabahayan na naghahatid sa ibang mga banghay ng bahay.—Dalawang bintana sa siping ng pintuan.—Sa kanan at kaliwa, ay mga silid na hindi mangyayaring makita ng mga nanonood.—Hapon.

Pag-aañgat ng Tabing, ay makikita si D. TIBURCIO na, nakaupo sa isang tabureteng mesedora, at bumabasa ng isang pahayagan.

Tagpo I.

Si D. TIBURCIO lamang.

Tagpo III.

Si BRUNO at si MARTINA lamang.

TUGTUGIN.

SILANG DALAWA

SALITAAN.

Tagpo IV.

Si BRUNO lamang.

Tagpo V.

Si ANGELING lamang

TUGTUGIN

SALITAAN.

Tagpo VI.

Si ANGELING at si BALTAZARA.

Tagpo VII.

Sila din at si BRUNO.

Tagpo VIII.

Ang mga dati at ang mga bagong dating.

TABING.

¡TAYO NA SA CINE....!

IKALAWANG KUWADRO

Pagaañgat ng Tabing ay makikita ang larawan ng isang kilalang lansañgan sa Maynila, na mangyayaring maging ang daang Azcarraga o alin man ibang daan. Sa gitna, ay makikita ang panglabas (fachada) ng isang mainam na Cine. Maraming tao na magyayaot dito sa naturang daan, na ang ibá'y magsisipasok sa Cine matapos namakakuha sa taquilla ng bilyete. Sa gawing kanan ng Cine, ay makikita ang isang tindahan na may babala na: MONGO CON HIELO Y LECHE-EXTRA. Sa gawing kaliwa, ay makikita naman ang isang babae na nagtitinda ng mga kakanin. Mag-iikawalo't kalahati ng gabi.

Lalabas ang KORO ng BABAE at LALAKE, na nagsisiawit: Gabí.

Tagpo I.

Coro ng mga BABAE at LALAKE.

(Pagkatapos ng̃ pag-awit, magsisigawa ng̃ isang "evolución" at saka magsisipasok sa pinto ng̃ Cine.)

Lalabas ang batang lalake, si PELI, at lalapit sa may tindang mg̃a kakanin.

Tagpo II.

Ang TINDERA at si PELI

(Lalabas sina LUISITO at MARCOS, buhat sa kaliwa.)

Tagpo III.

Sila din, at sina LUISITO at MARCOS.

Tagpo IV.

Sila din, at ang mga bagong dating.

Tagpo V.

Sila din at ang PULIS.

Tagpo VI.

Si ANGELING at si LUISITO.

Tagpo VII

Si MARCOS at si LUISITO

(Mariring̃ig sa loob na ipalalagay na nagbubuhat sa cine, ang mg̃a hiyaw na: "Sigue" ... "Sigue" ... "Ibigay mo ang lines" ... "Ibigay mo ang nueve", kasunod ng̃ palakpakan at baswitan. Lalabas si Tio Bestre, at si Beteng, itong huli ay sapupo ang kaniyang tiyan.)

Tagpo VIII

Tio BESTRE at si BETENG.

Tagpo IX.

Si TIA MARTINA at si MARTA

(Papasok silang muli, at ulit na magsisigawan sa loob ng̃ cine gaya ng̃ una.)

Lalabas si D. Tiburcio.

Tagpo X.

Si D. TIBURCIO, pagkatapos si BRUNO at si MARTINA.

Tagpo XI.

Ang PULIS lamang

Huling Tagpo.

Si ANGELING at si LUISITO.

TUGTUGIN

SILANG DALAWA

TABING.

MGA KUROKURO

¡CINEMATOGRAFO!

Ang "libreto" ng̃ "Zarzuelang" may tinurang pamagat, na buhat sa panitik ng̃ manunulat sa dalawang wika, sa kastila at tagalog na si G. José Maria Rivera ay nabasa ko at napanood ko pa ng̃ ganapin ang unang tanghal sa Dulaang Rizal.

Sa tugmang ito ay ipinakilala ng̃ "Kumatha" na siya'y maalam sumulat ng̃ dula; ang pagkakasunod ng̃ mg̃a tagpo (escenas) ay napakahusay, hindi nawawala ang "continuidad" na kailang̃an sa isang obra at ang galaw at mg̃a anyo ng̃ mg̃a "personages"; ang paglalabas pumasok sa tagpo ay ayos na ayos sa tinatawag na "mecenica teatral."

Ang "caracter" ng̃ mg̃a personage ay hindi lumabo hanggang sa matapos.

Ang kanyang "vis comica" ay kilala na ng̃ madla. Ang pagkakalahok ng̃ salitang kapampang̃an sa kanyang '"obra" ay totoong mainam at matatawag nating "a lo hermanos Quíntero" na pawang nabantog at nang̃agsidakila sa kanilang "sistema" na ang kanilang mg̃a tugma na tunay na wikang kastila ay nilalahukan ng̃ mg̃a "dialectos españoles"; magpang̃ayo'y hinahang̃aan ng̃ boong Esgaña ang magkapatid na Quintero.

Pepe, magpatuloy ka sa landasing iyan ng̃ pagpapalago ng̃ ating dulaan; ang pagsulat ng̃ mabubuting dula ay higit pa ng̃ pagkamakabayan kay sa magmakisig na "politico".

Severino Reyes.

ANG PAGKAMANGDUDULA NI RIVERA

Si José M.a Rivera ó Pepe Rivera, gaya ng̃ karaniwang palayaw sa kanya ng̃ kanyang mg̃a kamanunulat at kaibigan, ay isang mangdudulang may sariling gabay at sariling watawat. Siya ay lumalakad sa larang̃an ng̃ pangdudula na masasabing hindi sumusunod sa ilaw ng̃ iba.

Nagbukas siya ng̃ landas na sarili niya, na sa kanyang pagasa'y lalong malapit para sa ikapagtatamo niya ng̃ tagumpay. At ang pagasang ito ni Pepe ay hindi nabigo. Kung ang tagumpay ng̃ mangdudula ay nakikilala sa pagkatig sa piling niya ng̃ lalong marami't piling nanohood, ang di gagaanong taong umuuhong lagi sa mg̃a dulaan kailan pa ma't itatanghal ang alin man sa kanyang mg̃a akdang "Mg̃a Pagkakataon," "Opereta"? at "Mg̃a Bing̃i", ay maliwanag nang patotoo na ang tagumpay ay nasa kanya na. Anopa't sa ganang aking pagkapisil, hindi na kailang̃an ni Rivera ang sumulat pa ng̃ lalong maraming katha upang maging karapatdapat siya sa luklukan ng̃ ating mg̃a ipinagkakapuring mang̃a mangdudula. Ang pagkamandudula ng̃ isang tao ay dapat kilalanin hindi sa karamihan ng̃ dulang sinulat, kundi sa uri at taglay na mg̃a katang̃ian ng̃ kanyang nakatha na. At inuulit kong labis ang kanyang mg̃a kathang nabanggit sa itaas, upang siya ay mapapiling sa unahang hanay ng̃ ating mg̃a maginoong guro ng̃ dulaan.

E.L. Valmonte,
Kinatawan ng AKLATANG BAYAN
Sa Kalipunan ng mga Samahang Mananagalog.

Maynila, Mayo 30, 1920.

SI PEPE M.a RIVERA

Tao palibhasang may katutubong hilig sa pagsulat, hilig na nalalahukan ng̃ sipag at tiyagang siyang pang̃unang kailang̃an sa mg̃a kawal ng̃ panitik, gaya ng̃ pagiging kailang̃an ng̃ tikin sa isang bangka, kaya't hindi katakatakang si Pepe M.a Rivera, ang karapatdapat na Pang̃ulo ng̃ Ilaw at Panitik, ay maantayan natin ng̃ lalong kisig at mg̃a bung̃ang hinog ng̃ kanyang halamang itinanim sa panahon, at ng̃ayo'y malusog na nagbubung̃a.

Sa likod ng̃a ng̃ may mahigit na dalawampung taong ginugol ni Rivera sa kanyang paghahanda sa isang kabuhayang dapat niyang kaPáhiná 38pulhan ng̃ suson susong putong ng̃ tagumpay, gaya ng̃ tinamo niya ng̃ayon sa sunod-sunod halos na pagtatanghal ng̃ kanyang mg̃a akda, ay di katakatakang, ang lahat ng̃ humahang̃a sa kanyang panitik ay kapitan siya ng̃ karapatdapat na taguring "hari ng̃ mg̃a mapag-patawa".

Nariyan ang katang̃ian ni Pepe. At hindi katakataka! Ang isang taong pinagkalooban ng̃ Maykapal ng̃ isang loob na maluwag at isang damdaming walang iwing pagiimbot na linangkapan ng̃ isang mukhang wari'y nakang̃iti sa lahat ng̃ oras, saan hindi ang kanyang paguugali'y masisinag sa kanyang mga akdang sa twing itatanghal ay "nagpapasakit ng̃ maraming tiyan".

Crispin.

ANG MITHI, ika 28 Mayo, 1920.

José M.a Rivera, con su esfuerzo personal verdaderamente laudable y con su talento, ha llegado a una altura a la que ya quisieran llegar muchos de nuestros autores dramáticos. Es de la madera de dramaturgos y triunfará aún más. Comenzó a estrenar en el Teatro Rizal sus primeras producciones dramáticas y que fueron del agrado del público. Las operetas austriacas vertidas por él al tagalo y representadas con éxito, diéronle además un notable prestigio como traductor, distingiéndose además de los adocenados como autor dramático.

Rivera es uno de nuestros contados aficionados a escribir obras teatrales. Como tiene mucha voluntad, sobre todo constancia y esfuerzo en el trabajo, se puede esperar mejores cosechas aún de su numen creador é inventivo. En sus obras, en donde se exponen al estudio, a la crítica y a la corrección, múltiples cuadros de costumbres locales, se refleja ese afán de corregir y cortar ciertos vicios muy nuestros, y ciertas imperfecciones tambien de órden social, habida consideracion a la altura de la civilización en que parece encontrarse el país. Su obra "Opereta?" que tantas veces figuró con éxito en los carteles y en las tablas Páhiná 39por ejemplo, es una prueba de esto que decimos. Es digno de notar además en Rivera ese estilo jocoso y festivo con que están escritas sus obras, lo que hace que estén á tono con nuestro público que gusta de humorismos y chistes.

Doy mi mas sincero parabien al Sr. José M.a Rivera por sus esfuerzos y aplicacion que le han conducido al éxito, al acometer una empresa tan arriesgada y problemática como es la de escribir obras teatrales en Filipinas ...

Jose G. Reyes.

UN TRIUNFO DE RIVERA

De tal podemos calificar, el que en la noche del 1.o de Junio obtuvo nuestro querido colaborador D. José María Rivera estrenando en el Teatro Rizal, tres de sus mejores obras, tituladas: "Cinematógrafo", "Panibugho" (Celos) y "Mga Pagkakataon" (Coincidencias), en presencia de numeroso y selecto público que acudió al coliseo avido de conocer las últimas producciones de nuestro joven inteligente compañero.

En las tres obras líricas alcanzó Rivera un triunfo resonante, acreditando una vez más ser él de la madera de los comediógrafos modernos; que conoce palmo á palmo la mecánica teatral, y sobre todo, ha justificado una vez más su genio como uno de los pocos dramaturgos filipinos que con Severino Reyes, Patricio Mariano y Aurelio Tolentino integran y son verdaderos prestigios del teatro tagalo.

Con el espíritu de imparcialidad en que siempre se inspiran nuestros juicios, podrémos manifestar aquí sinceramente, que el Sr. José María Rivera, es de los contados escritores dramáticos que para dar verdadera vida a sus obras, sigue el derrotero trazado por los escritores españoles de presentar en cada obra dramática tipos regionales. En la zarzuela "CinePáhiná 40matógrafo" presenta Rivera el tipo de unos montaraces, que faltos de sociabilidad, creyeron que Manila, es tambien una montaña. Tanto en esta obrita como en "Panibugho" y "Mg̃a Pagkakataon", nuestro apreciado colaborador ha conseguido triunfar en toda la línea, asi como en su precioso monologo "Kakilakilabot" que interpretó maravillosamente el mejor actor dramático filipino D. Eusebio Constantino. El inspirado one-step del profesor Emilio A. Aninao el primer filipino que ostenta el titulo de Profesor de Armonia, titulado "José María Rivera", compuesto expresamente en honor al beneficiado, gustó muchisímo al publico que al final la aplaudió.

Los artistas que tomaron parte en la representacion de las obritas del Sr. Rivera, cumplieron como buenos en sus respectivos papeles. La tiple Juanita Angeles, demostró, una vez mas dominio en las tablas y la potencia de su voz. Desde los primeros momentos supo cautivar al público que le aplaudió á rabiar. Ildefonsa Alianza, acreditó ser de la madera de las buenas características. La tiple Feliza Buenaventura, supo bordar con maestria su papel en "Cinematógrafo" y recibió tambien muchos aplausos. Alfredo Ratia, el gran barítono de la Compañía que dirije el dramaturgo D. Severino Reyes, demostró ser dignísimo hijo del gran actor D. Nemesio Ratia, honra del teatro contemporáneo. Pepe Suarez y Joaquin Gavino, así como tambien los Sres. Eusebio Constantino, Eusebio Gabriel y Gregorio L. Lopez, contribuyeron mucho al éxito alcanzado por el autor.

Y para terminar repitimos que Rivera ha triunfado en toda la línea, por lo que el público le llamó muchas veces para aplaudirle entruendosamente. A los muchos aplausos que tan querido compañero ha recibido, une el FREE PRESS el suyo, entusiasta y sincero.

(FREE PRESS, Junio 15, 1918.)

Parang Liham na Bukas

K. Deogracias A. Rosario (alias) Delio. Taliba, Maynila.

Kasamang Delio:—

Yamang ikaw ang nakikilala kong "revistero" ng̃ TALIBA sa kanyang pitak ng̃ mg̃a Dulaan, ay minarapat kong sa iyo ibalita ang isang bagong naisip ni Pepe Rivera. Ng̃uni't, bago iyan, ay ibig ko munang tumukoy ng̃ ilang bagay. Naalaala kong ikaw na rin ang nakapuna ukol sa ginawang "recurso" ng̃ ilan sa ating mg̃a "autores" sa pagtatanghal ng̃ mg̃a dulang tang̃i sa marami ng̃ mg̃a actores principales at secundarios, ay napakarami pa rin ang mg̃a "koro" na kung minsa'y "nakasisinok" sa panlasa ng̃ mg̃a nanonood. Napuna ko rin sa mg̃a nakaraan mong lathala, na tumukoy ka sa mg̃a dulang "iilan" ang kanyang mg̃a "pesonaje" at sa pagtukoy mong ito ay nabanggit mo ang "Panibugho" ni Pepe Rivera, ang "Dalawang Hangal" ni Moneng Ilagan, at ang "Ana Maria" ni Ñol Binoy Reyes.

Ako'y sumaiyo ng̃ buong buo, sa iyong pagkukuro, na, upang makilala ang "habilidad" ng̃ isang "autor" ay sa pagtatanghal ng̃ isang dulang "iilan" ang mg̃a taong gumagalaw, buháy ang mg̃a tagpuan at busog sa kasariwaan ng̃ isang diwang ibinubuhay o nilalayon. Sa tatlong katha ng̃ mg̃a beteranong mandudulang nabanggit ko na sa iyo, na kapwa ko napanood, ay masasabi ko sa iyong isang katang̃itang̃i. Kung ang mg̃a isipan ng̃ "tatlong haring iyan", (tawagin na nating Hari), ng̃ ating dulaan, ay maging isipan ng̃ marami nating mangangatha, ay hindi malayong maiaagapay na rin natin ang ating dulaan sa taas at indayog ng̃ mg̃a isipan at sa kasaysayan din naman ng̃ mg̃a mangangathang hinahang̃aan natin sa ibayo ng̃ ating mg̃a dagat.

Doon, sangayon sa ating mg̃a nababasa, ay iilan sa maraming manang̃atha, ang natatang̃i hindi dahil sa kanilang katalinuhan, kundi sa mg̃a katha nilang binubuo ng̃ iilang "personaje" Páhiná 42lamang, ng̃uni't sa "iilang" yaon, ay nandoon na ang lahat. Anopa't nakayayari ng̃ isang buhay na kinalalarawanan ng̃ isang pangyayaring kung iisipin lamang, ay masasabing hindi magaganap kung "iilang katao" ang magsasagawa.

Nasabi ko ang ganyang malayang kurokuro, dahil sa nasaksihan ko, oo, Kasamang Delio, nasaksihan ng̃ dalawa kung mata na ang mg̃a kinatha ng̃ tatlo nating "hari ng̃ sariling dulaan" ay hindi na maihuhuli, maging sa layon, sa isipan, sa diwa at sa kabuuan man, ng̃ mg̃a nakatha ng̃ mg̃a nabanggit ko nang mandudulang taga ibang lupa.

Napaguusapan na rin lamang natin ang ukol sa mg̃a dulaan, ay maibabalita ko sa iyong ipalilimbag daw yata ni Rivera ang kanyang dulang may isang yugto na pinamagatang "Cinematografo".

Ang dulang ito, ay napanood ko na sa unang pagtatanghal sa "Rizal", sa kapakinabang̃an ng̃ kumatha. Pagkatapos kong mapanood, ay ako na rin sa sarili ang nagtanong:

—Ano ang aking napanood? Isang dula lamang kayang "pasampay-bakod"?

—Oh, hindi,—ang akin ding sagot. Tal mente, ay hindi isang dula lamang, manapa'y isang sinematograpong nang̃ung̃usap at ang kanyang layuni'y bumaka sa masasamang hilig ng̃ ating mg̃a tao.

Ang "Cinematografo" ni Rivera, ay naglalayon ng̃ malalaking bagay na tumutukoy sa masamang hilig ng̃ marami sa ating mg̃a kapwa, na dahil sa malaking hilig sa bisyo, ay napapabayaan ang lahat ng̃ gawain sa sariling tahanan. Inilarawan din ng̃ kumatha, ang kasagwaan ng̃ ilang tanod o tagapaging̃at ng̃ kapayapaan at tinuligsa ang kanilang kasagwaan sa paggamit ng̃ kanilang tungkulin. At hindi pa iyan. Sakali't ipalilimbag ng̃a ng̃ Kasamang Rivera ang katha niyang ito, (kahimanawari'y ipalimbag ng̃a sana), ay mababasa ng̃ madla na isa sa mg̃a tagpo ay maguusap ang dalaPáhiná 43wang magkaibigan sa harap ng̃ pintuan ng̃ isang Sine. Ibabalita ng̃ isa, na, may nalalaman siyang isang kakilalang naglihi sa isa sa mg̃a artista ng̃ isang pelikula at dahil doo'y ginabigabi ang pagpasok sa alin mang sineng pagtanghalan sa kanyang "favorito"; nagbuntis halos sa loob ng̃ sine, at nang̃anak, oo, Kasamang Delio, nang̃anak sa loob din ng̃ kamalig ng̃ isang sine, bagay na masasabing isang tunay na "barbaridad" na hindi makikita sa ibang bayan.

Ang anak ng̃ naglihi sa nasabing artista, ay naging isang pusakal na alagad ng̃ sinematograpo hanggang sa lumaki.

Inilarawan din ni Pepe sa kanyang dula ang ukol sa karaniwang napagkikita natin, na ang sine ang siyang ginagawang paraan sa pagtatanan ng̃ mg̃a anak na napakakasal ng̃ hindi pa oras. At isa pa, ang lalong kriminal, ay ang ukol sa mg̃a pagnanakawang parang itinuturo sa mg̃a nanonood. Ang bahaging ito, ay pinagukulan ng̃ autor ng̃ ilang "halibas" sa pamamagitan ng̃ paglalarawan ng̃ kasamaang ibinubung̃a, lalo pa ng̃ napapanahon ang mg̃a Zigomar at mg̃a Fantomas.

Iyan, at mg̃a iba pang tagay na pawang "sakit ng̃ Sangkatauhan" ang kanyang binaka at kung tunay ng̃ang ipalilimbag, ay inaasahan kong makatutulong ng̃ malaki sa pagpapaliwanag at pagbaka sa inaasal o maling hilig ng̃ marami sa atin.

Tang̃i sa riyan, ay masasabi ko sa iyong ang pagpapalimbag na gagawin ni Rivera sa kanyang "Cinematografo", ay makatutulong din naman sa pagpapalaganap ng̃ Sariling Wika sa una, at sa pang̃alawa'y magkakapanahong mabasa ng̃ mg̃a tumatangkilik sa dulaang tagalog ang kanilang karaniwang nakikita't naririnig magbuhat sa esenario ng̃ isang dulaan. Mabasa, oo ng̃a, mabasa, at sa gayo'y mapagaralan nila't masuri ang kahalagahan ng̃ ating mg̃a dulaan na siyang tampok at karang̃alang masasabi ng̃ Lahi ni Balagtas, na hindi man karapatdapat, ay kinabibilang̃an natin.

Kung hindi lamang inaakala kong pahahaba ang liham na ito, at may isang gawain akong nakahahadlang sa akin, ay tutukuyin ko sana rito ang lahat ng̃ nalalaman ko ukol sa mg̃a katha ni Pepe Rivera. Gayon pa man, at sa maiikling salita ay tumukoy rin tayo ng̃ pasapyaw.

Napanood mo ang tatlo niyang dulang "Panibugho", "Mg̃a Bing̃e" at "Mg̃a pagkakataon," hindi ba?

Ng̃ayon, sabihin mo sa akin kung ano ang iyong niloloob.

Sa kanyang "Panibugho", tang̃i sa nakatatawang pangyayari, ay nakatutulong din sa pagbibigay liwanag sa nalalabuang isipan ng̃ mag asawang (mg̃a asawang babae ang tinutukoy ko rito), pagdaka't magbubudhi na lamang at sukat, at hindi na sumasangguni sa kanyang tapat na puso, kung namamali siya o kung hindi, at pagdaka'y patatang̃ay sa simbuyo ng̃ magdarayang damdamin, ¿Hindi ba tunay? Ang kamaliang iyan, ay nagamot ni Rivera sa pagtatanghal ng̃ kanyang "Panibugho".

Sa kanyang "Mg̃a Bing̃e" ay nakuha rin namang naipakilala ang kadalubhasaan ng̃ kanyang panitik. Kanyang inilarawan ng̃ ganap na ganap ang konsekuensiang laging ibinubung̃a ng̃ isang hindi pagkakaunawaan, at tang̃i sa roo'y ginulo niya muna ang isip ng̃ nanonood, at ng̃ lito na, ay "pinaglamas" niya ang salitaan, ng̃uni't, pagkatapos, ay unti unting nagliliwanag hanggang sa niwakasan ng̃ isang "pagkakataong" hindi inaantay na mangyari na ipinagkapalad ng "isang hindi naghahanap" at "hindi nananadya". Ng̃ayon kung sa dalawang obrang iyan, ay nakuha kong naipakilala sa iyo ang "kadiyaskihan" ng̃ ating Pepe, ay tignan naman natin ang kanyang walang kamatayang "Mg̃a Pagkakataon", na habang tumatanda ay lalong nagiging bata at na kahahalina sa puso ng̃ ating publiko.

Ano ang napuna mo sa "Mg̃a Pagkakataon"?

Sa "obrang" iyan, ay hindi pangkaraniwang talino ang pinuhunan ni Rivera ng̃ kanyang sulatin. At, sobre todo,ay ang pagkakalagay Páhiná 45ng̃ pamagat. Nasabi ko tuloy na "kinasihan yata ng̃ Santong katutubo si Pepe", sa kanyang "Mg̃a Pagkakataon", o talagang natama sa mabuting oras.

Kalabisan pang ilarawan dito ang mg̃a "kuntil butil" ng̃ "obra". Sukat nang sabihin ko na sa "Mg̃a Pagkakataon", ay hindi dapat manood ang isang tao o mg̃a taong katatapos kumain lalo pa't busog, pagka't hindi malayong saktan ng̃ tiyan o kaya'y maapendesitis. Itatanong mo sa aking kung bakit? Saksi ka. Hindi ba't ng̃ mapanood natin, ay kaunti ka nang pang̃apusan ng̃ hining̃a dahil sa katatawa, bakit at si Ballecer pa naman ang nag-Kosme? Hindi ba't sinabi mo pang, "ang lalong matimpiin, ang lalong pihikan, "at ang lalo pa mang walang kibo kahima't banal o simenarista pa siya ay tatawa, at tatawa pag napanood ang "Mg̃a Pagkakataon"?

Tang̃i sa riya'y nagtuturo din naman sa isang magulang na ayaw pabayaan ang hilig ng̃ isang anak lalo pa't sa gawang pagaasawa.

Dahil sa mg̃a naipahayag kong iyan, ay inaasahan kong sa pagpapalimbag ni Pepe ng̃ nanyang "Cinemetografo", ay lalong mapatutunayan ng̃ madla kung tama o kung hindi ang aking mg̃a daglian pagkukuro hinggil sa kakayahan at sa "habilidad" ni Pepe Maria Rivera sa gawang pagsulat.

Samantala'y magutos. Kumusta sa Katotong Crispin.

Remigio Mat. Castro.
Kalihim ng Ilaw at Panitik.

Marso, 15 ng̃ 1920.

A beneficio de los incendiados de Cavite, la "Compañia Ilagan" dió una función en el Teatro "Zorilla", en la noche del 6 de Mayo, representandose tres obras de un acto de José Maria Rivera. Páhiná 46 Pepe es un creador de tipos y se reveló en "Opereta", haciendo mover en escena a dos tipos pueblerinos, uno del pasado, ignorante, socarrón y desconfiado y otro del dia, aunque con reminiscencias del de antaño, pero con más desparpajo, con más perspicacia.

Rivera al hacer mover en escena a esos tipos, a mas de ir dandolos a conocer, pintando sus defectos para ser corregidos, regocija al espectador con graciosas escenas.

En el escenario, este joven autor, completa la pintura haciendo hablar a los muñecos en su dejo y estilo peculiares de la region correspondiente. En esto, el autor tuvo un éxito completo, como tambien en la presentacion de otro tipo popular, un cantante que fue tambien caricaturizado de un modo acabado.

¡Bien por Rivera!

Alitaptap.

CONFETTI, 16 de Mayo de 1920

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