Adaptation and hybridity: From Shakespeare\u27s Romeo and Juliet to Tanghalang Pilipino\u27s R\u27meo Luvs Dhew-lhiett

A study that looks at adaptations as a theatre art form by using Tanghalang Pilipino\u27s R\u27meo Dhew-lhiet as a model for exploring the ongoing creative process of translation, workshop involvement as theatrical exchange and its development from written text to performance text. This study reads the production of RLD as a product of postcolonial theatre. This study analyzes the play through a thorough examination of all its parts: the text, the rehearsal, character development and the potential and the potential of the performance text. Postcolonial theatre concepts are used examine the development of the plays as adaptation from start to finish an exploration of Filipino cultural backgrounds, languages, influences, expression, cultural appropriation and commoditization, exchange and engagement. Focal points include the significance of the changes made to a classical text, the progress of workshop technique and the text as a non-finalizable form. This study puts Philippine theatre in the context of postcolonialism. Postcolonial theatre is seen as a representative of its cultural context and a resistant art form that struggles against the conventionally accepted classical forms. It addresses theatre as a deeper medium for seeking a personal and national identity. An active coverage of theatre as a means of communication and exchange can open a path to addressing the struggle of the Filipino to find its identity in a postcolonial setting